Church Streaming & Recording Setup

Running a service today? The step-by-step Sunday run — before, during and after — is on the Weekly Service Checklist. This page is the reference behind it: what each setting is and why.

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1. Overview

Signal Chains

Live Stream

Instruments → Behringer X2442USB → Sub 3/4 → UMC202HD → OBS → Restream → 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 → Xvive U4 (Ch A/B) → In-ear Monitors

Keyboard Wedge

Behringer X2442USB → Aux 4 → Alto TX310 floor wedge

Audio Workflow Diagrams

The signal path is split into three stages. Click any diagram to open it full screen.

Stage 1 — Inputs into the mixers

Stage 2 — Mixer outputs: house, monitors and stream feed

Stage 3 — Streaming PC to delivery

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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 F9	Product Page · ManualsLib
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

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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.

Driver download: behringer.com/downloads → Audio Interfaces → UMC202HD → ASIO Driver v4.59. Install the package so Windows sees the interface — but note that Cakewalk is set to Windows Audio, not ASIO, so that OBS and Cakewalk can share the interface at the same time. See 5.2.

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 Conga Microphone — Audix F9

Manual: Audix Product Page · ManualsLib

Small-diaphragm condenser microphone chosen for its extended high frequency response (40Hz–20kHz) and detailed reproduction of conga slap tones — richer and more natural than a dynamic mic for hand percussion.

Stand: Lemxadd Tripod Mic Stand Floor Boom Arm — tapered tube construction (25mm/22mm/19mm) reduces shake, includes cable ties to keep the XLR cable tidy.

Connection:

Audix F9 → Lemxadd tripod boom stand positioned beside conga
→ XLR cable → Behringer Ch 11/12 MIC input (L)
→ +48V phantom power required

Important: The F9 requires phantom power (12–48V). Switching +48V on the Behringer activates phantom power across all XLR inputs simultaneously — safe for the existing dynamic mics on Ch 1–6 provided they are wired balanced (standard for quality dynamic mics).

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2.6 Xvive U4 — Wireless IEM System

Manual: Official PDF · ManualsLib

Two Xvive U4 units are in use for in-ear monitors. The U4 operates on 2.4GHz.

A third unit is owned but not currently in service — every aux send is already spoken for, so there is nothing left to feed it. The keyboard player uses the Alto TX310 floor wedge on Aux 4 instead of in-ears. See 3.6.

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) — 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	Feeds	Xvive Channel
Aux 1	Vocals IEM	Ch A
Aux 2	Drums IEM	Ch B
Aux 3	Internal reverb — FX send, nothing patched out	—
Aux 4	Alto TX310 keyboard wedge	—

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2.7 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 4 output (TRS)
→ TRS to XLR cable
→ Alto TX310 XLR input

• Set the Aux 4 knob on Ch 15/16 to desired monitor level
• Keep all other channel Aux 4 knobs at zero to avoid sending unwanted signals
• Keyboard player adjusts TX310 volume and EQ themselves — no specific settings needed here
• Aux 4 is post-fader and cannot be switched, so the wedge level follows the Ch 15/16 fader. Moving that fader for the house also moves what the keyboard player hears
• The FX knob is Aux 3, a different send that goes only to the internal reverb — it does not reach this monitor

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2.8 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 7–8	Unused	—	Muted · faders down
Ch 9/10	PC audio (backing tracks)	Main Mix + Sub 3/4	Line level · all 4 Aux sends available
Ch 11/12	Conga (Audix F9)	Main Mix + Sub 3/4	Condenser mic · needs +48V phantom power
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 9/10) settings: LINE GAIN 7–9 o'clock · EQ flat · FX knob at zero · BAL centred · SUB 3-4 and MAIN buttons pressed. Use the Aux 1, 2 and 4 send knobs to set how much PC audio reaches each monitor independently — Aux 1 the vocals IEM, Aux 2 the drums IEM, Aux 4 the keyboard wedge.

