This is how I view it: -I program every patch to be balanced in volume/tone with each other, or at least with those appearing on the same song. (there are differences in volume if needed, of course). I run the digital out on the HD500 through a Motu 828mkII and Alesis M1 Active monitors. Then I test the patches on the monitor wedges I use live. They are very clean and don't add any noticeable coloring.
-On stage I run the jack outputs to my wedges and the XLRs to the stagebox.
-If I have to do some EQing, I do it on the wedges, and if the FOH guy needs to do some too, he's free to do it on the desk, so nothing each of us
does will affect the other
What all that means is: I like to just plug and play, and that's why I chose FRFR. My patches are thoroughly tested (most of them are already a year old),
so I can be (almost) sure when something is not sounding right, it's not my fault. IF I found myself having to really struggle to get it sounding right on stage,
due to radical changes in sound throughout different stages, I would use a stereo graphic EQ between the HD and the wedges, but still I would leave the
FOH sound unaffected.