Stream concerts and live music with audio that actually sounds like a record.
Pro audio in from the FOH desk over SRT: drum bus, guitar bus, vocal bus, full L/R mix, not a smartphone shotgun. Multi-camera FOH + stage + crowd, live-switched by your AV operator. Distribute to your own ticketed PPV portal + YouTube + Facebook + the band's site at the same time. A real concert broadcast, not a phone in the back of the room.
Built for the music venues workflow
Broadcast-quality audio in from FOH
SRT ingest from the front-of-house desk carries the actual mix the room hears. Drum bus, guitar bus, vocal bus, full L/R. The recording sounds like a record because it is the same signal chain.
Multi-camera concert composition
FOH cam + stage cam + crowd cam + drum-cam, live-switched by your AV operator. Picture-in-picture for the guitar solo, full-stage for the chorus, crowd shot for the encore reveal.
Ticketed PPV + free public channels
Your own ticketed PPV portal carries the full HD broadcast. Free public clips go to YouTube + Facebook as the audience-building funnel. The fan who bought the ticket gets the full show; the curious fan finds the band on Reels.
Recording archive for the band
Multi-track audio + the full broadcast video land in the band’s archive automatically. Live album, music-video footage, sync-licensing reel, all from the same broadcast.
Why venues + bands pick TRaX
Most concert streams are a phone video on Instagram with awful audio because the FOH engineer never got to touch the signal. The few that try Wirecast + OBS + an external switcher hit DMCA issues on Twitch and never figured out the ticketed PPV path. TRaX brings broadcast-quality audio, real multi-camera, and a PPV-or-free distribution choice into one tool.
- SRT audio ingest direct from FOH means the broadcast sounds like the room, not a phone microphone
- Multi-camera live-switching turns a concert stream into a real production
- PPV + free output side-by-side covers ticketed fans + audience-growing reach in one show
What a concert broadcast runs at
Music is the one vertical here where audio is the product and video is the accompaniment, and the settings should say so.
- Program canvas
- 1080p60
- Stage lighting, movement and a crowd add up to high motion under difficult light. The 60-class rung at 9 Mbps is what stops a lighting chase turning into a wash of blocking.
- Audio in
- A board feed from front-of-house, over SRT
- The desk mix is the show. Carrying it alongside the video rather than taking sound from a camera in a loud room is the decision that separates a concert stream from a phone recording.
- Cameras
- Three: a locked wide and two on the performers
- The static wide covers every cut you are not ready for, which is most of them when the setlist is not in your hands and the lighting designer is improvising.
- Ticketed and free together
- One show, two audiences
- The same program can feed a paid stream and an open channel simultaneously, so a support slot can be public while the headline set stays behind a ticket.
- Archive
- Per-GB storage for the recording
- A two-hour set at 1080p60 comes to roughly 8 GB, which makes keeping the video archive of a residency a decision you can cost rather than an open-ended one.
Programs run at 1080p as standard, and up to 1440p when every destination you have enabled can accept it — the canvas is clamped to the least capable one in the set.
How a concert broadcast runs on TRaX
- 1
Pre-show signal check
FOH SRT feed, multi-camera positions (FOH, stage, crowd, drum-cam) wired in soundcheck.
- 2
Doors open
Pre-show countdown card on the canvas. AV operator at the back of the FOH booth runs the studio.
- 3
Band hits the stage
Live-switch between cameras through the set. Audio is the same mix the room hears.
- 4
Encore + archive
Multi-track recording lands in the band’s archive. PPV portal stays up for re-watches; YouTube clip cuts are ready by the end of the night.
What a venue or promoter has to sort out first
Music has the hardest rights position of any vertical on this site, and pretending otherwise helps nobody.
Delivery is H.264, so specify the uplink for H.264 rates
There is no HEVC path to delivery today, which for high-motion, high-contrast stage footage means budgeting the full 9 Mbps for a 1080p60 program rather than the lower figure a more modern codec would need. Get that written into the venue’s connectivity spec before load-in, not during soundcheck.
Performance rights are cleared per platform, by you
Streaming a live performance engages both publishing and recording rights, and every platform enforces them differently through its own automated detection. Who is clearing the set belongs in the booking conversation with the artist and their agent, well before it becomes a production question.
The artist may have sold those rights already
Labels and agents frequently hold exclusivity over live broadcast, territory and archive use, and a venue that streams a show without checking can put the artist in breach of an agreement it has never seen. Confirm in writing what you may broadcast, where, and for how long it may stay up.