TV-Rails Installation and Setup: Compensation, Radius and Intonation

TV-Rails are compensated three-saddle components for compatible T-style bridge plates. They preserve the traditional paired-string architecture while adding offset compensation geometry, finished V-shaped contacts, individual saddle-height adjustment and the KMS dual-spring system.

Because each saddle still supports two strings, setup remains a paired-string process. The built-in compensation establishes the relative contact offset within the pair; the complete saddle then moves to find the best practical intonation relationship for both strings together.

Compatibility and System Principle

Scope of This Guide

This guide covers:

• Standard KMS TV-Rail saddles
• KMS TV-Rail+ saddles
• Brass, stainless-steel and 7075-aluminum versions
• The KMS 3+2 Mix & Match concept
• Installation on a compatible three-saddle bridge plate
• Plain- and wound-G configuration
• Right- and left-handed configuration
• Dual-spring installation
• String alignment
• Saddle height
• String radius
• Paired-string intonation
• Material selection
• Routine care
• Troubleshooting

This guide does not cover:

• Converting an incompatible six-saddle bridge automatically
• Drilling a new bridge position
• Correcting an incorrect scale location
• Repositioning a bridge pickup route
• Repairing stripped bridge-mounting holes
• Major fret or neck work
• Installing a Bigsby-style vibrato system
• Permanent guitar-body modification

The Three-Saddle Compensation Problem

The two strings sharing one conventional straight saddle normally require different effective lengths.

For example, the low E and A strings differ in:

• Gauge
• Core diameter
• Winding
• Stiffness
• Fretting response

Placing both contact points on one straight line creates an unavoidable compromise.

Compensated saddles change the relative location of the two string contacts.

On TV-Rails, the string-contact points are deliberately offset along the scale direction.

The complete saddle can still be moved forward or backward.

However, the two strings no longer contact it at exactly the same longitudinal position.

The final compensation therefore combines:

1. The designed offset between the two contact points
2. The overall position of the shared saddle
3. The actual string construction
4. The string action
5. The player’s fretting pressure

Compensation Is Not One Universal Number

The required compensation depends on:

• String gauge
• Core-to-wrap relationship
• Plain or wound construction
• Tuning
• Scale length
• Action
• Fret height
• String condition
• Fretting pressure

A compensated saddle can provide an effective relationship across a broad practical range.

It cannot create mathematically perfect pitch at every fret for every possible string set.

The objective is:

The best practical intonation relationship between both strings of each pair.

TV-Rail V-Groove Geometry

Each string sits in a precision V-shaped contact.

The V geometry is designed to provide:

• Defined string centering
• Secure lateral position
• Compatibility with common string gauges
• A controlled contact point
• Reliable seating during bending
• Easier string-gauge changes

The V-groove is finished geometry.

Do not file a conventional string slot into a TV-Rail saddle.

Filing would permanently change:

• String height
• String spacing
• Contact geometry
• Gauge compatibility
• Compensation behavior
• Surface performance

Current Reference Dimensions

The current TV-Rails specification uses:

• Three saddles for six strings
• Overall E-to-E string spacing: 54 mm
• Individual string spacing: 10.8 mm
• Intonation-screw thread: 6-32 UNC
• Saddle-height screw thread: 6-32 UNC
• Rounded saddle-height screw tips
• Three outer compression springs
• Three inner stabilizing springs

The 54 mm spacing represents traditional wide Tele-style string spacing.

It does not prove compatibility with every bridge plate.

Compatibility Requirements

Before installation, confirm:

1. Three-saddle bridge architecture
2. Suitable intonation-screw locations
3. Clearance for 6-32 screws
4. Screw-head access
5. Bridge-plate length
6. Saddle-height range
7. String-through or top-load geometry
8. Existing string spacing
9. Fretboard-edge clearance
10. Correct scale position
11. Pickup and bridge-plate clearance
12. Intended string gauge and tuning

A bridge plate can look historically correct while using another:

• Screw spacing
• Thread
• String spacing
• Saddle width
• Adjustment range

Do not select saddles by guitar model alone.

