To make a 24/7 YouTube music radio stream from files in multiple folders, add the specific tracks you intend to use to one OBS VLC Video source playlist, then connect OBS to a YouTube Live broadcast. Do not assume OBS will find every file in nested folders: build and verify the playlist yourself.
The playlist controls what plays; it does not grant permission to broadcast the music, guarantee an uninterrupted stream or remove the need to check YouTube’s current requirements. The workflow below separates those questions so you can test the files, scene and live connection before leaving the channel unattended.
Check that the music is cleared for the intended use
Before arranging tracks, check the rights for every recording and composition you plan to broadcast. A track available to buy or play personally is not automatically cleared for a public livestream. Permission may need to cover online broadcasting, the territory where you are operating and the way you intend to use the recording. If the music comes from a label, distributor, library or independent artist, ask the rights owner what your permission covers and keep the answer with your project records.
YouTube says that live streams are scanned for matches to third-party content. It may show a placeholder, warn you, or interrupt or terminate a stream if identified content continues. That means a track can cause a problem during the broadcast, not only when you later review an archived video. Read YouTube’s guidance on copyright issues with live streams and check the current instructions there before relying on a particular licence.
A licence alone may not be the last step. YouTube’s guidance notes that even licensed third-party music may interrupt a live stream if the rights owner has not added your channel to its Content ID allowlist. Ask the rights owner whether the channel needs to be allowlisted, and confirm that the permission applies to the exact channel you will use. Do not treat an absence of warnings during a short test as proof that the catalogue is cleared.
Live matching and claims on an archived stream are separate issues. YouTube says Content ID claims can be made after a live stream ends if you choose to archive it. Decide whether you need a recording, and review the applicable platform guidance as well as your permissions. This is a practical check, not a guarantee of approval or a legal conclusion about your specific catalogue.
If you are building a channel around music for a particular audience, rights review belongs in the publishing workflow, alongside the playlist itself. For broader channel decisions, see the discussion of monetisation and a 24/7 livestream after joining YPP. Keep the music-rights check specific to your tracks and intended use rather than assuming that a general channel plan settles it.
Gather audio files from the folders you want to include
First decide which folders contribute tracks to this stream. You might have devotional recordings in one folder, instrumental interludes in another and seasonal selections in a third. Write down the intended set, then add the files from each source folder to a single playlist. The folders can stay where they are; what matters is that each intended file is explicitly represented in the playlist.
OBS documents support for common media types including MP3, AAC, OGG and WAV. Check the format of the actual files you have, and test any unusual or inconsistently encoded file rather than assuming its extension guarantees playback. The OBS Media Sources guide describes the available sources and formats. OBS’s native Media Source is for a single local media file; for a multi-file sequence, the VLC Video source is the documented playlist fit.
Do not rely on recursive folder import, automatic discovery of nested folders or watching folders for later additions. The documented workflow does not establish those behaviours. If you move, rename or remove a file after assembling the playlist, revisit the entry and check it again. A playlist that points to old locations may no longer play the intended track.
A simple manifest makes the selection easier to audit. Record the file name, its folder and, if useful, the intended position or category. This is especially helpful when files have similar names, when you are combining several collections, or when another person may maintain the stream. Remove duplicates and any tracks you do not have permission to include before you start building the source.
Keep the library stable once you have tested it. If the files live on removable storage or in a folder that is routinely reorganised, confirm that OBS can still reach the paths after a restart. This is a reliability check, not a requirement to buy extra hardware. The goal is to make a playlist whose entries resolve to the intended audio files when the scene runs.
Install OBS Studio and VLC
Install OBS Studio from the OBS Project’s official download page, and install VLC from its official source. The VLC Video source in OBS requires VLC to be installed. OBS also notes that when you use 64-bit OBS, you should install 64-bit VLC. If the VLC source is absent after installation, check both applications’ architecture and restart OBS before troubleshooting the playlist.
