Back to the topic. Here are some very basic facts:
The goal of an FRFR system is to convert the electrical signal you apply to its input into sound arriving at your ears, with no alteration to any audible characteristics of that signal. One component of that goal is flat amplitude response, both on axis and over a defined set of coverage angles. How well a given speaker model achieves that goal is highly variable.
If the signal you're applying to the input of your FRFR is exactly as you would like it, and you hear "too much high frequency" or "too much bass" or too much or too little of anything, then your FRFR system does not have flat amplitude response.
If you can tweak your Axe-Fx to get a sound you like through a good quality monitor - a few have been mentioned specifically in this thread - then it will sound just as good through a stage system with the same response. Many small monitors have pretty flat response on axis these days. If your sonic reference point is one of those, then you should be able tell right away how close to flat your stage rig is.
The important thing to establish under some set of repeatable circumstances is that you are hearing the signal your Axe-Fx puts out with as little coloration as possible. If you are confident of that, then you can be confident of the effect that any parameter changes you make will have on your sound.
If your reference rig is flat, but your stage rig is not, one option you have is to use equalization in the Axe-Fx to correct for the response of your stage rig. Not all response problems can be equalized, but many of them can. If you segregate the EQ you do to level your stage rig's response from all other EQ in your presets, you can quickly adapt to different playback systems. You can also send the corrected signal to your stage rig while providing a signal without correction (or with different corrective EQ) to FOH.
If you have a reference speaker you know to be suitably neutral, and you still hear too much HF, then (surprise) there's too much HF in the signal from your Axe-Fx. One cause of this is a speaker IR that was acquired via close-mic'ing. The HF content of a close-mic'ed cab can be far greater than what the same cab produces at reasonable listening distances, and guitar tracks are often heavily EQ'ed to compensate for that excess of HF. If you do not want to have to do a similar amount of EQ'ing in your presets, then you should probably try cab sims that are not close-mic'ed.
