create a narrow ridge. This
ridge will be the contact
point for the high-E string.
For now, keep it about
1/16" wide (this will give
you some room to fine-tune the intonation point
after you’ve completed the
basic compensation). As
you file, stop periodically
to check the rear angle—
you want it to match the
angle of the high E as it
comes out of the pin hole.
4. Repeat the process for each
string except the B string,
which you’ll carve separately after removing the
saddle from the bridge.
Remember, the G
string’s contact point is
at the front edge of the
saddle; from this point,
the saddle will slope back
down toward the G’s pin
hole. The low E will only
make contact at the rear of
the saddle—1/32" from its
edge. The A and D strings
fall in line between the
low E and G (Photo 13).
Once you’ve removed the
appropriate material from
the rear of the saddle for
these strings, file off any
excess material from the
front side of their contact
points. Giving the strings
a clean leading edge allows
them to vibrate freely.
10
12
Tip: Each string will rise
from the pin hole to the saddle at a different angle. You
can easily determine this
angle by turning your file on
its narrow edge and laying
it between the pin hole and
the saddle (Photo 14).
13
11
5. Remove the saddle and
file the compensation
10. Marking lines on the saddle to indicate the new contact points to be filed
for each string. Here you can see the compensation marks for the high-E and
B strings.
11. The B string’s new contact point will be at the rear of the saddle.
12. The contact points for the G, D, A, and low-E strings form a diagonal
line, with the G close to the front edge of the saddle and the low-E 1/32" from
the rear.
13. Filing away the excess bone behind the new contact points for
the low-E, A, D, and G strings. The G string sits forward—it’s closest to the
soundhole—while the low-E string sits at the rear edge by the pin holes.
