Agree to a certain point. I own a Custom 24 and initially, I had the same complaints as the OP about the bridge pickup sound (as well with the neck humbucker sounding like a middle position pickup, but that is a different story). Pickup swaps can mitigate the problem, but will never “solve” it. What is the solution then? Changing the amp settings to fit the guitar (or using an EQ pedal, although that might not be as effective). Now hear me out on this... when Paul Reed Smith first designed the Custom 24, he wanted it to be approachable to both the Fender and Gibson camps, so he picked a scale length that was in between 25.5”(F) and 24.75”(G). While his 25” scale length worked for hand comfort, it created a sound that was not quite Fender and not quite Gibson, (although it leaned more towards the Gibson sound and scale length). If you’ve ever dialed in a perfect sound with an Ibanez, Jackson, or Schecter guitar and then immediately followed that by plugging in a Gibson into the same rig, you’ll find that everything sounds muddy and flubby. The solution is to cut back the lows and mids, and boost the upper mids and highs. What I’m telling you to do is to treat the PRS as if it is a Gibson Les Paul. I use an Axe-FX, so I can build different patches for my Custom 24, but if you are using a traditional rig, an EQ Pedal might be your best bet... or like others have mentioned, you can grow to love the differences in your various axes. Nothing amuses me more than swapping between my RG1077XL and my Tele! IMHO, pickups and scale length have much more influence on a guitar’s sound compared to body wood selection, neck attachment method, fretboard material, bridge type, etc. As a side story, my guitar teacher used to believe in tone wood, but then he had a Fender Custom Shop Strat built with a mahogany body, flame maple top, and set-in mahogany neck, completed with PAF-style humbuckers. Did it sound like a Gibson Les Paul? Nope! It sounded more like my Ibanez RG3120!