For a 24/7 YouTube music stream, keep OBS audio processing minimal: adjust source gain only when needed, add a compressor only to control peaks, avoid gates and noise suppression on clean music, and put any limiter last. Test the chain on quiet passages, loud sections, and fades, then listen to the actual YouTube playback. A filter preset cannot guarantee continuous uptime; the computer, network, source, and ongoing monitoring matter too.
Set up the music source before adding filters
- Find the source carrying the music. In OBS, open the audio source’s Filters dialog. Apply processing to that source rather than indiscriminately changing a global device or the whole scene, which could affect unrelated audio. OBS documents filters for sources and audio devices in its Filters Guide.
- Play representative material. Include a quiet intro or passage, a loud chorus or transient, and a fade. Watch the OBS mixer meters and listen to the routed output. Meter peaks alone do not tell you whether the result sounds natural.
- Correct level at the source first. If the music is simply too quiet or too hot, use the OBS Gain filter or adjust the source level. A limiter is a maximum-output safeguard, not a substitute for setting a sensible input level.
- Add only processing that solves an audible problem. Make one change at a time and listen again to the same sections. Keep a record of the original settings so you can revert a change that damages quiet detail or dynamics.
OBS’s overview recommends testing settings before a first live stream. The filter guidance is useful for choosing an order and understanding controls; it does not prescribe a universal music-radio preset.
What each OBS audio filter does to music
Gain: correct the level, not the dynamics
Gain changes the signal level. Use it when the source level needs correction, then recheck both quiet and loud passages. Raising gain does not make a quiet mix more consistent without also bringing up peaks; lowering it does not repair a poorly balanced source.
Compressor: control peaks when they are a problem
A compressor reduces levels above its threshold. It can help tame occasional loud peaks, but too much compression can make music sound flattened or cause audible pumping. OBS says a compressor generally belongs near the beginning of the filter chain; its Compressor Filter guide describes the controls, not a recommended music preset.
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OBS displays a default ratio of 10:1 and threshold of -18 dB in that guide. Those are software defaults, not targets for every music stream. Choose settings by listening to the particular source rather than copying voice-oriented values.
Expander and Noise Gate: be cautious with quiet material
An expander or gate reduces low-level sound. That may be useful if a feed has audible noise, but it can also suppress quiet notes, reverb tails, ambience, intros, or fades. OBS describes the expander as more adjustable and potentially smoother than a gate, which acts more abruptly. If a music source is clean, leave both off.
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When an expander is genuinely needed, OBS recommends placing it after compression or other effects and before a limiter. See the Expander Filter guidance. A Noise Gate’s familiar use—cutting background sound while someone is not talking—is not automatically appropriate for continuous music.
Noise Suppression: use only for actual background noise
OBS describes Noise Suppression as a way to reduce mild background or white noise, such as computer fan noise; it is generally ineffective against loud room noise. That is a reason to use it on a noisy capture, not as a routine effect on clean digital music. Suppression can alter audio. OBS describes RNNoise as higher quality but more CPU-intensive than Speex; stronger Speex suppression can distort other audio. Details are in the Noise Suppression Filter guide.
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Limiter: final peak protection
A limiter constrains peaks that exceed its threshold. OBS says it should be the last filter in the chain and warns that peaks above 0 dB can risk clipping or distortion. Its displayed default threshold is -6 dB, a software default—not a universal loudness target or a required ceiling for every program. Use a conservative ceiling appropriate to the content and downstream path, then listen for audible limiting. See OBS’s Limiter Filter guide.
A cautious filter order
If a source needs occasional peak control, use this as a possible order, not a preset:
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Gain (if needed) → Compressor (if needed) → Expander only for demonstrated low-level noise (usually omit for music) → Limiter (last).
The compressor’s position near the beginning and the expander’s position before the limiter follow OBS’s filter guidance. The filters are optional: a clean source that already has controlled peaks may need none.
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Set YouTube audio delivery separately from OBS filters
Filters shape the audio; encoder settings determine how it is delivered. Google’s Choose live encoder settings, bitrates, and resolutions guidance lists stereo live audio at 44.1 kHz and 128 kbps, using AAC or MP3 for RTMP/RTMPS. For 5.1 audio it lists 48 kHz and 384 kbps; that is not the usual target for a stereo music-radio stream. These are YouTube delivery recommendations, not filter settings or a loudness standard.
YouTube’s page publication date is not stated. It does not establish an integrated loudness target, a true-peak target, or a filter recipe that guarantees uninterrupted broadcasting.
Test the actual live output and monitor it
- Use a private or unlisted test stream when appropriate, and follow YouTube’s current live-stream setup and visibility options.
- Listen to the YouTube playback, not only OBS’s local monitoring. Check the same quiet passages, loud sections, and transitions you used while tuning.
- Watch OBS meters and YouTube’s stream-health messages. YouTube’s Live streaming tips advise creators to “Continuously monitor streams for audio and video quality.”
- Recheck after changing a source, playlist, or filter. A different recording may have different levels and dynamics, so one setting may not suit every track.
Continuous operation also depends on the computer, network, source or playlist reliability, stream configuration, and monitoring. The filter and encoder guidance does not establish a particular 24/7 failover method or promise uninterrupted uptime.
Voice-stream features that usually do not belong on a music-only feed
- Noise Gate: designed to reduce low-level sound, often when a speaker is not talking. It can close between quiet notes or during a fade.
- Compressor sidechain or ducking: can lower desktop audio while a microphone is active. For a music-only stream there is no competing voice to prioritize; it matters only if you intentionally add a host microphone.
- Noise Suppression: useful to consider for real capture noise, not automatically for a clean digital music source.
These distinctions follow OBS’s filter guidance and individual filter descriptions. Music’s quiet details and transitions make voice-oriented defaults particularly risky to apply without listening.
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| What you hear | Likely cause | What to check |
|---|---|---|
| Quiet notes or reverb tails disappear | A gate or expander is reducing low-level material too aggressively. | Disable it and compare the passage. If noise is the reason for using it, adjust cautiously and preserve fades and tails. |
| Music pumps, sounds flattened, or loses dynamics | Compression is acting too strongly or too often. | Reduce the amount of compression or remove it, then compare loud and quiet sections. Do not treat OBS’s displayed compressor defaults as a music preset. |
| Peaks sound distorted | The source may be too hot, or peaks may exceed the output path’s usable level. | Check source gain and OBS meters. A limiter can guard peaks when correctly placed last, but it does not repair distortion already present in the source. |
| Music sounds muffled, watery, or otherwise altered | Noise suppression may be processing clean audio or using strong suppression. | Turn suppression off for a clean digital feed. For genuine mild noise, compare available methods and listen for artifacts. |
| The stream sounds different from the OBS preview | The YouTube delivery encode or playback path may differ from local monitoring. | Listen to the actual YouTube test playback and confirm the audio encoder settings and stream-health messages. |
| The broadcast stops or loses connection | A filter setting does not diagnose continuity failures; the computer, network, source, or stream configuration may be involved. | Check OBS and YouTube stream-health information and the stability of the system and connection. Filter guidance alone does not provide a verified failover recipe. |
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