Church Streaming & Recording Setup

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1. Overview

Signal Chains

Live Stream

Instruments → Behringer X2442USB → Sub 3/4 → UMC202HD → OBS → YouTube Live

Weekly Recording

Instruments → Behringer X2442USB → Sub 3/4 → UMC202HD → Cakewalk Next → Export → YouTube Upload

House Mix

Instruments → Behringer X2442USB → Sub 1/2 → PA / House Speakers

IEM Monitors

Behringer X2442USB → Aux 1/2/4 → Xvive U4 → In-ear Monitors

Audio Workflow Diagram

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2. Hardware

Hardware Manual Reference

Device	Manual Link
Behringer X2442USB	ManualsLib — Full Manual · Direct PDF
Alto TrueMix 600	Official PDF v1.2 · ManualsLib
Behringer UMC202HD	Quick Start PDF · ManualsLib
Audix F6	Spec Sheet PDF · Product Page
Audix FP5 Pack	Pack Guide PDF
Xvive U4 IEM	Official Manual PDF · ManualsLib
Alto TX310	Alto Professional Support
ARZOPA E1	ARZOPA Support
Cakewalk Next	Official Manual PDF
OBS Studio	Official Wiki
ReaPlugs VST	Download Page

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2.1 Behringer X2442USB — Main Mixer

Manual: ManualsLib · Direct PDF

Premium 24-input 4/2-Bus mixer with XENYX Mic Preamps, Compressors, British EQs, 24-bit Multi-FX Processor and USB Audio Interface.

Key features used:

• 8 mono channels (Ch 1–8) with LOW CUT, GAIN, COMP, 3-band semi-parametric EQ
• Stereo channels Ch 9/10, 11/12, 13/14, 15/16
• 4 subgroups (Sub 1/2 and Sub 3/4)
• 4 Aux sends (Aux 1, 2, 3/FX, 4)
• Built-in 16-preset multi-FX processor

Manual reference: behringer.com/downloads → Audio Interfaces → UMC202HD → ASIO Driver v4.59

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2.2 Alto TrueMix 600 — Drum Sub-mixer

Manual: Official PDF v1.2 · ManualsLib

4-channel compact mixer used to sub-mix the drum kit before feeding into Ch 13/14 on the Behringer.

Channel	Source
CH1	Snare + Hi-hats (Audix F5)
CH2	Tom 2 (Audix F2)
CH3	Kick drum (Audix F6 — external placement)
CH4	Electronic drum pads (line level)

Output: MAIN OUT (stereo) → Ch 13/14 on Behringer X2442USB

Limitation: 2-band EQ only (HI and LOW shelving per channel). Shape individual drum sounds here before they are blended into the stereo output.

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2.3 Behringer UMC202HD — USB Audio Interface

Manual: Quick Start PDF · ManualsLib

Connects the Behringer Sub 3/4 stream mix to the streaming PC.

Physical connections:

Behringer Sub 3 output (TRS) → UMC202HD Input 1
Behringer Sub 4 output (TRS) → UMC202HD Input 2
UMC202HD USB                 → Streaming PC

Switch settings:

Control	Setting	Reason
LINE/INST (both inputs)	LINE	Sub 3/4 is a line level signal
PAD (both inputs)	ON — pressed in	Sub 3/4 output is hot — PAD prevents clipping
Gain knobs (both)	Matched — find sweet spot between 12 and 2 o'clock	Adjust together with Sub 3/4 fader to hit target level
Direct Monitor	Personal preference	Does not affect stream

Finding the right gain level: With PAD on, 12 o'clock is too low and 2 o'clock is too loud. The correct approach is to use the Sub 3/4 fader and UMC202HD gain together to find the sweet spot. Pull the Sub 3/4 fader down slightly (-3 to -5 dB below unity) then set UMC202HD gain to 12 o'clock and check the OBS meter. Do not adjust OBS filters to compensate for gain issues — fix the level at the hardware stage.

OBS level targets: Speech -18 to -12 dB · Singing peaks -12 to -6 dB · Nothing touching 0 dB

Stereo balance: If OBS L and R meters differ, check Sub 3 and Sub 4 faders are at exactly the same position and PAN knobs are correctly set on all active channels.