Compatible Bridge-Plate Types

TV-Rails can be suitable for compatible:

• Vintage-style three-saddle plates
• Full Tele-style pickup bridge plates
• Short half-bridge plates
• String-through bridges
• Top-load bridges
• Combined top-load and string-through plates
• Bigsby-compatible three-saddle plates

The actual plate geometry remains decisive.

TV-Rails do not automatically convert a modern six-saddle plate into a traditional three-saddle system.

Correct Scale Position

The saddle contacts must lie within the required compensation range behind the nominal scale length.

TV-Rails can improve the relationship between the two strings on each saddle.

They cannot correct:

• A bridge plate mounted in the wrong position
• An incorrect neck scale
• A misplaced nut
• Severe neck misalignment

When all three saddles reach the same end of their travel, inspect the complete guitar geometry before modifying the saddles.

Standard TV-Rails and TV-Rail+

There are two main surface configurations.

Standard TV-Rails

Made from:

• Brass
• Stainless steel
• 7075 aluminum

The saddles use direct, uncoated material contact.

TV-Rail+

Made from brass with an application-specific low-friction hard surface.

TV-Rail+ is intended especially for:

• Bigsby-style vibrato systems
• Repeated string movement
• Extensive bending
• Applications prioritizing low contact friction

The compensated geometry is related.

The surface function is different.

Set Configuration

Set composition and material selection do not change the installation sequence. Install the correct E/A, D/G and B/e compensation geometry in each position, regardless of the selected material.

For 3+2 material selection and tonal direction, use the TV-Rails Product Guide.

Hardware and Spring System

Custom KMS Hardware

The TV-Rails system includes product-specific hardware.

Intonation Screws

Current specification:

• Brass
• Nickel-plated as standard
• Bare brass optionally available
• 6-32 UNC
• Combination head
• Phillips and full-width slot

The combination head accepts:

• A suitable Phillips driver
• A correctly sized flat-blade driver

The revised screw length reduces unnecessary palm contact when higher action creates a steeper screw angle.

Saddle-Height Screws

Current specification:

• Carbon steel
• Nickel-plated
• 6-32 UNC
• Rounded contact tip

The rounded tip provides a defined contact with the bridge plate and avoids the aggressive point geometry of a sharp-ended set screw.

Dual Springs

Each saddle position can use:

• One outer compression spring
• One inner stabilizing spring

Nominal spring diameters are:

• 6 mm outer spring
• 4.5 mm inner spring

The springs can be:

• Used together
• Used separately

Outer Compression Spring

The silver outer spring performs the conventional compression function between:

• Bridge plate
• Saddle

It helps:

• Push the saddle forward as the screw is released
• Maintain pressure against the intonation screw
• Reduce uncontrolled movement
• Keep the assembly mechanically organized

Inner Stabilizing Spring

The black inner spring sits within the outer spring when both are coupled.

Its intended functions include:

• Additional saddle stabilization
• More defined screw loading
• Improved positional stability
• Reduced unwanted mechanical movement
• Additional support when the saddle sits far forward

The purpose of the inner spring in this guide is mechanical: additional preload and positional stability where the outer spring alone is insufficient.

Coupled Spring Configuration

Using both springs together provides the strongest stabilization.

This is particularly useful when:

• A saddle is positioned far toward the neck.
• The outer spring alone has relatively little compression.
• The saddle shows unwanted movement.
• The player uses strong picking.

The inner spring is installed concentrically inside the outer spring.

Do not place the two springs side by side.

Separate Spring Use

The two spring types can also be used separately.

This can be useful when:

• The required saddle position limits available spring space.
• The coupled springs approach coil bind.
• Another preload level is required.
• Maximum rearward saddle travel is needed.
• The saddle remains stable with one spring.

There is no universal requirement that every saddle must use exactly the same spring combination.

The final arrangement must still provide:

• Stable saddle position
• Usable intonation travel
• No coil bind
• No rattling
• No interference with the bridge plate

Do Not Modify the Springs

Do not:

• Cut a spring
• Stretch a spring permanently
• Grind the spring ends
• Substitute an unknown spring
• Force coupled springs into a compressed space
• Leave a loose spring without preload

Use the supplied KMS components.

Document and Prepare

Before Removing the Original Saddles

Document the existing setup.