Conga (Ch 11/12) settings: Audix F9 condenser mic plugged into the MIC input (L) of Ch 11/12 — operates in mono via that channel strip. Mounted on Lemxadd tripod boom floor stand. Requires +48V phantom power — this switch activates phantom power across all XLR inputs on the mixer simultaneously. All existing dynamic mics (Ch 1–6) remain safe with phantom power on, provided they are wired balanced (standard for quality dynamic mics).

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

The rule: vocals go to Sub 1/2 + Sub 3/4. Everything else goes to Main Mix + Sub 3/4.

How they work together: Vocals (Ch 1–6) are assigned to Sub 1/2 AND Sub 3/4. Everything else — PC audio (Ch 9/10), conga (Ch 11/12), drums (Ch 13/14) and keys (Ch 15/16) — goes to Main Mix directly and Sub 3/4, bypassing Sub 1/2. This means the instruments always appear in the house mix at the level set by their individual faders, while Sub 1/2 gives you group control of the vocals only. Sub 3/4 carries everything, because it is the stream feed.

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 9/10 PC audio	7–9 o'clock	-14dB average — line level signal
Ch 11/12 Conga	9–10 o'clock	-14dB on loud slaps — condenser is more sensitive than dynamic
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 (Ch 1–8) below the GAIN knob. Turning clockwise adds more compression.

Note: Stereo channels (9/10, 11/12, 13/14, 15/16) do not have a COMP knob — this includes the PC audio channel (9/10) and the conga (11/12). Compression on these sources is not available at the mixer stage.

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

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 beside the GAIN knob is a high pass filter (75 Hz, 18 dB/octave). Press it in to activate. Confirmed present on the mono channels (Ch 1–8) and on Ch 11/12, the conga channel — so the conga setting below is usable. Note that Ch 11/12 has LOW CUT but no COMP knob, which is why it appears in the EQ tables but not the compression table.

The mono and stereo channels have different EQ sections. Mono channels (Ch 1–8) have a 3-band EQ — LOW (80 Hz shelf), MID, and HIGH (12 kHz shelf), each ±15 dB — with a separate FREQ knob that aims the MID band anywhere between 100 Hz and 8 kHz. There is only one mid band, so each mono channel gets one mid job: either cut mud or add presence, never both. Stereo channels (Ch 9/10 and up) have a 4-band EQ at fixed frequencies with no FREQ knob.

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
MID FREQ	200 Hz	Aims the mid band at the boom
MID	−2 dB	Reduces boominess
HIGH	Neutral	Not needed for speech

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
MID FREQ	3 kHz	Aims the mid band at the presence region
MID	+2 dB	Presence and intelligibility
HIGH	+1 dB	Adds air and brightness
Fader	3–6 dB above backup vocals	Lead must sit above everything

Why presence and not a mud cut: with only one mid band you have to choose. LOW CUT plus the LOW knob already deal with the low end here, so the mid is better spent on intelligibility. If the room is boomy and the lead still sounds muddy, swap it — FREQ to 300 Hz, MID to −2 dB — and accept a less forward vocal.

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
MID FREQ	300 Hz	Aims the mid band at the buildup
MID	−2 dB	Prevents buildup with 3 mics active
HIGH	Neutral	No extra boost needed
Pan	Ch3 left · Ch4 slight left · Ch5 right	Width without clutter
Fader	6–10 dB below Ch2	Never compete with lead vocal

Why a mud cut and not presence: the opposite choice to the lead vocal, deliberately. Three open mics stack up around 300 Hz, and holding presence back is what keeps the backups sitting behind the lead.

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
MID FREQ	400 Hz	Aims the mid band at the honk
MID	−2 dB	Cuts honky midrange
HIGH	+1 dB	Adds brightness and definition
Fader	Slightly below lead vocal	Fills space without dominating

Why the honk cut: honkiness around 400 Hz is the usual complaint with a close-miked sax, and the HIGH shelf already supplies brightness. If the sax sounds dull rather than honky, move FREQ to 3 kHz and MID to +2 dB for bite instead.

