Well, the idea was just a "mode", so you'd have the option to use it or not.
Another way would be to have the controls that don't exist in the real amp/pedal in grey (for example), so you know which ones to tweak IF you want to use the amp/pedal interface just like the real one.
Sometimes the beauty of an amp is not (only) the sound, but the simplicity. I sometimes consult the wiki if an amp has a mid control, for example, and I start tweaking as I would in the real amp. That doesn't mean I can't tweak later the controls that are not there in the real one.
I'm sure a lot of people would use it that way.
Not only that, an option to automatically select the "appropiate cab" (I know, I know, just a guide) when you cycle through amps would be really handy (of course you could always change it later).
Well, thew thing is that simplicity isa nice thing, that's how Soldano making an Avenger since I bitched for years I wanted single channel SLO.
On the other hand back in the day when I got a Guytron I ended have Andy Marshall at THD change the filtering since I loved how it sounded but hated how sluggish it responded.
I don't touch advance parameters unless I'm hunting for something specific. And then I'm more likely to use one of my go to amp blocks and change stuff rather than even looking at other models.
As for the default cab how you gauge that?
Fryette designs his stuff around Eminence speakers they make for him as is Soldano, I wouldn't use those if you paid be for it.
At THD we used to use a custom Celestion Classic Lead 80s, and then later two different Emmies. Wouldn't use any of them for anything.
I've had so many cabs over the years and what I learned for me is that I'm perfectly fine with Greenies, Golds, Blues, 65s, Red Fangs, Fane Alnicos, 12L, JBL K120, not when I stick a mic in front of it. Then I will take a 57 in any enclosure any time.
As far as I'm concerned there is a reason why back in the late 80s everybody stuck those in their designs, they just work with a 57. And you can set it and forget it. I mean the most esoteric I went was with a Bogner 4x12 I bought in like 93 and they sold it as V30 loaded and I ended up preferring it to anything I compared it to with V30s, and once it was open turned out it had V30 on the bottom and Greenies on top.
Sounded...wait for it...great in the room but I mostly ignored the greenies when close miking.
And we're right back to that illusive in the room nonsense.
As a side note when we voiced the Uni/BiValve and THD Flexi50 me and the Andy who designed the amps were working on it until we both were happy. That entailed setting stuff up so he could listen with the speaker/enclosure he liked and me with my trust 4x12 with Greenie/V30 mix.
His take on a neck pick-up is what a bridge pick up in my world should sound like.
Now just cause my taste differed doesn't mean the ability to get something completely useless TO ME shouldn't be there obviously.
I certainly learned from him, and also his brother who was the guy behind Marshall Time Modulator (check it if you dig delays) and Ensoniq PARIS. And one of the biggest things I took away...and muddled into my own personal take is...
There is a feedback loop between the played (more precisely the pickups and ears) and the source whether that's speakers or monitors.
And if that's taken into account all will be fine, secondly...
An amp was intended to amplify a signal literally to simply make a guitar louder. Marshall's big slogan used to be they won't distort. LOL
Now, with the advent of cascaded gain staged be it in amps or by using OD pedals, better yet stacking OD pedals takes some experimenting. What goes where...why do I dig it.
But I digress why are some amps good pedal platforms? Cause unlike say a Recto they don't have massive amounts of gain i.e. compression and already limited band width, so you get to shape it with the pedals.
And you have many of those options with the Axe.
As I said some place else before if some one figured out of letting me customise the content over the harmonics, I'll be stoked. Cause everything else is literally merely the ADSR, EQ and gain structure...sonically.
Well that got long.