Help setup low action on my Squier Jazz

[mouthmw]

Ok so I've been watching a couple of videos and read a few Internet articles and it seems like a pretty straight forward thing, but I have some questions that I can't find answers anywhere.

I have a Squier CV Jazz, and most pictures show a bridge that has a bit of a step configuration. E string bridge saddle being the lowest, and each being a bit higher up to a G string.

Now, I can get my strings rather low, and octaves intonation is fine, but the G string's octave is like one quarter of a half note sharp, as shown by my computer software tuner (AmpegSVX).
If I pull the bridge saddle away from the neck, I can fix it.
Also, it seems I can't bring the E string saddles any closer to the neck, but I can pull them further.

Is there a rule for bridge saddles?
Does pulling saddles affect string tension?
Since each string has 2 saddles, are saddles supposed to be synced in height for each string? I don't understand why one saddle should be higher and other lower, and how that affects string height.
I just want a nice relatively low action with strings that don't have a huge tension.

Here's a pic of my bridge:

[plangentmusic]

Since all neck have a radius, it tends to feel better to have the A and D a little higher, though some like a higher or lower E or G.

It's not an exact science. Just get it in tune and adjust the height to where you like it.

[mouthmw]

Yes, I know that. However, you know there are 2 saddles for 1 string.
Why make one saddle higher than other for a single string?
I don't get that.

[Ewo]

If you can drop a couple bucks on them, Dan Erlewine's and Gary Willis's books are very helpful in learning to do your own setups. That's how I learned!

Yeah, if the intonation at the 12th fret runs sharp, adjust the saddle toward the bridge. The octave is the midpoint between the nut and saddle, and if the pitch is sharp you want to length the distance. I've noticed that sometimes the windings on the string will hang up on the bridge saddle, so I've gotten into the habit of helping the saddle move as I work the threaded adjuster. (This particularly applies when I'm moving the the saddle toward the neck; the adjusting screw just backs out from the bridge plate.)

As far a running out of adjustment on the low string, check that the breakover of the string on the saddle is good. The thicker strings with more windings will sometimes describe an arc at the saddle, rather than making a clear bend there. See Gary Willis's book on that. Just help it by gently pushing down on the string on either side of the saddle.

[Lazerrus]

When you say "two" saddles per string I assume you mean two adjustment screws per saddle.

[mouthmw]

Yes! That's it Lazerrus.
Is there a point in having a crooked saddle?
Or should you adjust it to be straight with 2 screws?

[C.Linton]

No real advantage to having the saddle exactly straight, the string is dead center on the saddle, so it's not all that critical, although they should be fairly close to straight, it doesn't have to be perfectly so. Some like to have the saddles follow the curve of the fretboard, some like them straight, it doesn't really matter.

[Diogenes]

For what it's worth I like keeping my saddles parallel to the bass' top. It's probably just an OCD thing but since I can't come with any reasons not to then why not?

[jworrellbass]

Originally Posted by mouthmw

Yes! That's it Lazerrus.
Is there a point in having a crooked saddle?
Or should you adjust it to be straight with 2 screws?

By having 2 screws on your saddle you can make your string spread wider or narrower from string to string. Some people like equal string spacing between strings, others like equal center to center spacing. It's also helpful on the E & G strings to push the string closer to the edge of the FB, or pull it back from being to close.

[mouthmw]

Thank you for your help guys!
You've all been very helpful and certainly cleared some of my doubts away.

I've set my action the way I like it now, and set the intionation and pickup height.
Here's how the bridge looks now:


As you can see, I had to roll off the G string saddle quite a bit to the bridge.
Is there anything wrong with how this is set now?
The intonation shows fine on my tuner now.
Is it wrong if saddles aren't somehow aligned?

[Chasarms]

Originally Posted by C.Linton

No real advantage to having the saddle exactly straight, the string is dead center on the saddle, so it's not all that critical, although they should be fairly close to straight, it doesn't have to be perfectly so. Some like to have the saddles follow the curve of the fretboard, some like them straight, it doesn't really matter.

