This is one of those areas of subtlety to be sure, and impossible to compare since you can't swap out different types of braces on the same instrument to A/B the sound.

But the impression is that kerfed braces are cookie-cutter factory parts that one can just install on any top and have them be functional. This is in contrast to the impression that carved braces are fit carefully to a specific top, and can be shaved to tune the top's overall resonance. At a high level, this seems to make sense so I believe it to be true. But it doesn't mean it holds up 100% that every carved brace beats every kerfed brace.

I have a 1928 L-5 with carved braces and a 1933 L-12 with kerfed ones. Judging only by its tone, the L-5 is a more refined instrument with an uncannily even response across all registers. More cork sniffery here, but the original Loar and immediate post-Loar instruments that continued to be made according to his guidelines allegedly contain individually tuned parts. That's what the signed Master Model label was actually attesting to, and it's documented in write-ups on Lloyd Loar the man/engineer.

I am sure that this practice went out the door not long after Lloyd did, but I am betting that my '28 was made the original way. You can literally tune the guitar and as each string comes up to concert pitch, you'll hear a slight boost/focus in the guitar's resonance, as if it was tuned to vibrate best at those frequencies. It may be wishful thinking but I really do experience that, so who knows.

Anyway, the change to kerfed braces would seem to make individual part tuning a thing of the past, and represents a cost-cutting measure (it's Gibson!) that makes one hanker for the old days. Really old days in this case!