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2.4 Drum Microphones — Audix F6

Manual: F6 Spec Sheet PDF · FP5 Pack Guide PDF · Audix Product Page

The Audix F6 is a dynamic bass drum microphone confirmed for external placement on slim kicks with no port hole.

Mounting — slim kick, no port hole:

Position mic 5-10cm in front of resonant head
Angle toward where beater strikes — not dead centre
Slightly off-centre from the middle of the head

Stand: QWORK desktop stand (height 18–25cm — right range for slim kick). Place directly in front of the resonant head.

Important: The F6 has low output — when placed externally set Alto CH3 GAIN to 12–1 o'clock (higher than other channels) to get adequate signal.

XLR cable: F6 → XLR cable → Alto TrueMix 600 CH3 input

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2.5 Xvive U4 — Wireless IEM System

Manual: Official PDF · ManualsLib

Three Xvive U4 units used for in-ear monitors. The U4 operates on 2.4GHz.

Mode switch: Set transmitter switch to AUX mode — Aux sends on the Behringer are lower level than full line output. LINE mode would give a weak IEM signal.

Setup rules:

• Each unit on a different channel (A, B, C) — never two on the same channel
• Keep transmitters at least 1 metre apart physically
• Keep transmitters away from LED lighting rigs and USB connections
• Use balanced TRS cables from Aux outputs to transmitters

Aux Send	IEM Mix	Xvive Channel
Aux 1	Vocals IEM	Ch A
Aux 2	Drums IEM	Ch B
Aux 4	Keys IEM	Ch C
Aux 3	NOT used for IEM	— (keyboard floor monitor)

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2.6 Alto TX310 — Keyboard Floor Monitor

Manual: Alto Professional Support

350W active speaker with trapezoidal cabinet — sits on its side as a floor wedge pointing up at the keyboard player.

Connection:

Behringer X2442USB Aux 3 output (TRS)
→ TRS to XLR cable
→ Alto TX310 XLR input

• Set Aux 3 knob on Ch 15/16 to desired monitor level
• Keep all other channel Aux 3 knobs at zero to avoid sending unwanted signals
• Keyboard player adjusts TX310 volume and EQ themselves — no specific settings needed here
• Do not use the FX knob on channels for Aux 3 — this would send reverb into the keyboard monitor

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2.7 ARZOPA E1 — Dual Portable Monitor

Foldable dual portable monitor replacing the Koorui 15.6. Two 15.6-inch screens hinged together in one unit — ideal for weekly setup and pack away.

Specs:

Feature	Spec
Screen size	2× 15.6 inch IPS
Resolution	1080p FHD
Refresh rate	60Hz
sRGB	100%
Connectivity	USB-C · mini HDMI
Stand	Built-in adjustable kickstand

Connection (PC has DisplayPort only):

PC DisplayPort → DP to mini HDMI cable (existing)
→ ARZOPA E1 mini HDMI port → Screen 1

PC USB-A or USB-C → USB-C cable
→ ARZOPA E1 USB-C port → Screen 2 + powers unit

Screen layout:

Top screen    → OBS (stream view + audio meters) + Cakewalk Next (recording)
Bottom screen → Proclaim (projection management)

60Hz note: Passive DP to mini HDMI cable caps at 60Hz. For 120Hz you would need an Active DP to HDMI 2.0 adapter (~£20) or DP to USB-C cable (~£12). For OBS and Cakewalk Next, 60Hz is perfectly adequate.

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3. Mixer Settings — Behringer X2442USB

3.1 Channel Assignments and Routing

Channel	Source	Subgroup	Notes
Ch 1	Talking	Sub 1/2 + Sub 3/4	LOW CUT on
Ch 2	Lead vocal	Sub 1/2 + Sub 3/4	LOW CUT on
Ch 3–5	Backup vocals	Sub 1/2 + Sub 3/4	Pan L/C/R · LOW CUT on
Ch 6	Saxophone	Sub 1/2 + Sub 3/4	LOW CUT on · line level input
Ch 7–10	Unused	—	Muted · faders down
Ch 11/12	PC audio (backing tracks)	Main Mix + Sub 3/4	Line level · all 4 Aux sends available
Ch 13/14	Drums (from Alto)	Main Mix + Sub 3/4	LOW CUT off — removes kick body
Ch 15/16	Keyboard (DI box)	Main Mix + Sub 3/4	LOW CUT off — keys need low end

PC audio (Ch 11/12) settings: LINE GAIN 7–9 o'clock · EQ flat · FX knob at zero · BAL centred · SUB 3-4 and MAIN buttons pressed. Use Aux 1, 2 and 4 send knobs on Ch 11/12 to control how much PC audio each performer hears in their IEM independently.

