Even the same profile, what you should choose changes with the scene.
A sound that felt great in home recording buries live. Put it on a stream and it sounds thinner than expected. Because the conditions demanded of the sound differ by scene.
CSL keeps the mic and position in the name. So the choice per scene can be made at the name stage, before auditioning. Here I write how to choose.
Live: choose cut, from the name
Live, prioritize midrange cut first. The reason is in how the sounds overlap.
Through a big PA, bass, drums, vocals, and keys fight for bands at high volume. Get greedy with the lows here and you clash in the same band as bass and kick, the whole PA muddying, and the guitar actually stops coming forward. Low end sounds like "power" but actually crushes other instruments' places. What keeps the guitar's position in a band isn't the amount of lows but the midrange core. It's also the band the human ear is most sensitive to, and a sound with a core there won't bury even if it loses a little on volume.
In CSL's naming, a SM57 with C (Center) often suits this use. The SM57 is a dynamic mic that doesn't get greedy with lows and stays tight and forward; Center aims at the cone's center, a direct position with a cored output. For distortion, a setting with headroom around T5 is less wild and more manageable in any PA or room than a maxed setting like T10. Read the name and you can flag a combination of SM57_C around T5 before trying it.
Streaming: choose from how it's heard
Streaming, picture the listener's playback environment. This is where it differs decisively from home recording and live.
A phone's built-in speaker, a single earbud, a laptop speaker. Many listeners hear on small devices that can't properly reproduce the lows. So however much you craft the bass, that band doesn't reach them. What reaches is only the mid-highs, and the information there decides nearly all of the impression. So streaming, rather than aiming for power, choose a sound whose outline and nuance convey even on small speakers.
That said, make the mid-highs too strong and it now stabs the ear on small devices, a thin, fatiguing sound. When you want that balance, the GT-67's thickness and E (Edge)'s calm help. The GT-67 tube condenser has a thick, round texture that fills in the thinness. Edge aims at the cone's edge, a position where the highs drop a little, less fatiguing. Search the name for GT67 or E and you narrow the streaming candidates. Finally, monitoring in the environment you'll actually stream in — a phone is fine — and deciding there is surest. Judge by the sound that reaches, not the sound you made.
Rather than one strongest, a hand of cards per scene
Home recording is where you craft detail; live and streaming are where you deliver sound to different devices.
So rather than searching for one "strongest profile," holding a hand of cards per scene is more practical. Decide roles — SM57_C for live, GT67_E for streaming, a blend for home recording — and play them to suit the day's environment.
Because the conditions are in the name, you can build the hand
This is possible because CSL keeps the conditions in the name.
Since mic, position, and setting are readable from the name, you can pre-sort "the cutting one," "the blending one," "the calm one." With the same amp's setting and mic differences on hand, you can build a per-scene hand within one amp's worth.
First, get the character difference of the SM57 and GT-67 into your ear with the free sample. It becomes the foundation for building the hand.
In short
For live and streaming, the profile you should choose changes.
Live is cut — SM57 with C and a setting with headroom. Streaming is how it's heard — the calm of GT67 or E. Rather than hunting one strongest, building a per-scene hand with the name as a clue is more practical.
CSL's naming is the marker for that sorting. Choose to suit the scene.