Chopin gave his new students the 48 preludes and fugues to work on independence and control. That's reassuring - that with all the suggestions and approached available, you can give yourself the "Chopin" boot camp. The fact that the requirements in both hands are virtually identical means that if you have one hand that's better than another (as I do) the good hand can teach the worse one. Also, Bach sounds good at slower speeds, as the logic and beauty of the counterpoint still shows itself.
I'm hoping that by getting some "Bach fingers" I can get more clarity and control in my other pieces. When I briefly jump over to, for instance, the Scriabin 4th sonata (2nd movement), I believe this is happening. I'd describe this as 'wiping the mist off a mirror' - what you see (hear) is now more clear and defined.
The Bach 48 show promise as being a definite route to excellence of expression and communication in other composers, as well as a way to acquire new and interesting repertoire.
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