I would suggest that it does matter. You are correct in that it doesn't effect the height of the string sitting in the center, but it does effect the saddle's contact with the bridge plate. When you have the saddle out of parallel to the bridge plate's surface, the adjustment screws are sitting on their edge rather than flat to the plate.

This creates a shearing force on the adjustment post. If the saddle sits high and a lot of the post is exposed below the saddle, it can actually bend the adjustment post over time. It also has less contact with the bridge plate, which makes it more likely to move and makes for a generally less efficient coupling.

Is it a HUGE deal. I don't know. But I believe it does matter.

[FunkMetalBass]

Originally Posted by mouthmw

Yes! That's it Lazerrus.
Is there a point in having a crooked saddle?
Or should you adjust it to be straight with 2 screws?

I tend to angle my saddles because it helps me visualize the neck radius, which is more or less what I am matching, with the G-side a big lower and the E-side a bit higher (to account for the string's vibration).

[C.Linton]

Originally Posted by Chasarms

I would suggest that it does matter. You are correct in that it doesn't effect the height of the string sitting in the center, but it does effect the saddle's contact with the bridge plate. When you have the saddle out of parallel to the bridge plate's surface, the adjustment screws are sitting on their edge rather than flat to the plate.

This creates a shearing force on the adjustment post. If the saddle sits high and a lot of the post is exposed below the saddle, it can actually bend the adjustment post over time. It also has less contact with the bridge plate, which makes it more likely to move and makes for a generally less efficient coupling.

Is it a HUGE deal. I don't know. But I believe it does matter.

Perhaps, but I'm saying if they aren't perfectly (i.e., only a tiny fraction off) straight it won't matter. I guess what I'm saying is, there's no need to get anal about it, measuring each side to make sure they are EXACTLY the same height, eyeballing it should be sufficient if you want to set it straight, and I really don't think setting the saddles to follow the radius of the neck is going to matter that much either, i.e., not a HUGE deal, IMO.

[mouthmw]

How about that pic of my bridge now? Does it aesthetically ruin the bass image? Is the G saddle spring too sprung?

[JLS]

As you can see, I had to roll off the G string saddle quite a bit to the bridge.
Is there anything wrong with how this is set now?
The intonation shows fine on my tuner now.
Is it wrong if saddles aren't somehow aligned?

How does your bass sound?

How does it play?

Period. Get it?

[plangentmusic]

Originally Posted by FunkMetalBass

I tend to angle my saddles because it helps me visualize the neck radius, which is more or less what I am matching, with the G-side a big lower and the E-side a bit higher (to account for the string's vibration).

I do the same thing though I doubt it makes much difference in the way the string lies.

I think the reason for two screws per saddle it's the simplest way to raise it. (What's the alternative? One in the middle? That wouldn't work).

[C.Linton]

Originally Posted by mouthmw

How about that pic of my bridge now? Does it aesthetically ruin the bass image? Is the G saddle spring too sprung?

Who cares what it looks like? How well it's intonated and how comfortable it is to play is more important.
If the G string is in tune all the way up the neck, then no, the saddle spring is not too sprung.

[mouthmw]

Originally Posted by C.Linton

Who cares what it looks like? How well it's intonated and how comfortable it is to play is more important.
If the G string is in tune all the way up the neck, then no, the saddle spring is not too sprung.

I was under the impression that the higher the string is on the headstock tuners, closer the saddles on the bridge are to the neck. That's why this thing puzzles me, I thought string length can be measured somehow for this.
Sometimes I just break my head and dwell and obsess upon things like that. I need to get to the bottom of this.

[Diogenes]

Originally Posted by mouthmw

I was under the impression that the higher the string is on the headstock tuners, closer the saddles on the bridge are to the neck. That's why this thing puzzles me, I thought string length can be measured somehow for this.
Sometimes I just break my head and dwell and obsess upon things like that. I need to get to the bottom of this.

In most cases you'll see a pattern in how the saddles are adjusted but sometimes there's the exception to the rule... I think you found it with this set of strings.

As long as the string feels right and is intonated then that's all that matters.

[mouthmw]

Yea I wonder if it'll be different when I buy a new set of strings and replace those stock ones. I think those are Fender strings but I'm not sure.