That is an interesting 'idea' - but it is not really accurate - Pantone used to get licencing fees from Adobe / Quark which is how it was 'baked into' the applications. That is no longer the case. The color system changed as the paper and print conditions changed - this is especially true of the Color Bridge product. The Pantone tint for Pantone 151 in the 1964 "SWOP" version of color bridge is quite different since SWOP paper was quite a bit more yellow and it was 133 line screen. There is no such thing as Legacy in the world of print, as the paper color and screening changes pretty dramatically !
I was just pointing out that Pantone has no control of paper manufacturing, and that is in large part the issue of 'variance' I worked for Pantone in 2002 - it was Carmen Gallo's biggest challenge - finding good paper. It has only become worse.
Just to add, the Pantone book (PMS to Process) is printed to the SWOP specs, or at least that's what was printed in their old books. Density 1.00 Yelo Mag 1.40 Cyan 1.30 K1.70. problem is the dot gain was 20%Mag and 24%Cyan (the spec was 20%Mag/20%Cyan) so that's a 4% "cast" towards Cyan. Plus there isn't a color bar reference to be found, wouldn't it be nice to have a simple gray bar at the end of each color strip to confirm. . .MAYBE NOT.
Look at Pantone 165 through the years. Talk about a color shift!
The one that leaves me scratching my head the most with Pantone is that they make a book for "designers" but where's the book for the production side of things. Who thought that a press operator should go to an index to find the "page and row" then flip back through the book. Just not optimal in a production environment.