Photograph or record:

• Saddle order
• Saddle orientation
• Intonation positions
• Height-screw positions
• Saddle inclination
• Spring arrangement
• String path
• String spacing
• Outer-string alignment
• String gauge
• Tuning
• Action
• Existing intonation pattern

Photograph the bridge from:

• Above
• Bass side
• Treble side
• Neck side
• Rear screw side

Required Tools

Useful tools include:

• Accurate electronic tuner
• Correct Phillips or flat-blade screwdriver
• Correct hex key for the height screws
• Digital caliper
• String-action ruler
• Radius gauges
• String winder
• String cutter
• Soft protective cloth
• Stable neck support
• Small inspection light

Use tools that fit the hardware precisely.

Do not use:

• Worn hex keys
• Narrow screwdrivers in the full-width slot
• Pliers on saddle bodies
• Locking pliers on screws
• Abrasive tools on the V-grooves

Protect the Guitar

Place the guitar on a stable padded surface.

Support the neck.

Protect:

• Bridge plate
• Pickup
• Guitar finish
• Control plate
• Neck
• Headstock

Loose springs and screws can scratch the bridge plate or guitar top.

Inspect the Existing Bridge Plate

Check for:

• Bent metal
• Severe corrosion
• Loose mounting screws
• Distorted screw openings
• Damaged string holes
• Pickup interference
• Burrs beneath the saddles
• Uneven saddle-support surface

The height screws require a stable bridge-plate surface.

A damaged plate can prevent a saddle from sitting securely.

Remove the Original Saddles

Reduce or remove string tension.

Then remove:

• Original intonation screws
• Original springs
• Original saddles

Keep the original components organized.

A saddle upgrade should remain reversible where the bridge plate has not been modified.

Clean the Saddle Area

Remove:

• Dust
• Corrosion residue
• Metal particles
• Old lubricant
• String fragments
• Polishing compound

Do not abrade the bridge plate unnecessarily.

The saddle-height screws must sit on a clean, stable surface.

Saddle Orientation and Configuration

Identify the Three Saddle Positions

The three saddles perform different compensation tasks.

They belong to:

1. Low E and A
2. D and G
3. B and high E

Do not install the three saddles randomly.

Their compensation geometry is pair-specific.

Preserve the supplied order or use the current KMS product diagram to identify each position.

Material choice and saddle position are separate questions.

For example, a brass saddle can be installed in any of the three pair positions when its compensation geometry belongs to that position.

Standard Right-Handed Orientation

The factory orientation is designed for a conventional right-handed guitar using:

• Low E at the bass side
• High E at the treble side
• A plain G string unless otherwise configured

Install the saddle set in the supplied orientation as the starting point.

Plain or Wound G String

The compensation requirement of the G string changes significantly depending on whether it is:

• Plain
• Wound

The standard middle D/G saddle orientation is intended for the common plain-G string set.

For a wound G string, rotate the middle D/G saddle by 180 degrees around its longitudinal axis.

Do not turn the complete saddle end for end along the intonation screw.

The compensation body is rotated around its own barrel axis.

Flipping the Middle Saddle

To flip the middle D/G saddle correctly:

Step 1

Remove both saddle-height screws from the middle D/G saddle.

Step 2

Rotate the saddle body 180 degrees around its longitudinal axis.

Step 3

Reinstall both height screws from the upper side.

After flipping, completely reset:

• Saddle height
• Saddle inclination
• String radius
• Intonation

The previous height-screw positions are no longer a valid setup reference.

Why the Middle Saddle Is Flipped

A wound G behaves more like the neighboring wound strings than a plain G.

It normally requires another relative compensation relationship with the D string.

Rotating the saddle reverses the built-in offset between the D and G contact points.

This preserves the three-saddle architecture while adapting the middle pair to the different string construction.

Left-Handed Configuration

To convert the complete saddle set for a left-handed guitar:

• Remove the two height screws from each saddle.
• Rotate every saddle body 180 degrees around its longitudinal axis.
• Reinstall all height screws.
• Place the saddles in the mirrored E/A, D/G and B/e positions.
• Reset action, radius and intonation completely.

Flipping all three saddles mirrors the compensation direction.

