So a little different twist on a topic that gets beat to death at times. First, I understand we are "doing it all wrong". I am working with 16 headset mics. If I could, they would all be Shure ULX with dPA fine mics or something like that-instead, I have a couple Dpa' on Shure SLXs, a couple Countryman E6's and MX 153s on the Shures and then a hodge lodge of mics on a set of 8 MiPros we rent. Budget dictates we do the best with what we have. I've managed to avoid RF issues.
Here is my biggest challenge-getting the gain staging set on all of these mics in a very short time frame with out actors present (we have tried to get a mic only rehearsal but that is a battle we keep losing-this year 7 inches of snow wiped out our chance).
Late in the game, out of frustration I came up with this solution-I picked a mic I knew was set properly and used on an actor with good dynamic range. I used the signal generator on the QU and PFL'd an unused mix. I put the mic inside the cans on my headphones and adjusted the signal to get "0" on the channel meter. Then I went through rest of the mics doing the same thing-except I left the signal the same and adjusted the mic gains to get them to the same reading on their respective channels.
Does this seem like a reasonable method to get mismatched mics roughly set? Is there a commercial solution that would work better? I used pink noise-should it be white?