It is understandable that players’ experiences would have them seek the security of a Gibson-style bridge to replace their offset bridges, and it will do the trick in several circumstances: if they don’t exploit the full range of the vibrato; and find their main frustrations are string-skipping, wide string spacing, unexplained rattles, or instability under robust playing technique. A Tune-O-Matic will go some way to solving all of those issues.
However, it must be noted that changing to a TOM opens the door to several chronic problems which might outweigh those advantages. Chiefly among them, the inability of a Tune-O-Matic to move and compensate geometrically for the demands placed upon it by the vibrato. If I may digress, Gibson’s Maestro Vibrola is actually a sound piece of engineering on its own terms (as a behind-the-bridge vibrato unit); yet it is maligned in the public imagination by these exact problems, which are in fact inherent to combining any vibrato with a Tune-O-Matic style bridge.
For players who do not use the vibrato, or only do so for a very gentle shimmer, the Tune-O-Matic has a lot to offer in tone and stability. For those who do use the vibrato, it is best avoided; or else replaced with a roller-bridge or a compatible rocking bar bridge from a manufacturer like Tru-Arc.