If there's one thing I learned from working with Floyds is that the distance from the 12th fret each way is the most important factor in what keeps a string in tune across the fretboard. I just saw that ernieball comercial with Joe Banomasa and that got me thinking. How do those guitars not have un-even tuning? Did Gibson fan the frets or something?
Non-adjustable wraparound bridges do tend to have crap intonation.

However, I'm reasonably sure that those ones (and all decent ones) can at least be adjusted as a whole unit so you can at least get a decent average intonation for all the strings.

But yeah, like a three saddle Tele or an acoustic or a very early Les Paul or the Gretsches with the cylindrical bridge, intonation will always be a compromise, more so than with a fully adjustable electric. Not for the precise of ear. That said, the compromise can usually be made "good enough" to be serviceable. My Tele has a '50s style three-saddle bridge and it's not perfect but it's not at all far off.

EDIT: I think I misunderstood slightly; it's tilted because that gets a good average intonation. If you look at a properly set up Floyd (or any bridge with independently adjustable saddles), you'll notice that, on average, the saddle positions tend to be in a sort of lightning rod layout, like so:

That's to do with how the string stretches, because intonation adjustment is basically meant to compensate for the effect of stretching (and movement downwards onto the fret) when you fret a note.

All the tilted position is is a crude average of this effect.
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Last edited by K33nbl4d3 at Aug 24, 2015,
My SG with a wraparound bridge intonates within five cents. That’s as accurate as any tuner I own, so I’m cool with wraparound bridges. Sure I could be crazy about it and try to get perfect intonation on all six strings, but life’s too short for that shiŧ.