
Vintage-style, straight-bar saddles will never intonate properly—we find a way to fix this issue that doesn’t involve replacing the entire bridge.
One of my clients recently brought me a fascinating guitar to work on (Fig. 1). It's a 1993 Japanese custom-shop Fender Telecaster that screams “1962-Tele-meets-Nascar." This Tele is in excellent condition and plays great, but not in tune. The bridge has three vintage-style, straight-bar saddles. Unfortunately, these saddles will never intonate properly (and they never did back in the day), so I need to find a way to fix this intonation issue that doesn't involve replacing the entire bridge.
Fortunately, several vendors make "tilt-compensated" saddles that are perfect for this Tele. (Searching eBay or visiting websites for custom part-makers like Joe Barden or Callaham Guitars, or going to vendors like stewmac.com and allparts.com will yield a number of options for tilt-compensated saddles.) Let's see what's involved with retrofitting a Tele with this type of saddle.
Project overview.
With its cool custom paint job, this 1962 reissue looks sharp. But by today's standards, a Tele is simply not gig-worthy if you can't intonate it.
Here's the problem:
Fig. 2: This guitar came from the factory with period-correct straight-bar saddles. Unfortunately, such saddles are impossible to intonate accurately.
Two strings share each of the three straight-bar bridge saddles (Fig. 2). If you correctly intonate one of the strings in each of the pairs, this puts the other string way out of tune. The end result? Three strings are intonated and three aren't. Typically, the best-case scenario is to average the two strings on each saddle, but the strings are always more out of tune than with a correctly adjusted 6-saddle Tele bridge.
Fig. 3: These brass "tilt-compensated" saddles offer improved intonation while preserving the characteristic tone of a three-saddle Tele.
But many Tele freaks prefer the tone of a classic 3-saddle bridge (why it sounds different from the 6-saddle bridge is another discussion), so rather than replace the entire assembly, enterprising players developed the tilt-compensated scheme (Fig. 3). This allows for accurate intonation without losing the snap and twang of a classic 3-saddle bridge.
If you have a guitar with a 3-saddle bridge, you can replace the straight-bar saddles with a tilt-compensated set and have the best of both worlds. It sounds simple, right? Hey, let's just swap out a few saddles. Believe it or not, there's a lot more to it.
Getting started.
Before doing any work on a guitar, it's important to take measurements. These will help you determine if you need to make any necessary setup adjustments to the guitar you're about to modify.
After tuning the guitar to pitch, I always check three crucial things:
- The action at the 12th fret.
- The amount of relief in the neck.
- The action at the string nut.
In this case, all the measurements looked spot on. Moving from the 1st to 6th string, the 12th-fret action measured 3/64" x 4/64". The neck relief was .012" and the action at the 1st fret was 1/64" x 2/64", again moving from the 1st to 6th string. [To review the setup process for an electric guitar, see How to Set Up a Fender Stratocaster. The same basic principles apply for setting up a Telecaster.]
After taking these measurements, remove the strings and the bridge saddles. Once the saddles are off, compare them to the new tilt-compensated saddles to see if the height of the new saddles will match up.
On this Tele, the new saddles appeared to be a little taller for the two E strings—strings 1 and 6—but otherwise they matched the height of the old saddles. So I installed the new saddles and tuned the Tele to pitch, and once again took the above three measurements.
Fig. 4: With the tilt-compensated saddle, the 6th string sits too high on this guitar, even with the height-adjustment screw backed out all the way.
Overall, the action was pretty close, but the two E strings were just a little too high (about 1/64" too high), even with the height adjustment screws backed all the way out for both E strings (Fig. 4 and Fig. 5).
Fig. 5: Like the 6th string, the 1st string sits too high.
There is only one cure for this—remove the offending saddles and mill them down underneath.
Milling the saddles.
Fig. 6: When a barrel saddle sits too high in the bridge assembly, you need to remove some material from its underside. Here the saddle sits in a vise, protected by leather pads. Once it's secured, you can scribe a guideline in the end of the saddle to indicate how much brass (in this case, 1/32") needs to be milled away from the bottom.
