FOH and studio are totally different stories. Live I definitly need a console to be fast enough and to have access to all important parameters. An FOH Mix normally isn't that difficile as a studio postproduction. Besides you always mix for the room you hear the concert in. So you work much more detailed afterwards. That's why I did the postpro with dry signals.
Of course there is a lot of crosstalk. But crosstalk per se is nothing bad. It always depends on how crosstalk is sounding. You have to listen to the signals more often with all channels open because the sound of many signals depends on the sound of others... But if you set you're microphones right and keep some things in mind, it's no major problem afterwards.
Luckily we had in ear monitoring. With wedges you get many more problems in the postpro.
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