Saddle Shape Creating Buzz?

[ChrisN]

I shaped a saddle by lowering the string heights using a flat file. Basically, each string sits on a flat surface before leaving the front of the saddle. I tried to shape a slant into the back of the saddle's top edge to allow for a more gradual break angle to the pin, but it's minimal.

Now I've got a high-pitch buzz from the G string (open and at all frets) that wasn't there before. Action at G is the same as before, and I checked for high frets without finding any.

I though I'd read elsewhere that you can get a buzz if you don't finish off the string's exit point from the saddle in the correct way. I can't find where I read it.

It almost sounds like the back of the saddle top (nearest the pin) is higher than the exit point at the front, allowing the string to vibrate against the saddle at the exit point with the micro-gap under the string.

Anyone got a thought on this?

[charles Tauber]

The top of the saddle, ideally, would be knife-edge. A wide, flat contact surface allows the string to vibrate side-to-side across the top of the saddle. This can lead to loss of "tone" and buzzing.

In practice, a knife-edge doesn't work. Strings wear a groove or chip the saddle. The knife-edge can shorten string life. For that reason, a small radius curve to the top, bearing surface of the saddle provides a workable compromise.

Some argue that the pin-side of the saddle should be shaped so as to maximize string contact with the saddle. I've not found that to matter.

[ChrisN]

Originally Posted by charles Tauber

The top of the saddle, ideally, would be knife-edge. A wide, flat contact surface allows the string to vibrate side-to-side across the top of the saddle. This can lead to loss of "tone" and buzzing.

In practice, a knife-edge doesn't work. Strings wear a groove or chip the saddle. The knife-edge can shorten string life. For that reason, a small radius curve to the top, bearing surface of the saddle provides a workable compromise.

Some argue that the pin-side of the saddle should be shaped so as to maximize string contact with the saddle. I've not found that to matter.

I think that's what I'm hearing - side-to-side vibration on the wide flat surface. This is the first saddle I used this one. I'll clean it up, narrow the contact point to a small radius, and go from there. Thanks Charles.

[bausin]

I'd never considered that buzz at the saddle might be side to side vibration. I would think a flat saddle would buzz in the vertical direction just like a flat fret.

So why wouldn't one "crown" a saddle just like one crowns frets?

[ChrisN]

Originally Posted by bausin

I'd never considered that buzz at the saddle might be side to side vibration. I would think a flat saddle would buzz in the vertical direction just like a flat fret.

So why wouldn't one "crown" a saddle just like one crowns frets?

I think that's what Charles means by "a small radius curve to the top."