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Totally agree that individual mics may have additional individual critical (higher pitched) frequencies depending on their particular location relative to speakers. Fixing these issues with narrow channel PEQ require the mics to remain at fixed locations, right?
Saying that, since we do not have separate channel EQ for FOH and mixes, correcting higher pitched feedback issues between monitors and mics change sound in FOH.
That’s why I prefer running monitors pre-EQ and fix feedback and build per-musician sound within the mix PEQ. So I can adjust channel PEQ live without running into monitoring feedback. For some reason this works well for me, even if it may not be common practice. 😉