It's probably going to be a huge shock and possibly disappointing at first, and maybe for a while, honestly. Then, even after you think you get it sounding good, you could get to band practice and turn the volume up and all of a sudden it doesn't sound right or sit in the mix well. Expect to have to retweak every patch and you may now hate amp models you used to love and vice versa. I personally find I need to cut some lows and highs and boost mids in the global EQ. I completely drop/cut the lowest bass freq slider and the highest high slider. I also drop the second bass slider a good bit, at least for a band setting. That's the bass frequency that I "set bass to taste" with. I then boost the two center sliders (mids) .5 to 1+ decibels. Compared to a real cab, even with cab modeling on, the Matrix is just too flat (which is a good thing) and is capable of producing so much low and high end frequencies, that you just really seem to need to tweak the global EQ to get enough mids and get rid of enough extra low and extra high freqs. At least that's my experience. Also play around with setting the cab block to stereo so that is gives you two cabs/mics. This is the equivalent of running two cab blocks in parallel, if you set both cabs to center. You can try to find good combos of cabs and I find this really helps. It's cool to mix two mics with either the same cab or mismatched cabs as well. The R121 with an SM57 makes a good combo that balances out, although I am finding lately that in a band mix, I get the most "in the room" amp sound when I use no mics or at least one cab with no mic. And finally, a trick that Scott Peterson teaches is to use a little bit of reverb on every patch to produce a sense of depth and space. I do this, but I probably use even less than most people do. I use the cathedral verb with a bit of pre delay so it has that slight "echo fee" with a fairly long (2.5 of 3 milliseconds) feedback and an extremely low mix. It's weird that the mix varies on different patches to get the same effect level/mix, but it's usually between 2 and 6 percent. Basically, it's just the tiniest bit. Just so you get a tiny bit of space in the sound. You get sort of an echo/response when you smack the strings and immediately mute that fades out very subtly since it's so low mixed with a long-ish feedback.
I've reinvented my entire set of banks I use live and use completely different models now. It took quite a bit of time and experimentation but now, about a month later, I have some pretty good tones that sit well in a mix against another guitarist who uses a traditional tube amp. And that's with an Axe Ultra, so it should be MUCH easier for you to get outstanding sound with it. Just don't expect it to sound like a VHT power amp into a 4x12 right away.