Simply changing the order without rotating the saddles does not create the correct left-handed geometry.

Left-Handed Wound-G Configuration

For a left-handed instrument with a wound G:

1. Configure all three saddles for left-handed use.
2. Confirm the resulting middle D/G compensation.
3. Apply the wound-G reversal relative to the chosen handedness.
4. Verify the actual intonation rather than relying only on appearance.

Where the orientation is uncertain, compare the string-contact offsets carefully or consult KMS before final installation.

Install the Saddles

Assemble the Intonation Screw and Springs

For each saddle position:

1. Insert the intonation screw through the rear of the bridge plate.
2. Install the selected spring configuration over the screw.
3. Thread the screw into the correct saddle.
4. Engage enough thread to secure the assembly.
5. Keep useful forward and rearward travel.
6. Confirm that the spring remains centered.
7. Confirm that the screw head remains accessible.

When using both springs:

• Place the smaller inner spring inside the larger outer spring.
• Install the coupled spring set as one concentric assembly.

Initial Saddle Positions

Begin with all saddles within the middle portion of their available travel.

A useful initial pattern normally places:

• Bass contacts farther from the nut
• Treble contacts closer to the nut

However, do not finalize the positions visually.

The required result depends on the actual strings and guitar.

Screw Angle

The intonation screws can sit at a slight vertical or lateral angle depending on:

• Bridge-plate geometry
• Saddle height
• Saddle inclination
• Intonation position

The revised shorter screws reduce unnecessary contact with the player’s palm when high action creates a steeper angle.

The screw must not:

• Bind in the bridge plate
• Contact a string
• Force the saddle sideways
• Rest against the pickup
• Interfere with the player unnecessarily

Install the Intended Strings

Use the exact gauge and tuning intended for normal use.

Guide the strings through the selected:

• String-through path
• Top-load path
• Vibrato system

Bring them gradually toward pitch.

Confirm that each string settles centrally into its V-groove.

Do Not File the V-Grooves

When a string does not align correctly, inspect:

• Saddle order
• Saddle orientation
• Bridge-plate position
• Neck alignment
• Nut spacing
• String-through holes
• Bridge centering

Do not file the V as the first response.

The V-groove is the finished centering geometry.

Outer-String Alignment

Inspect the low E and high E along the complete fretboard.

They should remain:

• Safely inside the fretboard edges
• Visually balanced
• Correctly positioned over the bridge pickup
• Centered in their V-grooves

TV-Rails use fixed classic Tele-style string spacing.

They cannot compensate for severe neck or bridge misalignment through lateral saddle movement.

Initial Height

Set the saddles high enough to avoid severe fret contact during the first tuning stage.

Do not begin with the lowest possible action.

The final action and radius are established after:

• Neck relief
• String stability
• Bridge alignment

have been checked.

Check Neck Relief Before Final Saddle Height

Neck relief influences the action throughout the fretboard.

An unsuitable neck condition can cause:

• Excessive action
• Lower-fret buzzing
• Middle-fret buzzing
• Choking during bends
• Inconsistent playing feel
• Misleading saddle-height corrections

Do not raise the TV-Rails excessively to compensate for an incorrectly adjusted neck.

The correct sequence is:

1. Install the intended strings.
2. Tune the guitar.
3. Stabilize the strings.
4. Check neck relief.
5. Correct the neck where required.
6. Set the saddle heights.
7. Set the string radius.
8. Set intonation.

Saddle-Height Adjustment

Each TV-Rail saddle uses two 6-32 height screws.

Turning both screws changes the complete pair height.

Changing one relative to the other changes the saddle inclination.

Use small adjustments.

Retune after significant changes.

Rounded Screw Tips

The height screws use rounded lower tips.

Both tips should contact the bridge plate securely.

A saddle should not be supported by only one screw without a defined reason.

Check that:

• Both screws remain engaged.
• Neither screw is loose.
• The saddle does not rock.
• Neither tip sits on debris.
• Neither screw projects into a string path.
• The screw sockets remain accessible.

Broad Action Setup

Begin by establishing the approximate height of:

• E/A saddle
• D/G saddle
• B/e saddle

The bass side normally requires greater string clearance than the treble side because of:

• Larger string diameters
• Greater vibration amplitude
• Playing force

The saddles do not need to form a visually level row.