3.2 Subgroup Routing

Subgroup	Purpose	SUB TO MAIN	Notes
Sub 1/2	House / FOH mix	On	Vocals Ch 1–6 only — controls PA independently
Sub 3/4	Stream mix	Off	All channels — feeds UMC202HD only

How they work together: Vocals (Ch 1–6) are assigned to Sub 1/2 AND Sub 3/4. Instruments (Ch 13/14 drums and Ch 15/16 keys) go to Main Mix directly and Sub 3/4 — they bypass Sub 1/2. This means drums and keys always appear in the house mix at the level set by their individual faders, while Sub 1/2 gives you group control of vocals only.

3.3 Baseline Gain Staging

Set gain before touching EQ or faders. This is your starting point every service.

Channel	Gain Position	Meter Target
Ch 1 Talking	9–11 o'clock	-18dB when speaking normally
Ch 2 Lead vocal	10–12 o'clock	-12dB on loud notes
Ch 3–5 Backups	10–12 o'clock	-18dB when singing
Ch 6 Saxophone	9–10 o'clock	-12dB on loud notes
Ch 11/12 PC audio	7–9 o'clock	-14dB average — line level signal
Ch 13/14 Drums	9–10 o'clock	-12dB on loud hits
Ch 15/16 Keys	7–9 o'clock	-14dB average — line level is hot

Golden rule: Gain first → faders at unity (0dB mark) → adjust faders for balance. Never compensate for bad gain with faders.

3.4 Compression Per Channel

The X2442USB has a one-knob COMP compressor on every mono channel below the GAIN knob. Turning clockwise adds more compression.

Channel	COMP Setting	Reason
Ch 1 Talking	9 o'clock	Light — evens speech dynamics
Ch 2 Lead vocal	10–11 o'clock	Most compression — widest dynamic range
Ch 3–5 Backups	9–10 o'clock	Moderate — keeps backups consistent
Ch 6 Saxophone	10 o'clock	Sax has wide dynamic range
Ch 11/12 PC audio	Minimum — off	Backing tracks are already mastered
Ch 13/14 Drums	Minimum — off	Handled at Alto stage
Ch 15/16 Keys	Minimum — off	DI signal is already consistent

Less is more: If sound feels flat or lifeless, back off the COMP. Future upgrade: Behringer MDX1600 (~$60) on the Sub 1/2 insert for dedicated vocal bus compression.

3.5 EQ Settings Per Channel

LOW CUT button: The button next to the GAIN knob on mono channels is the HPF (75Hz, 18dB/octave). Press in to activate — confirmed in X2442USB manual.

Ch 1 — Talking / Speech

Control	Setting	Reason
LOW CUT	ON	Removes handling noise and stand rumble
Low	Cut to 9 o'clock	Extra low end reduction for speech clarity
Low mid	-2dB @ 200Hz	Reduces boominess
High mid	Neutral	Not needed for speech
High	Neutral	Not needed

Ch 2 — Lead Vocal

Control	Setting	Reason
LOW CUT	ON	Removes low end rumble
Low	Cut to 9 o'clock	Removes mud without thinning the voice
Low mid	-2dB @ 300Hz	Clears muddiness
High mid	+2dB @ 3kHz	Presence and intelligibility
High	+1dB	Adds air and brightness
Fader	3–6dB above backup vocals	Lead must sit above everything

Ch 3–5 — Backup Vocals

Control	Setting	Reason
LOW CUT	ON	HPF on all vocal channels
Low	Cut to 9–10 o'clock	Keeps low end clean across three mics
Low mid	-2dB @ 300Hz	Prevents buildup with 3 mics active
High mid	+1dB @ 3kHz	Slightly less presence than lead
High	Neutral	No extra boost needed
Pan	Ch3 left · Ch4 slight left · Ch5 right	Width without clutter
Fader	6–10dB below Ch2	Never compete with lead vocal

