Nicely done Sukh ... more fireside than broadside.
I've had pretty good results using modelling with conventional cabs but I've yet to find a FR backline solution that sits easy with me, especially in smaller stage gigs - so maybe the MF10s are worth a try.
I've tried a couple of 12 inch speaker based FRFR solutions in the past and have not been that impressed once they're firing at a good enough stage level - a bit biased towards the lower mids or perhaps just not exciting enough in the higher mids so the 10 inch speaker sounds on paper to be a thing worth experimenting with.
We've already had a couple of users on this board agreeing to disagree that the MF10 sounded good so as always it's difficult to gauge from personal reviews.
I think the most influential thing I got from it all is the fact you felt comfortable changing to MF10s after using the venerable CLR for so many years.
I could write a thesis on my thoughts/experiences of FRFR, Amp in The Room and all that good stuff - but I think you touched on most all the salient points in your video ... but can't resist just ear-marking:
Yes - Every cab of any type needs it's own tweaks ... always been my thought too. Well it's just fact really.
Yes - A FOH sound person has all the tools to make your DI feed fit into the mix - If you can make your 'live' set up presets' DI feeds sound ok in your studio monitors at home via a DAW or mixer with maybe a bit of post EQ applied via plugin or strip controls then it's all good.
Amp in the room: depends on loads of different things: the room, the volume, listening position and who else is playing with you. You never find that out until you're actually there. Anybody who has gigged live in small to medium size places with any sort of normally mic'ed up backline cabs over the years knows this I'm sure. Most times we just find a volume level and play on.
Yes - Operating volume is a key area. You can turn up the volume in an empty room at home to try and replicate a live level but it's never really the same as out at a gig ...... 4 times out of 5 what you thought was loud enough and cutting enough at home doesn't feel loud enough once the drums, bass and keys fire up on a hollow stage in a room with it's own acoustics thing going on.
Tweaking the EQs in your output eq or at preset level at the gig or soundcheck to cut more on stage is one solution but let's face it most of us feel happier to just quickly go straight to the most accessible thing - the volume knob - usually sneakily around the end of the first or second song when you're pretending to grab a quick drink! It's more productive than asking the drummer to play quieter 
Yes - it's that selfish thing you mentioned.
CLRs were always a bit too 'dangerous' for me to buy as a European ..... without going into too much detail there were 'issues' coming to light about certain things and they're a long way from home if not in the US. My personal feeling was to be wary - but I stress that was just my choice - I've no first hand experience with CLRs and therefore any issues.
Based on my wariness, buying from a European manufacturer/distributor just makes more sense for me geographically support wise. A 'stereo pair' of MF10s (and maybe a backup pedal size power amp) gives you some remedies for potential disaster scenarios too.
Another big positive for me is the lack of any DSP module - that's just another potential fault point that I think is better not being there in a box that gets vibrated a lot by a speaker - again just my personal opinion. Cable input, volume controlled amp, passive crossover, speakers/drivers, wire and wood ... that's plenty.
I don't place a whole lot of importance on the 'Flat Response' part of the FRFR equation ..... it just is going to sound like that cab in that room at that time at that volume. Set it up to sound good in one live environment and just motor on in others is my policy.
I'm well used to hearing my backline cabs out of the beam (being in close proximity to a couple of crash cymbals more than enough highs) so it's heartening to hear the MF10s seem to be designed for that sort of pant-flapping rather than ear-drum flapping thing.
