In my experience with the Tetramic I found up/down tilt control quite nice to have as a form of fine-tuning, using it to home in on the best angle for clarity or timbre, yet found that the degree of vertical angle adjustment needed for doing that was generally not overly large and remained about the same regardless of polar pattern and horizontal angle between the virtual stereo pair for most taper situations. Exception is on-stage close to a drum-kit, with the microphone positioned low in front, in which case vertical angle adjustment can change sound radically - point up for focus on cymbal shimmer, down for kick and tom whump.
In contrast, typical adjustment of horizontal angle ranges much more widely, because in addition to horizontal angle controlling general orientation of the virtual pair, it also controls the angle between the virtual mics, which tends to correlate quite strongly with choice of polar pattern. That is to say, for any particular polar pattern, a rather narrow range of adjustment of inclusive angle between the pair tends to be optimal.. switch to a different pattern and a different narrow range becomes appropriate. Working the other way, if a significantly wider or narrower inclusive angle is desired, then virtual polar pattern needs to be modified to accommodate.
^ Does this description of the horizontal aspect ring true with regards to your experience building and using native 3-mic ambisonic arrays?
The convenience factor of a single microphone able to achieve a virtual coincident stereo pair that can be optimized later is pretty compelling.