Thank you, James, for your kind answer. I know that my question could sound, say, weird, but I am trying to learn as much as possible on different aspects of construction, materials, and their influence on the sound of this magnificent "tool" for making music that is classical guitar. I know about compensation of saddle and sometime of nut by carving/"regulation"/adjustment of the physical shape in certain places, and I thought, that, perhaps, the kind of compensation may be achieved by making the bridge or it's part not as homogenous piece but of different materials with different density, softness, etc. And here - I thought - we have an example, and the certain part was marked to distinguish it from other places within the bridge.
The idea is not new, we know about nuts made of ebony glued with bone; I will experiment with such nut on one of my guitars in my search for "soft"/"thick"/warm/ tone.
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Antonio Picado, model 60, 2015, Cedar/IRW. Scale 640 mm.
Kenny Hill, model Madrid, 2002, No. 2019, Cedar/IRW. Scale 650 mm.