I don't have a set way I run my techs. I let the demands of each particular show dictate how things go.
My current show is a musical (with tracks, not live band, thankfully!) with a LOT of light cues, a lot of projections, and couple of special effects. Because I had been working with the tracks CD for weeks, I already knew the placements for almost all of the sound cues, the special effects were in the script, the projections almost all went with sound and light cues. I had a meeting with the lighting designer a few days before tech to tenatively pre-place light cues. It was about a three hour meeting, but we couldn't have accomplished tech in the time given, without it!
On tech days, we did a start/stop with actors marking most of the time to conserve their voices. Any of the designers, director, producer or tech team could call a Hold. Any time a cue needed to be fixed, added, moved, etc, we'd stop and do it, or, if it was going to be a lengthy fix, we'd stop, make notes on what needed to happen, and fix it during the actor's dinner break. We'd usually run a number all the way through, let the actors take a break and fix internal cues before moving on. Those placement meetings helped a lot to move things along, as we only RARELY had to stop and fix my timing.
After we start-stopped the whole show, got most of the fixes implemented, we did a run, taking technical notes to fix after the run and the actors had gone home.
Do note: We had two days of 10 of 12 scheduled, 12-12, Saturday and Sunday. I was there 10 a.m. Saturday, left 3:30 a.m. Sunday. I was back 9:30 a.m. Sunday and left 3 a.m. Monday morning. I was definitely suffering from exhaustion by the time I got home 4 a.m. on Monday, but it was worth it; all the hard work had been done, and I was very secure in the tech aspects of the show.