The strings determine the setup.

Setting the Radius

The three saddle bodies and six individual height screws allow the actual string radius to be shaped across the bridge.

The effective radius depends on:

• Height of each saddle pair
• Inclination of each saddle
• Individual string diameter
• Bass-to-treble action difference
• Fretboard geometry

Measure the strings, not only the saddle barrels.

Constant-Radius Fretboards

For a constant-radius neck, the bridge string radius will normally follow a related curvature while allowing for:

• Higher bass action
• String diameter
• Bending clearance
• Player preference

The numerical bridge radius does not always need to equal the printed fretboard radius exactly.

Compound-Radius Fretboards

A compound-radius fingerboard becomes flatter toward the bridge.

The correct bridge string radius is therefore normally flatter than the radius at the nut.

Follow the projected fingerboard geometry.

Do not simply copy the nut radius.

Practical Radius Procedure

1. Set the low E and high E action.
2. Tune the guitar.
3. Place a suitable radius gauge beneath the strings.
4. Adjust the middle strings through the three saddle pairs.
5. Keep both screws of each saddle supported.
6. Retune after every adjustment group.
7. Measure the individual string action.
8. Test bends across the complete fretboard.
9. Correct only where the playing result requires it.

Radius Range

On KMS TV-Bridge products, the TV-Rails architecture supports a practical adjustment range from approximately:

• 7.25"
• To 20"

On a third-party bridge plate, the usable range can also depend on:

• Plate geometry
• Screw length
• Saddle travel
• Neck angle
• Required action

The saddle design provides the adjustment capability.

The guitar and bridge plate determine the final usable range.

Avoid Severe Saddle Inclination

A small inclination is normal and useful.

Excessive tilt can cause:

• One loose height screw
• Unstable support
• Uneven screw loading
• Poor string contact
• Restricted intonation movement
• Mechanical noise

Do not tilt a saddle aggressively to create individual longitudinal compensation.

The designed contact offset performs that task.

Spring Configuration and Saddle Position

Check the springs after the approximate intonation positions have been established.

Saddle Far Forward

When the saddle sits far toward the neck, the outer spring may have relatively little compression.

The inner stabilizing spring is especially useful here.

Saddle Far Back

When the saddle sits close to the rear of the bridge plate, the coupled springs may become highly compressed.

Confirm that:

• Neither spring reaches coil bind.
• The saddle still has usable travel.
• The screw turns freely.
• The bridge plate is not distorted.

Where necessary, one spring can be used separately, as permitted by the KMS system.

Coil Bind

Coil bind occurs when the spring coils contact one another so fully that the spring can no longer compress.

Symptoms can include:

• Intonation screw becomes suddenly difficult to turn.
• Saddle stops before the end of its mechanical travel.
• Spring bends sideways.
• Screw head is pulled unevenly against the plate.

Do not overcome coil bind with more screwdriver force.

Select another approved spring configuration.

Loose Saddle

A saddle that is insufficiently preloaded can:

• Move during playing
• Rattle
• Change position
• Produce less defined mechanical contact

Check:

• Spring selection
• Screw engagement
• Height-screw support
• Saddle position
• Bridge-plate condition

The inner spring is specifically intended to add stability where the saddle position would otherwise leave limited preload.

Witness Points

After the strings reach pitch, press each string gently downward:

• Immediately in front of the saddle
• Immediately behind the saddle

This establishes a defined bend at the contact.

Use controlled pressure.

Do not damage the string or force it into the V-groove.

Retune afterward.

Break Angle

The string must remain securely seated in the V-groove.

The available downward pressure depends on:

• Bridge-plate geometry
• String-through or top-load path
• Saddle height
• Vibrato geometry
• String gauge

More break angle is not automatically better.

Excessive downward load can increase:

• Friction
• String stiffness
• Contact pressure
• Wear

Too little pressure can allow unstable string seating.

The correct setup provides secure contact without unnecessary load.

