I feel like this about Vandoren. I know many enjoy their tenor pieces but my experience and what I see out there is an army of alto players who LOVE the S and S+ chambers right out of the box and can play as their only piece. The tenors show up a lot more, not for refacing but to change the response and voice/color of the piece.
Meyer is another that gets the love on alto and virtually nothing else.
Way less players using any vintage of Link on alto than on tenor, baritone or soprano.
What sort of response or input are you hoping to get on alto. Forget about sound because it's way too subjective but if you are looking for an easy to use mouthpiece with a nice balance of response, slight resistance and easy projection, the V16 S+ in a 5 or 6 is a great choice.
I like how Theo says "alto is not a small tenor". This has been my experience as well as someone who does custom work. The alto players I've worked with are very very very specific about what they like or don't. Most can't articulate what they like but it's a pretty narrow scope. Guys who use that Allard 'hee' syllable need a little more behind the tip to ensure an immediate response. Tenor players have more range in what they like or find acceptable in my experience.
I haven't worked for him for 6 years but the Ted Klum Acoustimax has a nice cross between a Brilhart and a Meyer in terms of focus (Meyer), body (Brilhart) and a unique resonance due to the various materials he uses. Many find the material itself lends a little highs in the overall voice. but UMMV.