Use the official OBS Media Sources documentation as the reference for the VLC source and its controls; interface labels can change between releases. Avoid following an old screenshot as though it were a current menu map. The useful distinction is that a VLC Video source can hold a playlist, whereas an ordinary Media Source is intended for one local media file.
Once OBS opens, create a scene for the radio stream. OBS scenes combine sources in the output, so add a visual element as well as the audio source. A still image with the station name, programme identity or a simple visual can make the scene clear to viewers. The OBS Sources Guide explains how sources work together in a scene. Check YouTube’s current guidance rather than assuming a particular audio-only format is accepted.
Before connecting YouTube, check that the scene preview shows the intended image and that the audio meter responds when a track plays. A responsive meter shows that OBS is receiving audio; it does not establish that the stream is audible to viewers, so you will also verify the YouTube preview later.
Add a VLC Video source and build the playlist
In the scene, add a VLC Video source and give it a useful name, such as “Radio playlist”. Open its properties and use the playlist controls to add the files you selected from the different folders. Browse to each file or use the available multi-file selection workflow, then inspect the resulting list. Do not assume that selecting a parent folder brought in every nested file.
Add the wanted entries deliberately. If the source’s file picker makes it difficult to collect tracks from more than one location in one pass, add files from one folder and then repeat the add step for the next folder. After each pass, check the list for missing entries, duplicates and unexpected files. Your final playlist should be the union of the selected tracks, not an unverified representation of the folder tree.
There are two straightforward playback choices. With shuffle off, the playlist follows its displayed order; with shuffle on, playback is randomised. Choose based on the programme: a devotional sequence with an intended progression may need a fixed order, while a station that aims for variety may prefer shuffle. Shuffle does not create separate rotations by source folder or guarantee a balanced mix between categories.
Enable Loop Playlist if you want the VLC source to return to the beginning after it reaches the end. Looping only describes what the source does when the listed entries run out; it does not guarantee a particular total runtime or uninterrupted YouTube broadcast. If you expect to add tracks later, update the playlist and repeat the checks rather than expecting OBS to monitor the folders.
| Playlist choice | What it does | Useful when | What to verify |
|---|---|---|---|
| Fixed order, shuffle off | Plays entries in the displayed sequence | Track order or transitions matter | The list begins and ends where you intend |
| Shuffle on | Selects entries in random order | A varied sequence is preferable | The tracks are all suitable in any order |
| Loop Playlist on | Returns to the playlist after its entries finish | The source should continue repeating its set | A track plays again after the list completes |
If the order matters, review every row after adding files and arrange it before testing. For a practical example of diagnosing a playlist that changes order, the guide to fixing OBS playlist order changes during a YouTube live product stream may help you think through what to inspect. Treat that as a troubleshooting reference, not a substitute for checking the current source properties in your own OBS scene.
The playlist is a sequence of songs, not several separate audio feeds. YouTube’s ingestion documentation says a feed containing multiple audio streams should contain only one audio stream. That is a different issue from having many tracks play one after another through a single OBS audio mix. Keep one intended programme audio output and confirm that your scene is not sending separate simultaneous audio streams to YouTube.
Verify playlist order and playback
Do not judge the setup by the playlist looking populated. Start playback and listen to several entries, including files from each folder. Confirm that the title or audible content matches the file you intended, that no entry is skipped, and that the next track behaves as expected. A file can appear in a list but still fail to play if it moved, was renamed or is encoded in a way the playback setup does not handle.
For fixed order, check transitions at the points where folder collections meet. For shuffle, check that the selection is genuinely varied enough for your use and that every track remains appropriate beside the others. Shuffle is not a promise of equal representation across folders. If one folder contains a short seasonal set and another contains a large library, random order does not by itself create a balanced schedule.
Test looping by allowing the playlist to reach its end in a controlled session, or by temporarily using a short test playlist with representative files. Confirm that playback returns to the start, then restore the intended playlist and settings. Do not infer that a source has been tested simply because Loop Playlist is ticked. The control should be observed working with your actual scene and files.