I determined the saddles needed to be lowered 1/32" below the 1st and 6th strings. Removing this much will allow for additional adjustment in the event my client wants to lower the action more than 1/64".
I put the saddle in a vice that's equipped with leather pads on the jaws to prevent the saddle from being scratched. Then I measured 1/32" from the bottom of the saddle, and used a scribe to mark this distance. This mark tells me how far to mill the saddle (Fig. 6).
You can mill a saddle by hand on a flat surface using 80-grit sandpaper or alternatively on a belt sander or grinder. If you opt for a belt sander or a grinder, be extremely careful. All it takes is one slip and the saddle is ruined. At best, if the saddle slips out of your fingers, it will launch across the room.
Fig. 7: A saddle in the process of being milled on a flat surface that's covered with self-adhesive, 80-grit sandpaper.
That's why I prefer to do this job by hand on a flat surface. It takes a lot longer this way, but you have much more control over the saddle, and to me, that's worth it. Fig. 7 shows the underside of a saddle in the process of being milled on a flat surface.
With saddles milled, the next step is to install them and tune the guitar to pitch. With the new saddles installed, the action looked great. Now the process of adjusting the string spacing begins.
Adjusting string spacing.
Fig. 8: Measuring the distance between the 1st string and fretboard edge.
Spacing the strings is rather tedious, but it's critical for playability. On the new tilt-compensated saddles, the strings sit on a rounded surface. To prevent the strings from sliding sideways, you need to file grooves into the saddles—one groove for each string. In addition to holding the strings securely, these grooves also ensure proper and consistent spacing.
Measure approximately 1/8" from each side of the fretboard at the last fret—this will be the starting point. Once you have the outside edges of the two E strings evenly spaced from the fretboard sides, make a small groove in the saddles to hold the strings in place.
To match the grooves to their respective string gauges, I use a string nut file. (These special gauged files are available in sets or individually from luthier supply shops.)
Fig. 9: Measuring string-to-string spacing.
Next, move each of the remaining four strings to their proper spacing. The goal is to have them an equal distance apart, measuring from the outside edge of each string. Use a precision metal ruler to check your spacing (Fig. 9).
Fig. 10: Filing the string grooves with a nut-slotting file.
Once I have the spacing correctly set, I file a small groove under each string (Fig. 10). The spacing for this particular bridge is approximately 13/32" from string to string. Of course this will vary, depending on the width of your guitar's fretboard. To ensure proper spacing, always measure several times before you file the grooves.
Remember: When filing the grooves for each string, make sure you use the properly sized file. If the file is too small, the strings will bind in the grooves, causing tuning issues. But if the grooves are too large, the strings can rattle in the grooves. Also make sure each groove follows the proper angle for each string as it comes out of the bridge plate.
Adjusting the intonation.
Once the string spacing is correct and you've filed the string grooves, it's time to adjust the intonation—the point of this whole project. Adjusting intonation requires several things: a precise tuner (a strobe tuner is preferable), a screwdriver, and a lot of patience!
Fig. 11: Adjusting intonation takes a very accurate tuner and a lot of patience.
Start by tuning the guitar to pitch. Then, one string at a time, compare the 12th-fret harmonic to the fretted note at the 12th fret. The harmonic is your reference tone. When comparing the two, if the fretted note is sharp, tighten the intonation screw located at the back of the bridge assembly (Fig. 11). This moves the saddle backward. If the fretted note is flat, loosen the intonation screw to move the saddle forward.
Always retune after each adjustment and then check intonation for accuracy. The goal is to match these two tones so they're perfectly in tune … to a certain extent. I've found this process works great for the low E, A, D, and high E strings (the 6th, 5th, 4th, and 1st). For the G and B (3rd and 2nd) strings, I use a tempering method so those strings will sound more in tune with the rest of the strings. I intonate the B string approximately 1 cent sharp at the 12th fret and set the G string approximately 2 cents sharp at the 12th fret. The end result produces slower "beating" or oscillation between the notes when you play a chord, making the guitar sound more in tune. This temperament "fudging" can vary from one guitar to another, and many techs, luthiers, and players have developed their own particular tempering scheme.
