Tell me more about this.
Looking at the bridge saddles the way they were originally positioned, the E and G string saddles were low, and the A and D saddles were high. The creates a nice arch across all four strings, but the problem is that the fingerboard radius is relatively flat. In trying to get the action set med-low, the E and G strings would ratlle all to hell, but the A and D strings would be just right.
Since you can't adjust the height of the individual saddles on the 3-point, I rearranged them so that (IIRC) the high saddles were on the E and A string, and the low saddles were on the D and G string. You then tilt the bridge (using the two large studs) so that the action of the strings are sort of equal in height across the width of the fingerboard (with just a bit more height on the E and A strings, since they have more play). It looks kind of wonky, since the 3-point takes on this odd, slanted stature, but the end result is that the saddles align better with the fingerboard radius this way - enabling you to drop the overall action lower. Wish I had a photo - It's easier to visualize than explain.
I didn't find that I needed to file any of the saddles after I rearranged them, and while some of the saddles are cut for the larger strings, I didn't have any issue using that saddle with a smaller gauge string. I want to say that I reordered them like this (but it has been a while, so I could be wrong...):
A -> E
D -> A
E -> D
Prior to moving the saddles, I marked where the intonation of each was set using a pencil, and that got me back in the ballpark after the changes were made. Also, I setup the center stud to hike the bridge up just a tad bit on the side closest to the neck. Just enough to give the strings good downward pressure on the saddles, but not enough to instigate the rear studs to start pulling up out of the body (which I seem to read about quite a bit).
If anybody has anything to add to that, please do!