The Penn Group 
If your live stream doesn’t sound as good as you’d like, the problem usually isn’t your camera, your internet, or your budget. In most cases, the biggest improvements come from how audio is routed, processed, and controlled.
Below are three changes you can make today—using the gear and software you already have—that will dramatically improve clarity, consistency, and professionalism in your live stream.
1. Apply Limiting Compression With an Infinite Ratio
One of the most common live‑stream problems is inconsistent volume. A quiet speaker followed by a loud singer or band can force viewers to constantly adjust their volume—or worse, click away.
The Fix
Add a limiter (or compressor set as a limiter) on your live stream output.
How to Set It
- Ratio: ∞:1 (infinite)
- Threshold: Just below your digital clipping point (typically ‑1 to ‑3 dBFS)
- Attack: Fast
- Release: Medium to slow (avoid pumping)
At an infinite ratio, the signal cannot exceed the threshold. This protects your stream from:
- Sudden shouts or applause
- Musical peaks
- Accidental mic bumps
Why It Works
A limiter acts as a safety net, not a tone shaper. You’re not crushing dynamics—you’re preventing digital distortion and keeping levels consistent for online viewers.
Pro Tip: If you already have compression happening upstream, the limiter should only engage occasionally. If it’s working constantly, try adding more compression on individual channels
2. Stop Using a Separate Aux Mix—Tie the Stream to the FOH Stereo Buss
Many teams create a separate aux mix for streaming, thinking it gives them more control. In reality, it often creates more problems than it solves.
The Problem With a Dedicated Stream Aux
- Mix decisions drift away from what’s actually happening in the room
- Changes made for the congregation aren’t reflected online
- Volunteers forget to adjust the stream mix during transitions
The result? A stream that sounds disconnected, unbalanced, or unfinished.
The Better Approach
Route your live stream from the FOH stereo buss.
This ensures:
- The stream hears what the room hears
- Balance decisions translate naturally
- Fewer things to manage during a service
How to Do It Right
- Use the FOH L/R as the source
- Add separate processing for the stream (EQ, compression, limiting)
- Avoid sending the raw FOH output directly to the encoder without processing
Why It Works
FOH engineers already spend their energy making the main mix sound good. Tying the stream to that buss keeps everything aligned while still allowing online‑specific polish.
3. Fix EQ, Compression, and Basic Processing on Every Input Channel
No amount of master‑buss processing can fix bad source tones. If your inputs are muddy, harsh, or uncontrolled, the stream will suffer.
Start at the Source
For every channel, apply these basics:
EQ
- High‑pass filter everything that doesn’t need low end
- Remove obvious mud (often 200–400 Hz)
- Tame harshness (2–5 kHz) before boosting anything
Compression
- Use light to moderate compression
- Aim for consistency, not loudness
- Typical starting point:
- Ratio: 3:1–4:1
- Attack: Medium
- Release: Medium
Gain Structure
- Set preamp gain correctly first
- Avoid relying on faders to fix level problems
Why This Matters for Streaming
Streaming magnifies problems:
- Mud builds up faster
- Harsh frequencies fatigue listeners
- Inconsistent dynamics feel amateur
Clean, controlled inputs stack together better—resulting in a clearer, more professional stream with less effort downstream.
Console‑Specific Examples
Below are quick, practical examples for three of the most common live‑sound consoles. These settings are not magic presets—but they will get you 90% of the way there quickly.
Behringer / Midas X32
Infinite Ratio Limiting (Stream Output)
- Route your stream from Main L/R
- Go to Routing → Card Out (or XLR Out, depending on your setup)
- Insert a Bus or Matrix fed by Main L/R for streaming
- On that bus:
- Open Dynamics
- Set Compressor Ratio: 100:1 (X32’s equivalent of infinite)
- Threshold: ‑3 dB
- Attack: 0–1 ms
- Release: 300–600 ms
FOH → Stream Routing
- Use Main L/R as the source
- Apply stream‑specific processing on a Matrix rather than the mains
Channel Processing Basics
- Engage HPF on all vocal and instrument channels
- Use channel EQ to remove 250–400 Hz mud
- Light compression:
- Ratio: 3:1–4:1
- Gain reduction: 3–6 dB on peaks
Allen & Heath (SQ / dLive)
Infinite Ratio Limiting (Stream Output)
- Route stream from Main LR into a Matrix
- Insert Compressor on the Matrix
- Set:
- Ratio: ∞ (Allen & Heath supports true infinite ratio)
- Threshold: ‑2 to ‑3 dBFS
- Attack: Fast
- Release: Medium
FOH → Stream Routing
- Feed the stream encoder from a Matrix, not a separate mix
- This keeps FOH decisions consistent while allowing stream‑only polish
Channel Processing Basics
- Use HPF aggressively—A&H filters sound very clean
- Subtractive EQ before boosting
- Use Peak Reduction rather than heavy RMS compression for vocals
Yamaha (QL / CL / TF)
Infinite Ratio Limiting (Stream Output)
- Route stream from Stereo L/R to a Matrix
- Insert Dynamics 2 on the Matrix
- Set:
- Ratio: 20:1 or higher (Yamaha does not label ∞, but this functions as a limiter)
- Threshold: ‑3 dB
- Attack: Fast
- Release: 400–800 ms
FOH → Stream Routing
- Use Matrix sourced from Stereo L/R
- Avoid mixing the stream from a separate Mix bus unless absolutely necessary
Channel Processing Basics
- Always engage HPF first
- Use Yamaha’s EQ graph to visually identify buildup areas
- Use moderate compression—Yamaha dynamics are very transparent
Final Thoughts
You don’t need new gear to improve your live stream. You need:
- A limiter with an infinite (or near‑infinite) ratio to protect levels
- Proper routing that keeps FOH and stream aligned
- Solid channel processing that starts at the source
Make these three changes, and your live stream will instantly sound more polished, more consistent, and more enjoyable—without spending a single dollar.
