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I've been looking for a downside to using Munsell since I started, because everything has one, right? I haven't found but one yet, and that is when I really hit a mix perfectly I am sometimes guilty of forgetting to clean the test bit off the chip because it blends in so well. Other than that, well, I haven't found any downside.
Allan seems to be bothered by the red/blue nature of Munsell's primary red, and goes on to talk about primaries being the colors that can't be mixed from others. That is just about any color at its highest chroma. That means there are perhaps 40 primaries.
Primaries make no difference to a painter, unless he/she is going to hamper themselves by attempting to mix all colors from three. It won't work. One could not mix a 10YR 8/14 from primary red and yellow. What about 5GY 7/12? That's a hard color to hit. Could I do it with primary blue and yellow? I don't think so, since the highest chroma mixes have to be perfectly clean and start as close as possible to the target mix. Since the primary blue is also at chroma 12, and 5GY 7/12 is a warm green-yellow it's likely that chroma would be lost using primaries to mix it. And then there are neutrals. The neutral mixes must also be very clean. How would Allan mix a value string of neutrals from just three primaries?
The idea of using primaries to mix all of ones' colors is wrongheaded. Why wouldn't one use a color that is close to the target color to mix with, instead of trying to create everything from three basic colors? Why not just put out an eye and tie a hand behind one's back? Munsell leads to clarity, not confusion.
The Munsell wheel is based on real pigments, so if you can find the target in the book it can be mixed.
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