Sure. I’ll try and get a couple of pics up this afternoon. The setup is pretty well described in
@favance post. The first time you do this can be a little time consuming as you have to constantly adjust the claw and then re tune until you get the intervals you want (minor 3rd on g string). Once you get the bridge to have the travel you want, then you start adjusting the angle on the claw... starting at pitch, I fully dive the bar and then release it while at max travel... then check pitch on low E again...adjust claw on low E side and then repeat previous step. Eventually, you find a spot of equilibrium where the spring tension equals the string tension and it always returns to pitch (assuming no issues at the two witness points on the string). Compensate the higher bridge position with the saddles, (I cut down the saddle posts so they Dont protrude above the saddle and bother my hand), and then reset your intonation. Once you’ve done it a couple of times, it gets much quicker as you know roughly where it will end up at, and can start closer to the point, saving some iterations.
Some will say the baseplate being de coupled from the body has negative tone implications, and I’m sure it does to a degree....However, to me, the wider sonic palette it provides, far out weigh those concerns. Plus watch live at Ronnie Scott’s...no objectionable tone from my perspective.
EDIT:
Here's some crappy phone shots:
View attachment 57131
View attachment 57132
I know the two outside springs seem as if they would exert similar pull...However, the bass side has 4.7mm's more pull...which is where it will stay perfectly in tune as long as I have my usual 10-46 set on. Naturally, if I change string gauge or even brand...I need to repeat the process to find the new balance point. Action is low despite the bridge height, and plays like butter. Looks totally wrong...plays great.
