On the face of it, and from the individual musician's perspective, it sounds like a great idea to give FOH your finely-crafted tone unicorn in the belief that all FOH needs to do is wiggle the volume fader and all will be good. Unfortunately, the reality is not quite so simple.
The job of FOH is to create a good mix where everyone has a place. Discounting the oft-berated lazy FOH who just puts everything on +3dB and walks away, it takes a lot of skill to create space in the mix for everything, and it's much much more about EQ and dynamics than blending levels. If you are controlling too much from the stage based on what you hear on stage (either from your monitor or, worse still, from your amp) you and FOH will just end up chasing each other's tails. I know there are poor FOH operators out there, but with anyone worth their salt you are better off trusting their judgement and just giving them as full and balanced a signal as possible and not be messing with the levels and EQ as you go. If you have specific needs, such as a particular 'flavour', you should be able to discuss this beforehand so they understand that they will be getting a 'representative' tone, but for the most part, IME it's better to let FOH do it's job.
It is often the case that what sounds great in isolation sounds dreadful in a mix, and the opposite is also true. So you need to trust that whilst the bass alone in the auditorium may sound dreadful, once everyone else is playing it's probably just fine, or at least as good as it can be. The minute you mess with your blender, FOH has to start over. Do this too often and they might just stop bothering.
