Hannah Chamas — worship audio A/B

One sample clip, two audio treatments, identical video. May 17 2026, “How Great Is Our God”.

Switching keeps your place in the clip. Headphones or a real speaker shows the difference best.

What changed, measured

Measure	Unedited	Edited	Why it matters
Stereo width (side/mid)	0.015	0.25	The stream is a mono board feed. Now it has a real image.
L/R correlation	1.000	0.89	Wide, but still safe on a phone speaker.
Mono-sum loss	0.0 dB	−0.25 dB	Almost nothing lost when a phone plays it in mono.
Loudness	−12.2 LUFS	−13.5 LUFS	Both matched so you judge quality, not volume.
Body (60–120 Hz)	—	+2.3 dB	Weight the board feed never had.
Boxiness (250–500 Hz)	—	−2.2 dB	Removes the “inside a box” sound.
Presence (2–4 kHz)	—	+1.9 dB	Vocals sit forward and intelligible.
Air (12 kHz+)	—	+5.3 dB	The stream rolls off hard above 11 kHz; harmonics restore it.

The mix is split into vocals, drums, bass and instruments so each gets its own treatment.
Lead and background vocals arrive as one stack, so the whole stack is treated as a vocal bus: de-essed, de-boxed, presence and air added, compressed twice, lightly saturated.
Background vocals are opened out around a centred lead using a decorrelated plate return, never a delay trick that would collapse on phone speakers.
Drums get transient shaping and parallel compression; bass gets weight and stays mono; instruments get width and room.
A synthesised hall puts the whole thing in a believable room, then the master is glued, widened and limited to a streaming-safe level.

This is 1 sample clip of a planned 15, shared early so the audio direction can be judged before the rest are built.
Hannah confirmed as worship lead in 4 services of the last four months: May 17, Jun 7, Jun 14, Jun 21.
Two other fair-haired singers lead on other Sundays and were ruled out by face matching, not by eye.
Final delivery is two links: one unedited set, one edited set.