I do the same with wireless racks - the output of the receivers should be the same. I tend to tweak the packs themselves for each actor, which helps equalize the levels of the faders and gain settings.
Sound FX tends to have the biggest varying of levels, but I tend to try and adjust most of that in the "recording" itself - so that again, the audio level coming in is nice and strong.
I've always done similar to Aaron. I use an LS9 (digital), and typically ensure that, in our case, all wireless transmitters/receivers have the same settings (sensitivity/AF out) first. As a disclaimer, all systems are equivalent Sennheisers with Countryman E6s to have some sort of standard signal leaving the systems. On the board, I'll tweak the HA per input depending on the strength of the performer so that the sound coming from the house system is normalized during regular dialogue. I try to keep "unity" for us at -5 which is the start of the range on an LS9 gives the most sensitive adjustments. That way, it makes it a bit easier to give a good approximate balance during large ensemble portions. Typically, we use around 24-27 mics so having a standard level makes things infinitely easier on the fly.
I do much the same procedure as you and Aaron. There are some situations I work in where I merge different groups of microphones and transmitter makes/models and then it's not as easy.
Agree with TimMc, no 0DBFS on the input gains. I just don't want to see that signal so low it's peaking at -30, that's all, especially if I'm sending that signal somewhere else - for recording or broadcast.
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