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Something that hasn't been mentioned yet that I found to be the best aspect of streaming shows is that it's a very nice way to talent scout for new acts as a promoter. I have a hard time keeping up with all the new artists on the scene and even known artists new material. It's nice to be able to see someone perform in a low stress setting to get a feel for their stage presence etc.

I know one or two people who would disagree with this statement

Sure. That is one option of many. In my opinion not the most elegant solution, but a solution none the less. As I said, a good idea is to think about what works in broadcasting live events via traditional media and build on that. I understand that people are trying to bootstrap these types of events with zero budget but I think even your suggestion can be built upon and expanded for zero dollars.

I'm not going to tell people how to do it because as noted I have been working on ideas of my own with the local crew for sometime and don't want to spoil anything.

It's just about effort.

As people have mentioned all you need to do is replicate a format that exists in traditional media. It's the main reason Soundbytes hasn't video streamed many events. If you can't elevate the stream to a standard that you'd be excited to watch (not just, "oh... cool... a video stream. I guess it might be worth a watch") then it's probably not worth doing. In that case we generally just stream audio.

I think the main thing lacking, that could easily solve many short comings, would be to have a stream host or an HQ to cut back to between sets. I have a shit load of ideas and suggestions on how to make it awesome but I think I'll save those for myself to use when we're going to properly launch a Soundbytes stream worthy of everyone's attention.

InactiveX is on the money. You master for a medium.

Vinyl mastering for example consists  of a several preventative measures, as well as the standard mastering steps, for the protection of the cutting head (such as ensuring the lower notes are in phase).

Sure, you can do more dramatic changes during the mastering process for "wow" factor and many mastering engineers have made their careers out of having a very distinct aural fingerprint that is represented in their masters. Really though most of the things mentioned (reverb, comp, stereo expansion/widening) can and probably should be done during the mixing stage if you feel it is part of the artistic expression in your work, even if you apply these effects to the entire tune (on the master channel, just to confuse people more).

Feel free to disagree, correct or debate the points I've made. I'd be very quick to suggest that I probably have less experience than most on this board when it comes to this subject. I have however been involved in the mastering process of several releases across multiple genres and the above have been my impressions.

Rrussellian got it in one. You win the thread.

LOL Riff Raff! This is too good.

Was so much fun. Wish I could do it again next year :-(

R.I.P Blip Festival