AFAIK, Gibson misaligned the bridge on T-Birds due to the bad engineering of the bridge design: they did not take into account the mutes (maybe that bridge was designed without mutes and then thy added mutes due to marketing reasons: I've encountered different interpretations). So they had to move the bridge a little bit further on the final blueprints.
On the other hand, the calculation of the fretboard's part of the scale were consistent: so the position of the 12th fret should be stable on all T-Birds, rev. or non-rev.
And the only thing that matters in terms of sound is the position of a pickup in relation to the scale. So we should look at the scale's constant, 12th fret. What's wrong with that?
IMO mutes have little to do with the bridge in the wrong place. Incompetence or indifference are the culprits. Someone should have checked the prototype and made adjustment.
Pickup choice is going to have a lot more to do with sound than a few mm either way in location. Will you be using Reverse or NR pickups?...they're different, in part to Gibson's inconsistency, no revolution counter on their pickup winder. They were wound to a timer monitored by the operator and the number of winds varied according to how attentive they were. This is well documented. When Gibson quit winding pickups Seymour Duncan bought the winding machines and installed counters.
Then we can talk about wood choice- are you using genuine Honduras? Big difference between that and what passes for mahogany these days and it does affect sound. Then the finish argument, fret width, strings etc. ad nauseum.
- On my Non Reverse Birds (both my 66 and my 67) that front edge is 5 mm closer to the 20th fret than on my 64 and 65 Rev Birds - it is a factor for the bassier sound that Non Revs have and are often liked for.
-The bassier sound has a lot more to do with the overwound NR pickups which reduce high end output. Very similar to any overwound humbucker.