Ch 6 — Saxophone

Control	Setting	Reason
LOW CUT	ON	Removes stand and key noise rumble
Low	Cut to 9–10 o'clock	Removes body resonance boom
Low mid	-2dB @ 400Hz	Cuts honky midrange
High mid	+2dB @ 3kHz	Brings out bite and presence
High	+1dB	Adds brightness and definition
Fader	Slightly below lead vocal	Fills space without dominating

Ch 11/12 — PC Audio (backing tracks / playback)

Control	Setting	Reason
LOW CUT	OFF	Backing tracks need full frequency range
Low	Neutral at 12 o'clock	Keep natural low end
Low mid	Neutral	No adjustment needed
High mid	Neutral	Backing tracks are already mixed
High	Neutral	No adjustment needed
BAL knob	Centred	Even stereo spread
FX knob	Zero	No reverb on backing tracks
Aux 1 knob	To taste	Vocalist IEM level
Aux 2 knob	To taste	Drummer IEM level
Aux 4 knob	To taste	Keys IEM level
SUB 3-4	Pressed	Appears on stream
MAIN	Pressed	Appears in house mix
Fader	Set to taste	Adjust during service as needed

Ch 13/14 — Drums (from Alto TrueMix 600)

Control	Setting	Reason
LOW CUT	OFF	Would remove kick body at 75Hz — do not press
Low	Cut to 9 o'clock	Gentle low end control
Low mid	-3dB @ 200–250Hz	Cuts kick and tom boom
High mid	-2dB @ 500Hz	Reduces boxy drum sound
High	-1dB	Tames hi-hat bleed from snare mic
Fader	Unity — 0dB mark	Bring to unity for pronounced drums

Ch 15/16 — Keyboard

Control	Setting	Reason
LOW CUT	OFF	Keys need the full low end
Low	Neutral at 12 o'clock	Keep natural low end
Low mid	-2dB @ 250Hz	Prevents clash with kick drum
High mid	Neutral	Keys sit naturally here
High	Neutral	No adjustment needed
BAL knob	Centred	Ensures even stereo spread

3.6 IEM Aux Sends

Aux	Purpose	Pre/Post Fader
Aux 1	Vocals IEM — Ch A	Pre-fader
Aux 2	Drums IEM — Ch B	Pre-fader
Aux 3	Keyboard floor monitor (Alto TX310)	Post-fader
Aux 4	Keys IEM — Ch C	Pre-fader

What Pre/Post Fader means:

Pre-fader — the Aux send takes signal from the channel before the channel fader. This means the IEM mix is completely independent of what the FOH engineer does with the fader. If the front of house fader on a vocal channel is pulled down, the performer still hears themselves at full level in their IEMs. This is what performers need — they should hear a consistent monitor mix regardless of what is happening in the house.

Post-fader — the Aux send takes signal after the channel fader. If the fader goes down, the send level goes down too. Used for effects sends (so reverb tracks the channel volume) and for the keyboard monitor (Aux 3) where you want the TX310 to follow the keyboard channel level naturally.

How to set Pre-fader on the Behringer: On each channel strip look for the PRE button near the Aux 1 and 2 knobs. Press it in to activate pre-fader mode for that Aux send. Aux 3 (FX) and Aux 4 are post-fader by default unless the PRE button is pressed.

Critical: Keep FX Return Aux 3 knob at zero on every channel. This prevents reverb bleeding into Aux 3 and into the keyboard monitor and stream mix.

3.7 Internal FX Reverb Settings

Important distinction — two different FX knobs:

• FX Send knob (orange knob labelled FX on each channel strip) — sends that channel to the reverb processor. Turn these up for vocals per the table below.
• FX Return Aux 3 knob (on the Stereo Aux Returns section, right side of mixer) — routes reverb into the Aux 3 bus. Keep this at zero — otherwise reverb bleeds into the keyboard monitor (TX310).

Preset: Use 02 Room (current) or 01 Hall for a larger warmer sound. Both are suitable for live worship.

