Id think that most of us would agree that a decent modeler is better than having the array of real amps...just based on the amount of space they all would take up.
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Ahh, hhhuh, hmmm . . . no, I don't think 'most' would . . . compromises abound, are inevitable . . . And I have Tech21, (used the bass driver regularly) the old red box, J station, Vox tone works (think that's the label . . . anyway on the small solid state series) and access if someone requests it a Line Six (though at the moment I can't remember where that amp is and I don't use it) I will use J Station and a couple of settings (primarily the vox ones) on the Vox
Also have Fender, Vox, Traynor, Peavey, and two custom boutique valve amps, one of the ones that gets the most extensive work out is 3 watt with 8 in. speaker (those spec's being about only thing it shares with typical 'mini')
everything is about finding correct tool among the compromises.
The very marketing pitch on which the modelers sell themselves is the thing I find to be most problematic (nor do any of them manage to actually sound 'like' their sources, but that is actually a different, slightly, issue). They are not particularly flexible. They primarily depend on overkill relatively low rent digital Fx to achieve their range of sound and you'll spend far too much time programing several slightly different patches for any single application to achieve workable results (if they are used as only driver)
put 10 lbs of wood (oh and some vibrating strings) in front of a well executed 1.5, 3, or 5 watt valve amp and you can achieve far more subtle control and variation of tone (which might or might not be the goal, hence correct tool for the job) then any modeler, even repatched to one of those amps can achieve (the modeler is oxycontin submerging impact of the single beer)
time, money, location, material (content) and project specific goals are context for any gear selection. I've recorded great content with $15 guitars
$20 amps, choice of which were perfectly suited to the projects goal and resulting recordings are not things I'd ever feel I'd have to revisit to 'do them right' on multi $K's dollar gear
There is/are place for modelers, perhaps even for line six (though I'd take some convincing on that), but they are never (in foreseeable future) going to be an effective replacement for valve amps . . . for a guitar player who aspires to become a musician (and I'm still aspiring) it does not take long for the lack of variation, lack of subtle control (of the modelers) to fatigue and frustrate . . . you might get one very good 'sound' and when subsumed by the wash of pop tonalities that might well be adequate (appropriate tool for the job) . . . but at this point (and for foreseeable future) modelers can't be other then 'fast food': fat salt and sugar . . . they sell millions because they are designed to appeal to things target demographic will viscerally find appealing . . . there are moments when something labeled burrito acquired for a buck via midnight drive through is thoroughly appropriate . . . a steady diet of poop flavored poop wrapped in flaccid glue & cardboard will, typically, lead to unintended consequences and limit long term development
so? pretty sure consensus on modelers is not going to possible . . . right up to that moment when that midnight burrito still tastes delicious (& not like tangy poop flavored poop) it will still seem like the world's greatest invention which you might be willing to defend to your death . . . a second later: 'God, this is disgusting, but what, if you're in Gaylord KS @ 12:23 AM, might be your only option . . . for musicians valve amps should be tools not religious artifacts
