Customize the sound of your resonator guitar with the specialized Replogle Reso Saddle that best suits your instrument and sound preferences. Maximize the power, tone, and projection of your resophonic guitar with customized Replogle Saddles

  • Enhance the string attack and tone of your Dobro or reso of any brand with classic, quarter-sawn hardwood 
  • Upgrade and finesse your string tone with hand-selected hardrock maple, exotic koa, traditional rosewood, or premium ebony tonewood saddles 
  • Replogle Saddles are available in a non-radiused (flat) shape for square-neck Hawaiian-style and round-neck bottleneck-slide players
  • Replogle Saddles are also available with a radius top for resos that have a radiused fingerboard, These Replogle Saddles use a standard 16″ radius and come in your choice of a range of wood combinations 
  • Select from split or full configurations of ebony caps to suit your string sets
  • Take advantage of Replogle’s innovative compensated saddle to improve intonation

Why does the Saddle matter?

The saddle is a vital part of the resonator guitar’s complete sound engine. All of the initial vibration of the strings has to pass through the saddle that holds those strings in place on the bridge. If the saddle is soft wood or non-resonant material, if it absorbs the vibration, or if it is loose fitting then it will decrease the resonator’s ability to do its job. 

The Search for Tone

Mike Replogle says, “When I was running the Dobro company in California in the early ‘90’s, I had a very practical lesson in the vital importance of the saddle and it really forced home to me how critical it is to have excellent hardwood for the saddle.”

“One day in Final Assembly at OMI/Dobro,” continues Replogle, “we had three instruments on the assembly benches- all were the same model and all three were from the same production batch. Two sounded great, and one – no matter what we did – sounded dead. This was a mystery that had to be solved!”

“So spec-by-spec”, Replogle says, “I reverse-engineered each part and every production process starting with final assembly and working my way back to the beginning steps of the production process.” 

“The three resos appeared to be identical in every way, but finally, I worked all the way back to the individual parts production and investigated the saddles. Yes, they were all maple, and they Looked just fine. But then I followed them back to their source, and found an interesting glitch.” 

“We had a big bin of offcuts and scrap maple leftover from the neck production, and the workers would pull blocks from that bin to make the saddles,” relates Replogle. “So far, so good. But then, as I started thinking this through, I had a glimmer of a suspicion… I asked the worker where he put the maple scrap from the round necks, and he pointed at the bin. Then, I asked where he put the scrap from the square necks- and he pointed at the very same bin. Now I knew I was onto something!”

“The reason this mattered,” explains Replogle, “is because we used Eastern Hardrock Maple for the round necks, and I knew that would make excellent saddles. BUT… we used SOFT maple for the thicker and sturdy square-necks!” 

“I knew that although it made a great square-neck guitar neck, the softer maple was not suitable for use as a saddle, it would kill the tone.” He continues, “And it was then that I realized that we had been indiscriminately using hard maple or soft maple for the saddles and, without realizing it, we had been sending instruments out that would never quite reach their potential or find their voice… At least, not until they would receive a proper hardwood Replogle Saddle someday in the future.”

“Mystery solved! And using exclusively the Eastern Hardrock Maple for saddles immediately showed positive results and greatly improved sound in the production Dobros.”