FX Send levels per channel (orange FX knob on each channel strip):

Channel	FX Send	Reason
Ch 1 Talking	Zero — fully off	Speech never has reverb
Ch 2 Lead vocal	9–10 o'clock	Subtle reverb glues vocal into mix
Ch 3–5 Backups	10–11 o'clock	Slightly more than lead — pushes them back
Ch 6 Saxophone	9–10 o'clock	Light reverb adds warmth
Ch 11/12 PC audio	Zero	Backing tracks are already mixed with reverb
Ch 13/14 Drums	Zero	Drum reverb handled at Alto stage
Ch 15/16 Keys	8–9 o'clock	Very subtle — keys have natural sustain

FX processor settings:

Setting	Value
Preset	02 Room (or 01 Hall)
Decay / time	1.0–1.5 seconds
Pre-delay	20–30ms
Return fader mix	20–30%

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4. Drum Submixer Settings — Alto TrueMix 600

4.1 Channel EQ and Gain

CH1 — Snare + Hi-hats (Audix F5)

Control	Setting	Reason
GAIN	9–10 o'clock	Two sources — reduce to avoid overload
HI	8–9 o'clock (cut)	Reduces hi-hat harshness
LOW	10 o'clock (cut)	Removes stand vibration rumble
PAN	Centre	Snare always centre

CH2 — Tom 2 (Audix F2)

Control	Setting	Reason
GAIN	11–12 o'clock	Standard mic level for tom
HI	10 o'clock (cut)	Toms don't need high frequency
LOW	12 o'clock (neutral)	Keep natural body
PAN	Slight right	Stereo placement

CH3 — Kick (Audix F6 — external)

Control	Setting	Reason
GAIN	12–1 o'clock	F6 has low output externally — needs more gain
HI	9 o'clock (cut)	Removes click/attack harshness
LOW	1–2 o'clock (boost)	Adds punch and body — critical for flat kick
PAN	Centre	Kick always dead centre

CH4 — Electronic Drum Pads (line level)

Control	Setting	Reason
GAIN	7–8 o'clock	Line level is much hotter than mic
HI	12 o'clock (neutral)	No adjustment needed
LOW	10 o'clock (cut)	Electronic pads often have artificial bass boost
PAN	Slight right	Separation from tom

4.2 MAIN OUT Level

The MAIN OUT knob controls the overall level sent to Ch 13/14 on the Behringer.

• Set to 12–1 o'clock as a starting point
• If instruments still too low — increase MAIN OUT and reduce Ch 13/14 GAIN on Behringer to compensate
• This gives the Alto more headroom with a cleaner signal

4.3 Snare + Hi-hat on Same Channel

• Position snare mic pointing at snare head angled away from hi-hat as much as possible
• Use cardioid mic — rear rejection reduces hi-hat bleed
• HI cut on CH1 is the primary tool to manage hi-hat dominance
• Accept some bleed is unavoidable — focus on getting snare level right

4.4 Adding Reverb to Drums (Step by Step)

Connect an external reverb unit via the Alto AUX Send/Return:

1. Connect AUX SEND output (rear of Alto) → input of reverb unit
2. Connect output of reverb unit → AUX RETURN input (rear of Alto)
3. Turn up RETURN VOL knob to control reverb level back into mix
4. On CH1, CH2, CH3 turn up AUX knob to send those channels to reverb
5. Keep CH4 electronic pads AUX knob low — electronic sounds unnatural with reverb
6. Start with RETURN VOL at 9 o'clock — subtle is better

Drum reverb settings:

Setting	Value
Type	Small room or plate
Decay / time	0.6–1.0 seconds
Pre-delay	15–25ms
Mix / wet level	15–20%

Reverb unit options: Behringer FX2000 (~$80) or Zoom MS-70CDR (~$100) connect well to the Alto AUX loop.

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5. Software Setup

5.1 OBS Studio

Audio source:

• Settings → Audio → Mic/Auxiliary → UMC202HD Input 1/2

Output settings:

• Settings → Output → Recording → Audio bitrate → 192kbps minimum
• Settings → Video → 1920×1080 base · 1280×720 output · 30fps
• Settings → Stream → Service: Restream.io → connect Restream account → stream to YouTube and any other platforms simultaneously via Restream dashboard

Filters — add in this exact order:

1. Noise Gate

Setting	Value
Close threshold	-48dB
Open threshold	-44dB
Attack	25ms
Hold	200ms
Release	150ms

Why -44dB: When no instruments play, speech alone may fall near the threshold. -44dB ensures speech opens the gate consistently. Fix persistent speech level issues at the mixer (Ch1 COMP and fader) not here.

