Erik - what I mean is moving the entire bridge, exactly as it would normally be laid out, but .025" toward the fingerboard. This means if you position your bridge by measuring nut to the 12th, multiply by 2, then adding .110" or whatever default compensation you use to position the bridge, you wouldn't change a thing from your normal procedure.
Mark - yes, that would indicate a total .050" shorting string length. By moving only the nut, you change the relation of every fret to the open string length, leaving a longer speaking length when considered as proportional to the open string. This effectively changes the open:fretted ratio by a constant amount, resulting in each note being flattened equally relative to the open pitch.
Compensate the saddle by the same amount, and the 12th fret ends up at the same open to fretted ratio as standard. The frets prior to the 12th will then have a diminishing change in the open:fretted ratio as you move upward, then increasing change in this ration as you continue upward beyond the 12th.
Here's how 24 frets on a 25" scale guitar would be different with a .025" compensated nut, and saddle adjusted forward the same.
Without moving the saddle accordingly, it would be ⁻3.4¢ change all the way across. Of course in reality it wouldn't end up this way, because as soon as you intonated the 12th fret to 0¢, you would end up exactly as the chart shows above. If you chose to intonate 1st to 13th, or 2nd to 14th, the line would end up somewhere between the ⁻3.4¢ line and this one, depending largely on how well your nut slots were cut.
Not moving the bridge would keep the relative pitch between different fretted notes constant, but change them noticeably in relation to the open string. Moving the saddle forward the same amount as the nut will change the relative pitch between fretted notes, but not noticeably over the length your fingers can stretch. Even with two handed fretting the differences between the fretted notes would be less than the differences between fretted and open would deliver in non-adjusted saddle method. More importantly it puts the largest realized compensation in the lowest frets where it is often needed most, and keep the 12th fret region still in better agreement with the open strings.
In reality, this is just a huge grey area with a near infinite range of subcategories of approaches. In the hands of a good player, most of them will work just fine in actual use of the instrument (playing a song rather than staring at the strobe tuner). In the end it all comes down to tweaking it according to real observations on the actual instrument. We're talking about a difference of .025" in saddle position here, and chances are that you'll have room to complete that tweaking just fine either way.
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