Ch 9/10 — 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	Keyboard wedge (TX310) level
SUB 3-4	Pressed	Appears on stream
MAIN	Pressed	Appears in house mix
Fader	Set to taste	Adjust during service as needed

Ch 11/12 — Conga (Audix F9)

Control	Setting	Reason
LOW CUT	ON	Removes handling and stand noise
MIC GAIN	9–10 o'clock	Condenser is sensitive — needs less gain than a dynamic mic
Low	Neutral	F9 already extends naturally to 40Hz
Low mid	−1 dB	Slight mud reduction
High mid	+1 dB	Enhances slap definition
High	Neutral to +1dB	F9 has natural 8kHz shimmer — don't overdo
Aux 1 knob	To taste	Vocalist IEM — hear conga
Aux 2 knob	To taste	Drummer IEM — hear conga
FX knob	9 o'clock	Light reverb matches rest of mix
Fader	Blend to taste	Sits under the rest of the percussion

Phantom power: Switch +48V ON for the F9 to operate. Confirm all dynamic mics in use (Ch 1–6) are balanced wiring — standard for quality dynamic mics — before switching on.

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	−3 dB	Cuts kick and tom boom
High mid	−2 dB	Reduces boxy drum sound
High	−1 dB	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	−2 dB	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 Aux Send Routing

The X2442USB has four aux sends, but only two of them can be switched to pre-fader — the other two are permanently post-fader. That limit shapes the whole monitoring setup.

Aux	Purpose	Pre/Post Fader
Aux 1	Vocals IEM — Xvive Ch A	Pre-fader — switchable, set to pre
Aux 2	Drums IEM — Xvive Ch B	Pre-fader — switchable, set to pre
Aux 3	Internal reverb — the FX send	Post-fader, fixed
Aux 4	Alto TX310 keyboard wedge	Post-fader, fixed

The two in-ear mixes sit on the two sends that can go pre-fader, which is the right way round — the performers who need a monitor mix that ignores the house get one.

The keyboard wedge on Aux 4 cannot. It is permanently post-fader, so the wedge follows the channel faders: pull Ch 15/16 down for the house and the keyboard player hears less of themselves too. There is no switch for this. If it becomes a problem, the wedge would have to swap onto Aux 1 or 2 at the cost of one of the in-ear mixes.

All four sends are in use. Adding a third in-ear mix would need a send that does not exist — the spare Xvive U4 has nothing to feed it.

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: Look for the PRE button beside the Aux 1 and 2 knobs and press it in. Note that the single button covers both Aux 1 and Aux 2 together — you cannot have Aux 1 pre-fader and Aux 2 post-fader on the same channel. Aux 3 and Aux 4 have no such switch and are always post-fader.

Critical: Keep the FX Return to Aux 3 knob at zero. This is one knob in the Stereo Aux Returns section on the right of the mixer — not a per-channel control. Aux 3 is the FX send, so routing the reverb return back into it feeds the processor its own output.

3.7 Internal FX Reverb Settings

Aux 3 is the FX send. The FX marking on the channel strip sits inside the AUX block against the Aux 3 knob — it is an aux send, not a separate bus. Nothing is patched into the Aux 3 output jack, so that send feeds the internal reverb processor only. This is why the FX levels below are safe to use: they reach the reverb and nothing else.

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 to Aux 3 knob (Stereo Aux Returns section, right side of the mixer) — routes the reverb return back into the Aux 3 bus. Keep this at zero. Aux 3 is the FX send, so this would feed the reverb processor its own output.

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 9/10 PC audio	Zero	Backing tracks are already mixed with reverb
Ch 11/12 Conga	9 o'clock	Light reverb matches rest of percussion
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 → Stream → Service: Restream.io → connect Restream account → stream to YouTube and any other platforms simultaneously via Restream dashboard

Video settings are not here. Resolution, frame rate, encoder and video bitrate live in the Streaming Setup guide so there is one source of truth for them.

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. Reference

6.1 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

6.2 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

6.3 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.

6.4 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).

6.5 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.

6.6 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