What corners were cut on the production models

[85 San Dimas]

You're also implying that you need the shims for the Floyd to play "correctly" which I still don't agree with.

No, he is implying that you "most likely" need the proper shims to correctly match the fingerboard radius of his guitar. If his wants to achieve proper intonation up and down the fretboard then he needs to get his action set at the proper height to achieve it and it appears to me that he is diligently working to do so. He's trying to get it "right" rather than "acceptable".

I'm not sure I would have my neck fretted like Vais new Ibanez but I can't argue with the logic. If its more accurate then its more correct.

Also, a properly set-up "real" original Floyd Rose will not go out of tune.
I'm paraphrasing "Eddie the Tone Chaser" but its still true.
And IMHO that is the standard by which all OFR"s need to be judged. If it goes out then either it isn't properly set-up, isn't properly installed, or it isn't the real thing. it doesn't mean others can't hold tune, only that the real ones do.

BTW on the neck pocket issue a little ways back...I saw where there were a lot of complaints about the same neck joint fit problems on Fenders USA line.

[MakeAJazzNoiseHere]

You're also implying that you need the shims for the Floyd to play "correctly" which I still don't agree with.

No, I'm saying that *I* need the shims for the Floyd to be set up how I want it.

I would think for that kind of $$ they would, but I suppose different people like different setups.

For optimized action (lowest possible without fretting issues) you need to shim the Floyd, among other things (correctly leveled frets, truss rod adjusted properly, nut height adjusted properly) and that is true- and that's what I like; low action.

If "you" also like optimized action, you need to fine-tune the setup, and shimming the bridge can be part of that.

But, you "eyeball" your adjustments and it "plays fine" for you. I'm not arguing that you're wrong. Different people like different setups. Whatever you like, dude, I don't care.

[DHardmanJr]

This brings up an interesting point on the floyds with necks that have a compound radius.

I have a 84 Charvel with a 12" radius (not compound) and it was a local luthier's guitar for a long time and it is perfectly setup and the saddles are shimmed so the bridge matches the 12" radius and that guitar plays great.

On the new production series with the 12-16" compound radius I always assumed that the bridge should also be 16" ... but this discussion has made me realize that the "compoundedness" continues past the end of the 22nd fret.

So in theory (in practice it may not matter much), should the bridge saddle radius be something like 18 or 19" on a 12-16" compound radius neck?

[MakeAJazzNoiseHere]

Yes, you are right, the compound radius is a "cone" and so the radius continues to flatten all the way to the bridge.

[DRM]

All I have to say about the new Charvel production guitars is that they're opening the door to Charvel for many guitarists. My first USA Charvel was a So-Cal in black and by reading many of the "my first Charvel" threads on this site and others many players are doing the same. No, it isn't on par with my Custom Shop Dinky, but it's a fantastic playing and sounding guitar in its own right. Nit-picking a $1k guitar in comparison to a "REAL" Charvel is just rediculous.

In my opinion, the production models are the best thing that could've happened to Charvel given how popular they are.

[85 San Dimas]

yet completely acceptable and logical to do so.

Glad you like your Charvels. Welcome to the discussion.

[85 San Dimas]

So now we have the answer to the thread question, "What corners were cut on the Production models?"

Answer: All of them, but only to the level of an American Standard Stratocaster. Built right beside of them of the same "basic" parts (wood quality, electronics quality, etc.) and by the same people but to Charvel specs. Congrats to all owners. We don't have sunbursts and neck coatings buts that's pretty much it. I'll take that.

[Guinny]

From my experience of standard production versus custom shop the cut corners are always small niggling finishing touches. This applies to any make including ESP,Fender e.t.c.

For example on my San Dimas Charvel the Floyd Rose cavity has some really bad blobs of paint and laquer with lots of sharp edges on the woood and also on the trem block.
I was getting bad spring noise when I first got the guitar but after a quick file of the rough edges on the wood and removal of the blobs of paint the springs now are silent!
I have had this sort of problem before when setting up mine and othrer peoples guitars. It's no big deal but just a shame the qulaity control doesn't filter out these little things.
This also applies to out the box set up and rough fret edges.
you buy a custom shop and all these things are done before-you buy a standard and you spend an hour sorting them out!

Thats just my opinion from my experience over the years!