Note: A cent is 1/100th of a semitone or half-step, so you see why a precision tuner is necessary for adjusting intonation. If you don't have an accurate strobe tuner—one that can give you a 1/100th cent reading—it's best to simply intonate each string to match the 12th-fret harmonic.
That's it for now. See you next time for another adventure in DIY guitar maintenance.
[Updated 10/22/21]
Lutefish, the real-time music collaboration device and platform, is excited to announce a suite of new features designed to simplify setup, streamline collaboration, and offer more flexible subscription options for Lutefish Stream users. These latest updates, Audio Presets, Automatic Session Recall, Improved Scheduling with Contact Visibility, and a new Yearly Subscription Plan, are all about making it easier than ever for musicians to jam together, no matter where they’re based.
Save Time and Stay in the Flow with Audio Presets & Session Recall
Musicians can now save and reuse their exact audio settings, reducing setup time and ensuring every session sounds exactly as they want.
- Automatic Session Recall: When users leave a session, their current audio levels are automatically saved and restored when they rejoin.
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Smarter Scheduling and Contact Visibility
The latest update to Lutefish also made it easier to find collaborators and book sessions. Users can now:- View all their contacts at a glance when scheduling a session.
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The veteran Florida-born metalcore outfit proves that you don’t need humbuckers to pull off high gain.
Last August, metalcore giants Poison the Well gave the world a gift: They announced they were working on their first studio album in 15 years. They unleashed the first taste, single “Trembling Level,” back in January, and set off on a spring North American tour during which they played their debut record, The Opposite of December… A Season of Separation, in full every night.
PG’s Perry Bean caught up with guitarists Ryan Primack and Vadim Taver, and bassist Noah Harmon, ahead of the band’s show at Nashville’s Brooklyn Bowl for this new Rig Rundown.
Brought to you by D’Addario.Not-So-Quiet As a Mouse
Primack started his playing career on Telecasters, then switched to Les Pauls, but when his prized LPs were stolen, he jumped back to Teles, and now owns nine of them.
His No. 1 is this white one (left). Seymour Duncan made him a JB Model pickup in a single-coil size for the bridge position, while the neck is a Seymour Duncan Quarter Pound Staggered. He ripped out all the electronics, added a Gibson-style toggle switch, flipped the control plate orientation thanks to an obsession with Danny Gatton, and included just one steel knob to control tone. Primack also installed string trees with foam to control extra noise.
This one has Ernie Ball Papa Het’s Hardwired strings, .011–.050.
Here, Kitty, Kitty
Primack runs both a PRS Archon and a Bad Cat Lynx at the same time, covering both 6L6 and EL34 territories. The Lynx goes into a Friedman 4x12 cab that’s been rebadged in honor of its nickname, “Donkey,” while the Archon, which is like a “refined 5150,” runs through an Orange 4x12.
Ryan Primack’s Pedalboard
Primack’s board sports a Saturnworks True Bypass Multi Looper, plus two Saturnworks boost pedals. The rest includes a Boss TU-3w, DOD Bifet Boost 410, Caroline Electronics Hawaiian Pizza, Fortin ZUUL +, MXR Phase 100, JHS Series 3 Tremolo, Boss DM-2w, DOD Rubberneck, MXR Carbon Copy Deluxe, Walrus Slo, and SolidGoldFX Surf Rider III.
Taver’s Teles
Vadim Taver’s go-to is this cherryburst Fender Telecaster, which he scored in the early 2000s and has been upgraded to Seymour Duncan pickups on Primack’s recommendation. His white Balaguer T-style has been treated to the same upgrade. The Balaguer is tuned to drop C, and the Fender stays in D standard. Both have D’Addario strings, with a slightly heavier gauge on the Balaguer.
