Definitely. Sort of my caveat at the end “Whether it’s simple or complex, imo the higher level someone’s audiation skills are the more intentional they can be with their improvisational choices.”
And then of course there’s no stopping you from introducing other harmonies, or sequency things, on top of a static groove. All those things are off the table unless you have spent the time to map out the fretboard with lots of variety.
and in that case they’re really just implying the other stuff anyway, borrowed chords, things out of the key, etc.
I guess I took the time to make the post just because I think the parameters and needs for improv/theory stuff vary dramatically depending on what you’re trying to do. I know there’s a variety of stylistic interests in this forum, so, for example, trying to sound like Batio (not to knock the guy) requires way less knowledge of harmony/fretboard than trying to sound like Adam Rogers or Jonathan Kreisberg, and personally I think different practice-room and teaching strategies are best depending on the type of vocabulary somebody is trying to play.