Viking Gangster, the last thing on earth I want to do is talk anyone into liking an instrument that is not the voice they want. Seriously. As an example, I like a lot of guitars, but Strats don't work for me at all. Nor do Ibanez and hosts of others I've tried.
I always think it's silly for folks to try to talk me into one - heck, I've had them.
Nonetheless, there are some things about PRS guitars and getting good tones with them that you might not have thought about, so I'm going to give it the old college try, and if it still doesn't work, well, that's life.
First, PRS' have useful volume and tone controls. Working with them, in conjunction with your amp(s) is the way to play a PRS. the volume, for example is actually useful below 10. I set my amps up with my guitar volume at 5, to get just to the edge of the amp breaking up. Below that, one gets nice clean tones, and above it, the guitar controls the gain of the amp. I do something similar with the guitar's tone controls.
If you haven't tried this, I'd recommend trying it, at least to discover the range of tones that are actually on tap.
And I'd do that before mucking around with pickup height and other stuff that makes less of a difference in most cases than simply working the guitar's controls to achieve what you want.
Second, when setting up your amp, even if you've messed with the amp's controls a little, it's not the same as zeroing everything out and setting the amp up by ear, I play single channel amps, so a little of this changes if you're playing a two or multi-channel amp, but it doesn't have to change by much. Avoiding the temptation to turn the guitar up to 10, leave the volume at around 5 or 6, and set it up for a good "edge of grit" tone. Do it by ear, not by what you usually do with the knobs. Same on the gain channel.
Finally, there is a psychological thing that is often at play and we rarely acknowledge it: no instrument will achieve perfection for us without a little work and experience with it.
At first, there is the rush of excitement at the new thing, and the heady feeling of having that perfect tool. Then, when one realizes well, we still have a lot of work to do to get that perfect tone happening, there is a strong feeling of disappointment, even betrayal, and we start listening for things that confirm our fear that we've made a colossal mistake, when in truth, we've only scratched the surface of what we can do with the instrument.
But in a huff, we wish to atone for the "mistake" and we sell the offending goods. Of course, with time, we have our regrets.
There is indeed a focus to the CU24's tone. In the context of a mix (in my case, for TV ad and video/film work) this is a very good thing because the guitar has a lot of cut and doesn't take up too much sonic space. Yet it gets the goods, at least for me.
But I also play other PRS guitars (going back to 1991), and in general, I like that thing that PRS guitars do, so I use them in my work.
Still, I recognize that they're a little different, and we players are all different, and even in the case of a simple hammer, no single hammer serves all carpenters.