Well, if you're adjusting all the frames to look more or less the same, I don't see the point... unless you're shooting and developing with the aim of scanning only, and using only the scans (without making actual "wet" prints).
If that is your intention, you should find the best combo (personal EI and developing process) which yields good results with the least amount of "tweaking" and post-processing. Once you find a suitable combination, you should "lock" the scanner settings adjusted to that particular combo.
I use Silverfast, and have saved a personal profile for e.g. Efke KB100 and Efke PL100 (large format negatives) in NegaFix, which I apply to new scans of the same type of film. If the result is not satisfactory, the film is either under/overexposed, or there's an error in film processing.
However, I have never been completely satisfied with all that twiddling with software and scanning. Nowadays I can evaluate negatives "by eye", and if I need a quick "scan" of the entire roll, I just make a contact print in the darkroom.
Now, THAT gives really accurate representation of what's on film. Not to mention that it's actually a LOT faster than scanning and tweaking even a short roll of 35mm film