2. Expander

Setting	Value
Ratio	2:1
Threshold	-45dB
Attack	5ms
Release	60ms
Output gain	0dB — do not increase

Warning: Increasing expander output gain causes clipping and widens LRA dramatically. Confirmed: +6dB on 03 May 2026 caused True Peak +0.3 dBTP and LRA 21.2 LU. Fix speech levels at the mixer.

3. VST 2.x — ReaEQ (64-bit)

Install from reaper.fm/reaplugs — must be 64-bit to match OBS.

Band	Frequency	Type	Value
1	80Hz	High pass	Cut
2	200Hz	Bell	-3dB
3	450Hz	Bell	-2dB
4	3kHz	Bell	+2dB
5	8kHz	High shelf	+1.5dB

4. VST 2.x — ReaComp (64-bit)

Setting	Value	Notes
Threshold	-24dB	Do not change — working well
Ratio	5:1	Tightens dynamic range
Attack	6ms	Lets drum transients through
Release	60ms	Natural sounding
Output gain	0dB	12 Apr recording hit -14.5 LUFS on target
Knee size	6dB	Soft knee — natural on live vocals
Auto release	Off	Manual control
Classic attack	Off
Wet	+0.0 (fully up)
Dry	-inf (fully down)

Gain reduction meter: Should move -3dB to -8dB during singing. Barely moving = threshold too high. Constantly hitting -12dB = threshold too low.

5. Limiter

Setting	Value
Threshold	-2dB
Release	60ms

Why -2dB: 03 May 2026 recording showed True Peak clipping at +0.3 dBTP. Tighter ceiling prevents this.

Background piano during the Word:

• In OBS add a Media Source to your scene
• Set to loop with volume low in OBS mixer
• Source: pixabay.com/music → search "worship piano" (free for church livestreams)
• Aim for 70–90 BPM, felt piano or soft pad texture

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5.2 Cakewalk Next

Manual: Official Manual PDF

Preferences — Edit → Preferences → Audio:

Setting	Value	Reason
Audio Driver	Windows Audio	Exclusive mode and ASIO block OBS from UMC202HD
Audio Input Device	IN 1-2 (BEHRINGER UMC 202HD 192k)	Stereo pair
Audio Output Device	OUT 1-2 (BEHRINGER UMC 202HD 192k)	Playback only — does not affect recording
Sample Rate	44100 Hz	Standard quality
Audio Buffer Size	512	~35ms latency vs 174ms at 2560
File Format	WAV	Lossless recording
File Bit Depth	24	Professional quality
Auto-Arm Tracks	ON	Track arms when selected
Suspend audio engine when app loses focus	OFF — critical	If ON, recording stops when switching to OBS
Use Multiple Cores	ON	Better performance
Stop playback if audio drops out	OFF	Prevents unnecessary interruptions

Setting up a project:

1. Open Cakewalk Next → File → New Project
2. Name: SundayWorship-DDMMMYYYY
3. Click + Insert Track → Mic/Line In
4. In Track Inspector confirm Input shows IN 1-2 (BEHRINGER UMC 202HD 192k)
5. Confirm two green meter bars (L and R) visible when audio plays — this confirms stereo

Stereo vs mono diagnosis:

Check	What to look for
Track Inspector input	Must show IN 1-2 not just IN 1 or IN 2
Track meter	Two green bars = stereo · One bar = mono
Export channels	Must be set to Stereo not Mono
WAV file properties	Right click → Properties → Details → Channels must show 2

Keyboard shortcuts:

Action	Shortcut
Drop marker	M
Play / Pause	Space
Record	R
Save	Ctrl + S
Jump to start	W
Zoom in	Ctrl + scroll wheel

Folder structure:

C:\Church Recordings\
    2026-05-24\
        SundayWorship-24May2026.cwp
        SundayWorship-24May2026-Song1.mp3

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6. Weekly Workflow

6.1 Pre-Service Checklist

• [ ] Plug in UMC202HD — confirm PC recognises it
• [ ] PAD buttons pressed on both UMC202HD inputs
• [ ] Both UMC202HD gain knobs matched at same position
• [ ] Open OBS — check audio meter moving from UMC202HD
• [ ] Open Cakewalk Next — create new dated project
• [ ] Insert Mic/Line In track — confirm Track Inspector shows IN 1-2 (stereo)
• [ ] Confirm two green meter bars visible when audio plays
• [ ] Check Xvive U4 units on separate channels A / B / C
• [ ] Unused channels 7–12 muted and faders down
• [ ] FX return Aux 3 knob at zero on all channels
• [ ] Sub 3/4 faders at same level — OBS meter hitting -12 to -6 dB during singing
• [ ] Sax fader pulled down 4–6 dB if it was loud last week
• [ ] Alto CH3 kick LOW knob at 1–2 o'clock
• [ ] Go Live on YouTube Studio → paste stream key into OBS
• [ ] Start Streaming in OBS