Paired-String Intonation

Prepare for Intonation

Set final intonation only after:

• The intended strings are installed.
• The strings have stabilized.
• The guitar is at the intended tuning.
• Neck relief is correct.
• Action is established.
• String radius is correct.
• Saddle orientation is confirmed.
• Both height screws support every saddle.

Use fresh or mechanically stable strings.

A damaged string can make reliable intonation impossible.

The Paired-String Intonation Principle

Each TV-Rail saddle controls two strings.

The intonation process is therefore iterative.

The saddle’s built-in offset establishes the relative compensation between the two strings.

The intonation screw establishes the overall position of the pair.

Reference Method

For each string:

1. Tune the open string accurately.
2. Play the 12th-fret harmonic as an octave reference.
3. Fret the 12th-fret note with normal pressure.
4. Compare the fretted note with the intended octave.
5. Record whether it is sharp or flat.

Use consistent:

• Picking force
• Fretting pressure
• Tuner
• Playing position

Adjustment Direction

When a fretted note is sharp:

• The effective speaking length is too short.
• Move the saddle away from the nut.

When a fretted note is flat:

• The effective speaking length is too long.
• Move the saddle toward the nut.

The screw-turning direction depends on the bridge-plate arrangement.

Observe the actual saddle movement rather than relying on a universal clockwise rule.

Adjusting One Pair

For each saddle pair:

1. Tune both strings.
2. Measure both fretted octaves.
3. Determine the direction required by each string.
4. Move the complete saddle by a small amount.
5. Retune both strings.
6. Measure both again.
7. Repeat until the best combined result is reached.

Both Strings Are Sharp

Move the complete saddle away from the nut.

Both Strings Are Flat

Move the complete saddle toward the nut.

One String Is Sharp and the Other Is Flat

This indicates that the overall pair position lies between the requirements of the two strings.

Proceed by:

• Finding the best practical compromise
• Checking the saddle orientation
• Checking whether the G string is plain or wound
• Checking string condition
• Checking action
• Using normal fretting pressure
• Confirming the correct saddle pair

The built-in offset should reduce the remaining difference.

One String Is Correct and the Other Is Not

A small remaining difference can be part of the paired-saddle compromise.

Before accepting or modifying anything, check:

• Saddle is the correct E/A, D/G or B/e version.
• Saddle has the correct right- or left-handed orientation.
• Middle saddle matches plain or wound G.
• String is not damaged.
• String gauge is within a practical range.
• Action is not excessive.
• Fretting pressure is consistent.

Do not tilt the saddle severely or file the V-groove to change longitudinal compensation.

Plain-G Setup

Use the standard D/G saddle orientation.

Set the shared position iteratively for:

• Wound D
• Plain G

Wound-G Setup

Rotate the middle saddle 180 degrees before final setup.

Then repeat the complete:

• Height adjustment
• Radius check
• Intonation procedure

The previous plain-G saddle position is not a reliable starting point.

Use Small Adjustments

A small saddle movement can produce a measurable pitch change.

Use the repeated cycle:

1. Measure.
2. Adjust.
3. Retune both strings.
4. Measure again.

Do not force the screw.

When movement becomes difficult, inspect:

• Spring compression
• Coil bind
• Screw alignment
• Saddle thread
• Bridge-plate opening
• End of travel

Do Not Intonate by Visual Pattern

The three saddles will normally form a staggered pattern.

The appearance is not the objective.

Correct positions depend on:

• Gauge
• Winding
• Plain or wound G
• Tuning
• Action
• Scale
• Player pressure

Judge the result by measured and played pitch.

Material and Surface Considerations

Material Choice and Installation

Material choice does not change saddle orientation, height adjustment, spring installation or paired-string intonation procedure. For material voicing and the 3+2 Mix & Match concept, use the TV-Rails Product Guide.

If a saddle material is changed after setup, change one pair at a time and recheck the affected pair’s height, radius relationship and intonation before comparing the result.

TV-Rail+

TV-Rail+ retains compensated brass construction and adds a low-friction hard surface.

It is intended for situations where strings move across the saddle during:

• Bigsby use
• Repeated bending
• Vibrato operation

Its performance direction emphasizes:

• Smooth string movement
• Reduced sticking
• Wear resistance
• Reliable return

TV-Rail+ should not be filed or abrasively polished.

