I am out of the game, but hopefully some of my experience is still relevant enough to help.
The tactile experience can vary. On a riser or hollow stage you will feel the vibrations through your feet. Stand close to the subs and you will feel vibrations in the air.
There are various tactile transducers.
1. Eich Bassboard or similar is a small platform you stand on that vibrates. It's driven by an amp.
2. BackBeat is a similar technology that you wear.
While a tactile transducer would be sort of cool, I didn't really feel the need to use one. This is one of those YMMV things.
My experience started in the mid 90s. For drums we used a TrapKat to trigger a drum module. The mixer was a Mackie 1604 VLZ, the number of inputs and sends was pretty limite. This meant we had to share mixes as there was not enough sends available for everyone to get a personal mix. I am a big fan of everyone getting their own stereo mix, but some people seem to prefer mono.
For the stereo mixes, I suggest vocals and bass instruments should be centered. Other sound sources should be panned in 3 to 5dB intervals across the horizon. Max panning for most sound sources should not exceed about 15 to 20dB left and right. Your personal sounds should be centered or close to the center. The exception that can be panned harder than 20dB is a good stereo reverb.
The reason for this advice on panning is something called binaural summation. Basically if you hear something equally in both ears, it seems 6db louder than if you hear the same level in only one ear. The more something is panned, the less benefit you get from binaural summing. In order to compensate, the tendency is to turn up, which exposes the listener to a higher SPL. Best to keep the SPL as low as possible.
Our drummer initially insisted on controlling the mix of his set in the drum sound module and sending only a single stereo mix. Part of the reason is he wanted to reduce how much stuff he had to patch. It did not work well and everyone was complaining about how awful the drum mix was, including the drummer. After the first tour, I wired the system to break out the most import drums to individual channels (bass, kick, snare, high hat). I believe we also used a stereo mix for toms and second stereo mix for cymbals. This was necessary because we only had 16 inputs. Every one was a lot happier with the resulting mix. I built a cable loom for the drummer, so he did not have to deal with individual cables.
We did not use audience mics on that first system as we did not have the budget or resources. Lack of audience mics can cause the band to feel disconnected from the audience. Systems I helped design in following years used a couple of shotgun mics aimed at the audience. We also rigged up mute pedals for the vocal mics so the musicians could mute the mains, but still communicate with each other through the monitors. Non latching switches are a good idea, otherwise someone will inevitable forget to unmute their channel.
We also went through quite a bit drama in regards to getting all of the wireless to work reliably. The IEM wireless, in particular, tended to have drop outs. We bought a helical antenna which helped, but did not totally fix the problem. AFAIK the reason the IEMs were less reliable than the wireless mics and instrument packs is because everything used diversity reception except the IEM systems. I believe diversity IEM wireless is available now, but the last time I checked it was expensive.
@s0c9 has some good info you should review in the signature block of any post he writes.