Dual-Channel Chugger
Taver loves his 2-channel Orange Rockerverb 100s, one of which lives in a case made right in Nashville.
Vadim Taver’s Pedalboard
Taver’s board includes an MXR Joshua, MXR Carbon Copy Deluxe, Empress Tremolo, Walrus ARP-87, Old Blood Noise Endeavors Reflector, MXR Phase 90, Boss CE-2w, and Sonic Research Turbo Tuner ST-200, all powered by a Voodoo Lab Pedal Power 2 Plus.
Big Duff
Harmon’s favorite these days is this Fender Duff McKagan Deluxe Precision Bass, which he’s outfitted with a Leo Quan Badass bridge. His backup is a Mexico-made Fender Classic Series ’70s Jazz Bass. This one also sports Primack-picked pickups.
Rental Rockers
Harmon rented this Orange AD200B MK III head, which runs through a 1x15 cab on top and a 4x10 on the bottom.
Noah Harmon’s Pedalboard
Harmon’s board carries a Boss TU-2, Boss ODB-3, MXR Dyna Comp, Darkglass Electronics Vintage Ultra, and a Voodoo Lab Pedal Power 2 Plus. His signal from the Vintage Ultra runs right to the front-of-house, and Harmon estimates that that signal accounts for about half of what people hear on any given night.
Kiesel Guitars has introduced their newest solid body electric guitar: the Kyber.
With its modern performance specs and competitive pricing, the Kyber is Kiesel's most forward-thinking design yet, engineered for comfort, quick playing, and precision with every note.
Introducing the Kiesel Kyber Guitar
- Engineered with a lightweight body to reduce fatigue during long performances without sacrificing tone. Six-string Kybers, configured with the standard woods and a fixed bridge, weigh in at 6 pounds or under on average
- Unique shape made for ergonomic comfort in any playing position and enhanced classical position
- The Kyber features Kiesel's most extreme arm contour and a uniquely shaped body that enhances classical position support while still excelling in standard position.
- The new minimalist yet aggressive headstock pairs perfectly with the body's sleek lines, giving the Kyber a balanced, modern silhouette.
- Hidden strap buttons mounted on rear for excellent balance while giving a clean, ultra-modern look to the front
- Lower horn cutaway design for maximum access to the upper frets
- Sculpted neck heel for seamless playing
- Available in 6 or 7 strings, fixed or tremolo in both standard and multiscale configurations Choose between fixed bridges, tremolos, or multiscale configurations for your perfect setup.
Pricing for the Kyber starts at $1599 and will vary depending on options and features. Learn more about Kiesel’s new Kyber model at kieselguitars.com
The Sunset is a fully analog, zero latency bass amplifier simulator. It features a ¼” input, XLR and ¼” outputs, gain and volume controls and extensive equalization. It’s intended to replace your bass amp both live and in the studio.
If you need a full sounding amp simulator with a lot of EQ, the Sunset is for you. It features a five band equalizer with Treble, Bass, Parametric Midrange (with frequency and level controls), Resonance (for ultra lows), and Presence (for ultra highs). All are carefully tuned for bass guitar. But don’t let that hold you back if you’re a keyboard player. Pianos and synthesizers sound great with the Sunset!
The Sunset includes Gain and master Volume controls which allow you to add compression and classic tube amp growl. It has both ¼” phone and balanced XLR outputs - which lets you use it as a high quality active direct box. Finally, the Sunset features zero latency all analog circuitry – important for the instrument most responsible for the band’s groove.
Introducing the Sunset Bass Amp Simulator
- Zero Latency bass amp simulator.
- Go direct into the PA or DAW.
- Five Band EQ:
- Treble and Bass controls.
- Parametric midrange with level and frequency controls.
- Presence control for extreme highs.
- Resonance control for extreme lows.
- Gain control to add compression and harmonics.
- Master Volume.
- XLR and 1/4" outputs.
- Full bypass.
- 9VDC, 200mA.
Artwork by Aaron Cheney
MAP price: $210 USD ($299 CAD).