Aged appearance and optional Cryo do not change the installation procedure. Preserve the supplied finish and avoid abrasive modification.

Routine Care

After playing:

• Wipe away sweat.
• Use a soft clean cloth.
• Remove dust from the V-grooves.
• Keep screw heads clean.
• Keep springs free from deposits.
• Dry the bridge before storing the guitar.

Do not allow liquid to collect around:

• Height screws
• Intonation screws
• Springs
• Saddle threads
• Bridge-plate openings

Standard Brass Care

Uncoated brass can develop:

• Warm coloration
• Darkened areas
• Polished contact points
• Natural patina

This is not automatically a defect.

Clean gently.

Do not use aggressive brass polish on the precision V contact without KMS guidance.

Stainless-Steel Care

Stainless steel provides strong corrosion resistance but can still show:

• Fingerprints
• Deposits
• Fine scratches
• Changes in reflectivity

Use a soft cloth.

Do not use abrasives on the V geometry.

7075-Aluminum Care

7075 aluminum is lightweight and mechanically strong, but its exposed surface should still be protected from:

• Aggressive abrasives
• Sharp tools
• Harsh chemicals
• Steel-wool contamination

Clean gently and preserve the machined contact geometry.

TV-Rail+ Care

The low-friction hard surface is functional.

Avoid:

• Metal polish
• Abrasive cord
• Filing
• Steel wool
• Scouring pads
• Aggressive solvents
• Local recoating
• Unapproved lubricant

When surface damage is suspected, inspect it under good light and consult KMS before modifying the saddle.

Aged Finish Care

Aged saddles are designed to begin with controlled visual character.

Avoid polishing them back to uniform brightness unless that change is deliberately intended.

Remove harmful deposits without removing the complete patina.

Height-Screw Inspection

Periodically check that:

• Both screws support each saddle.
• No screw is loose.
• No saddle rocks.
• The radius remains stable.
• No screw contacts a string.
• The rounded tips remain undamaged.

Do not apply thread-locking compound unless specifically approved.

Intonation-Screw Inspection

Check:

• Screw-head condition
• Screw alignment
• Thread engagement
• Saddle movement
• Spring preload
• Palm clearance

Use either:

• Correct Phillips driver
• Correct full-width flat driver

Do not use a narrow flat blade that damages the combination head.

Spring Inspection

Check that:

• Springs remain centered.
• The inner spring remains inside the outer spring when coupled.
• No spring is bent.
• No spring reaches coil bind.
• No spring is completely loose.
• No spring contacts a string.
• No spring has been permanently stretched.

The three saddle positions do not necessarily need identical spring combinations.

They all require stable mechanical behavior.

Common Troubleshooting

Saddle Rattles

Check:

• Spring preload
• Inner stabilizing spring
• Height screws
• Intonation screw
• Bridge-plate surface
• End of adjustment travel

Intonation Screw Is Difficult to Turn

Check:

• Coupled-spring coil bind
• Screw angle
• Bridge-plate opening
• Saddle thread
• Contamination
• End of travel

Do not force it.

String Moves Sideways

Check:

• Correct saddle
• V-groove condition
• String alignment
• Break angle
• Bridge position
• Neck alignment

Do not deepen the V as the first response.

D and G Cannot Be Intonated Together

Check:

• Plain or wound G
• Middle-saddle orientation
• Correct saddle position
• String condition
• Action
• Tuning
• Fretting pressure

A wound G normally requires the middle saddle to be rotated by 180 degrees.

All Three Pairs Need More Travel

Check:

• Bridge scale position
• Saddle orientation
• String gauge
• Action
• Neck geometry

Do not shorten the saddles or drill the bridge plate before the geometry has been confirmed.

One Height Screw Becomes Loose

Check:

• Excessive saddle tilt
• Radius setting
• Bridge-plate surface
• Screw condition
• Saddle position

Both screws should remain supported.

Screw Contacts the Player’s Hand

Check:

• Action
• Screw angle
• Intonation position
• Correct revised screw length
• Bridge-plate geometry

Do not shorten a screw manually without confirming the required component.