6.2 During Service

Streaming:

• Monitor OBS audio meter — singing peaks should sit -12 to -6 dB
• Nothing should touch 0 dB — limiter should catch peaks

Recording:

• Press M to drop a marker at the start of each worship song
• Press Record when worship starts
• Stop and restart for each new song (keeps files under 220MB)
• Press Ctrl+S to save after each song

If speech sounds low when no instruments are playing:

• Increase Ch1 COMP to 10 o'clock on Behringer
• Nudge Ch1 fader up 2–3 dB
• Do not adjust OBS expander output gain

6.3 After Service — Export and Upload

1. Go to File → Export → Audio
2. Set Channels to Stereo — check every time
3. Set Format to MP3
4. Set Bitrate to 320kbps
5. Export each song between its markers
6. Keep original WAV project file as the master — always export to MP3 for sharing

If you forgot markers — the waveform shows quiet sections (speech/silence) vs loud sections (singing/instruments). Use this visually to identify song boundaries and drop markers after the fact before exporting.

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7. Reference

7.1 Target Audio Levels

Moment	Target
Between songs / silence	Near silence — gate working
Speaking / announcements	-18dB to -12dB
Singing peaks	-12dB to -6dB
Absolute maximum	Never touch 0dB
Sub 3/4 fader average	-14dB to -16dB into OBS
Integrated loudness	-14 LUFS — YouTube normalisation target
Loudness range	7–9 LU

7.2 FX Preset Reference — Behringer X2442USB

Preset	Name	Suitable for Worship
01	Hall	✅ Larger warmer reverb
02	Room	✅ Current setting — natural, good choice
03	Plate	✅ Smooth bright reverb
04	Gated	❌ Avoid — unnatural cutoff
05	Reverse	❌ Not for live
06–07	Early Reflections / Ambience	⚠️ Very subtle only
08–09	Delay / Echo	⚠️ Use with care
10–12	Chorus / Flanger / Phaser	❌ Not suitable for vocals
13–14	Detune / Pitch Shifter	❌ Avoid
15	Delay + Reverb	⚠️ Lead vocal only
16	Chorus + Reverb	❌ Too processed

7.3 WAV File Size Reference

Format	Per song 4–5 min	Full session 27 min
44100Hz / 24-bit stereo	~40–50 MB ✅	412 MB ❌
44100Hz / 16-bit stereo	~27–34 MB ✅	275 MB ❌

Record per song not per session — stop and restart for each worship song to keep files manageable.

7.4 Saxophone Wireless — NUX B-6

The NUX B-6 is the chosen wireless system for saxophone. It mounts directly to the saxophone bell with no belt pack needed and uses 2.4GHz wireless — a significant upgrade over a generic clip-on system.

Connect the NUX B-6 receiver to Ch 6 on the Behringer as a line level input — set GAIN to 7–9 o'clock (lower than mic channels as wireless receivers output line level).

7.5 Background Piano Sources

• pixabay.com/music → search "worship piano" — all free for church livestreams
• Fred McKinnon Worship Interludes — free on YouTube, solo piano for prayer and preaching

Aim for 70–90 BPM, felt piano or soft pad texture. Add as Media Source in OBS set to loop.

7.6 Technical Notes

• ReaEQ and ReaComp must be 64-bit to match OBS 64-bit
• ReaPlugs DLL files install to C:\Program Files\VSTPlugins — OBS must point to this folder
• OBS filters save automatically with the scene — set up once and they persist
• Cakewalk Next uses Windows Audio (not ASIO) — allows OBS and Cakewalk to share UMC202HD simultaneously
• YouTube normalises all streams to -14 LUFS — deliver at this level from source
• Alto TrueMix 600 has 2-band EQ only — shape drum sounds there before they hit Ch 13/14 on the Behringer
• Kick drum: LOW CUT on Ch 13/14 of Behringer must remain OFF — it removes the 75Hz kick body