If it helps, the tone stacks on Fenders, Marshalls and Voxes and their descendants tend to be interactive rather than have strictly delineated bands. Also, WHERE the tone stack is located makes a big difference as well. Post-Tweed Fenders and most Mesa Boogies have their tone stacks early in the signal chain. Thus, where you set the tone controls can have an effect on how each band distorts (i.e. you can turn the bass down on a Boogie Mark 1 or 2 to help take the mud out of the distortion).
Ampegs used a Baxandall-type tone stack early in the chain and which has bands which don't overlap as much. These stacks can achieve a relatively flat frequency response. They also have much less mid cut than the Fender and Marshall stacks.
On the other hand, Marshall and its descendants tend to have the tone stack just before the phase inverter (after the preamp distortion). The Marshall tone stack can dramatically alter the overall sound of the distortion, but has essentially no effect on the initial formation of distortion. Marshall cured this early on by choosing a preamp voicing which rolled off lows to kept the bass tight.
Pedals tend to have their tone stacks after the clipping stages. This way the stack can have a more dramatic effect on the distortion.
The subject is FAR more complex than these generalizations. If you download the Duncan Tone Stack Calculator, it can show you just how each stack works (just to note, it works on W7 - I don't know about W8- but if you try to save your settings, the program may not respond. Honestly, that's not a big deal):
http://www.duncanamps.com/tsc/
Sorry to prattle, I just hope it helped. Bill