String Breaks at the Saddle

Inspect:

• Exact break location
• V-groove damage
• Surface contamination
• Coating damage
• Excessive break angle
• String quality
• Sharp external impact

Do not file the saddle before identifying the cause.

Bigsby Does Not Return to Pitch

Check the complete string path:

• TV-Rail+ condition
• Nut slots
• String trees
• Tuning machines
• Bigsby roller
• String installation
• Witness points
• Break angle

A tuning problem should not automatically be attributed to the bridge.

Quick Installation and Setup Sequence

1. Confirm a compatible three-saddle bridge plate.
2. Confirm 54 mm string-spacing compatibility.
3. Select standard TV-Rails or TV-Rail+.
4. Select the primary saddle material.
5. Confirm plain or wound G.
6. Confirm right- or left-handed configuration.
7. Document the original setup.
8. Protect the guitar.
9. Reduce string tension.
10. Remove the original saddles, screws and springs.
11. Clean and inspect the bridge plate.
12. Identify E/A, D/G and B/e saddles.
13. Rotate the middle saddle for a wound G where required.
14. Rotate all saddles for left-handed use where required.
15. Install the intonation screws.
16. Select coupled or separate spring configurations.
17. Thread each screw into the correct saddle.
18. Establish initial saddle positions.
19. Install and tune the intended strings.
20. Check outer-string alignment.
21. Check neck relief.
22. Set approximate pair heights.
23. Set the actual string radius.
24. Confirm both height screws support each saddle.
25. Establish string witness points.
26. Set paired-string intonation iteratively.
27. Recheck spring preload and screw clearance.
28. Test bending or vibrato return.
29. Recheck action, radius and intonation.
30. Perform a complete playing test.

Common Installation Mistakes

Avoid:

• Ordering by guitar model alone
• Installing on an incompatible six-saddle plate
• Mixing the three compensation positions
• Ignoring plain versus wound G
• Reordering saddles instead of rotating them
• Converting to left-handed use without flipping all saddles
• Installing the inner and outer springs side by side
• Forcing coupled springs into coil bind
• Cutting or stretching springs
• Filing the V-grooves
• Setting radius by saddle appearance alone
• Leaving one height screw unsupported
• Tilting saddles severely for intonation
• Setting intonation before neck relief and action
• Judging intonation from the saddle pattern
• Using a narrow screwdriver in the combination head
• Abrading TV-Rail+ surfaces
• Assuming one material is best for every string pair
• Treating a bridge-position problem as a saddle problem

When Professional Installation Is Recommended

Professional setup is advisable when:

• Bridge compatibility cannot be confirmed.
• The bridge plate is bent.
• The mounting position appears incorrect.
• The neck is misaligned.
• Fretwork is uneven.
• Correct action cannot be achieved.
• String spacing places an outer string too close to the fretboard edge.
• Intonation cannot be reached despite correct orientation.
• Permanent bridge-plate or body modification is required.
• A Bigsby system remains unstable after the complete string path has been checked.

Stop whenever adjustment requires unexplained force.

The TV-Rails Setup Principle

TV-Rails separate the setup tasks clearly.

Compensation Geometry

Creates the relative length difference within each string pair.

Intonation Screw

Moves the complete pair forward or backward.

Height Screws

Create action, inclination and string radius.

Dual Springs

Stabilize the saddle and maintain controlled screw loading.

V-Grooves

Define the immediate string contact and lateral position.

Material

Shapes the local response of each pair.

Every adjustment should be made through the component intended for that function.

Final Verification

Before considering the setup complete, verify:

• E/A, D/G and B/e saddles are in the correct positions.
• Handedness and plain- or wound-G orientation are correct.
• Both height screws on every saddle remain loaded and stable.
• Springs provide preload without coil bind or restricting required intonation travel.
• All strings remain centered in the unmodified V contacts.
• Outer-string alignment and the resulting radius are correct.
• Each pair has reached the best practical intonation relationship for both strings.

Retune after the final adjustment and recheck all three pairs.

Related Guides

• How to Set Guitar Bridge Intonation →
• How to Determine Fretboard Radius →
• Choosing Guitar Saddle Materials →
• 7075 Aluminum in Guitar Hardware →
• Decorative Finishes vs. Functional Coatings →