That's an insult to me and an extremely unfair characterizaton that's really uncalled for. I know that my voice works best if I cut the mids and the bottom and boost the highs a bit. I don't dictate to the FOH people what they should do but, honestly, I've run into a lot of incompetent people standing behind a board. What I provide to them is a starting point which is offered with kindness. I have no choice but to trust them to send out to the house whatever it is they send out. If they're competent, it's a bonus, but it's not always the case. No need to get so defensive.
I suggest you take your own advice about getting defensive, as I am not attacking you and no insult was intended.
I totally accept that you know what works with your voice. However, if you are sending a competent audio tech a pre-equalized signal, IMHO you may be making his/her job harder. It's far better (for the FOH mix) for a competent tech to start with an unprocessed signal, rather than having to try and reverse engineer what someone else has done. At the very least you should be communicating with the audio tech so there are no surprises.
However, if the audio tech is incompetent, your inputs are probably a god send.
In my experience, the ideal EQ curve has more to do with your physiology and how sound disperses from your mouth, head, and body than the actual timbre of your voice. Each vocalist will have sort of a characteristic EQ curve that will work well with their voice and mic combination. The problem with your approach is the curve has to be tailored to the system tuning and acoustics of each venue, which is not something you can do from behind the mains. You have to be out in the room and use your ears.
Also your perception of how your voice sounds changes when you are singing versus when you are listening. So the only way you could really equalize yourself effectively in the FOH mix would be if the system is set up to multitrack record and playback the entire band.
Due to the limitations of the routing of most mixing boards, your approach does have some potential merits. Basically it's fairly common for the monitor sends to be configured Pre Fader/Pre EQ. The idea is so the audio tech can apply as much EQ as necessary to make the channel work at FOH without gutting the sound in the monitors. The consequence of this configuration is there is no EQ applied to the individual channels in the monitor mix...basically the signals in the aux sends are flat, or possibly just high passed. Global EQ can be applied to the send but this is not as useful as discrete EQ applied to the individual channel strips.
IMHO, sound reinforcement is generally not about pursuing absolute perfection, it's more about making the best compromises. So as long as your EQ is not too extreme and you don't fiddle with the settings throughout the show, I would be fine with it. It's basically the some thing as a bass player using a Post EQ DI, which I am not a huge fan of, but if the player is in IEMs I think it serves a useful purpose.
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It sounds as though he may need to streamline his setup (no chairs involved) to have a rig that will work in a professional environment.