Check the visual source too. The OBS preview should remain composed as intended while the music plays, without an accidental blank scene or a visual that obscures important station information. If a still image is used, verify its dimensions and legibility in the output preview. OBS’s sources documentation explains the role of scene sources, but the appropriate visual treatment depends on the channel.
Keep a copy of the selected-file manifest and note any files that needed replacement. If you later reorganise a folder, compare the playlist against that record and repeat playback checks. For channels built around repeated lessons or other structured material, the language-learning loop setup guide offers a related example of treating a sequence as programming rather than as an unreviewed pile of files.
Connect OBS to a YouTube Live broadcast
Check YouTube Studio for current channel eligibility, restrictions and access to live streaming before planning a long broadcast. The current interface and eligibility steps were not established here, so follow what Studio shows for your channel rather than relying on a remembered screen sequence. Create or select the broadcast in Studio, then configure OBS to send its output to that broadcast using the currently available connection method and stream details.
It helps to understand that YouTube distinguishes the broadcast from the incoming feed. Google’s YouTube Live Streaming API documentation describes the live stream as the audio/video feed, while a broadcast is the event associated with it. The broadcasts and streams overview also recognises 24/7 broadcasts as a use case. These API descriptions explain the concepts; they are not a promise that every channel can go live or a substitute for the current Studio and OBS interface.
Follow the current connection prompts in OBS and YouTube Studio, and take care when handling a stream key. Treat it as a credential: do not publish it in a screenshot, share it in a public document or leave it in a place other people can access. If you believe it has been exposed, use YouTube’s current controls to replace or reset it, then update OBS with the valid details.
Before going live, review the scene and the selected broadcast information together. Confirm that the correct channel and broadcast are selected, the VLC source is active, and the intended audio is reaching the OBS output. The broadcast should contain the visual scene and one programme audio feed. The playlist’s multiple entries do not mean you should send multiple separate audio streams.
A 24/7 schedule describes what you are trying to operate, not guaranteed uptime. The stream may be affected by local power, internet, software or platform conditions, and the music itself may trigger a rights-related interruption. If you are comparing ways to keep a broadcast running without leaving your own computer on, StreamNeo can remove the specific burden of running OBS locally by taking an uploaded video and carrying it as a YouTube live stream; it is YouTube-only, so check that an uploaded video workflow suits your playlist needs.
Test the stream before leaving it running
Start with a private or otherwise suitable test arrangement, following YouTube Studio’s current options and your channel’s needs. Watch the YouTube preview rather than relying only on OBS’s local preview. Confirm that the image is present, the music is audible at a reasonable level, the first intended files play and YouTube does not show a connection warning. A moving meter in OBS is not enough if the audience-side preview is silent.
Keep the test focused on the main failure points. Let at least one track transition occur, confirm the visual remains present through that transition, and observe whether the VLC source advances according to the chosen order or shuffle setting. If you are verifying loop behaviour, test that separately as described above. No particular test duration proves that a long broadcast will remain connected; it only helps catch setup errors you can observe.
Check that the output has one coherent audio programme. YouTube’s one-audio-stream ingestion note concerns the encoded feed, not how many songs appear in your playlist. If you hear overlapping audio unexpectedly, inspect the scene for duplicate VLC sources, microphone inputs or other active sound sources. Mute or remove anything that is not part of the intended mix.
Once the test is satisfactory, decide how you will respond if playback stops or YouTube reports a problem. Keep the playlist and rights records accessible, and know how to stop the broadcast from Studio. If an alert concerns copyright, do not simply restart the same material without checking the notice and the rights owner’s requirements. YouTube’s live-stream copyright guidance is the relevant starting point for understanding matching and interruption.
For a locally operated channel, account for the fact that OBS must continue running on the computer and the connection must remain available. That may be appropriate when you want direct control of the scene and playlist, but it means the machine and network are part of the operating plan. The guide on running a 24/7 stream more cheaply on a VPS or laptop can help frame that choice; compare the trade-offs for your own situation rather than assuming one arrangement suits every channel.
If you are not ready to leave the stream unattended, keep it as a supervised test and refine the playlist, audio level or visual scene.
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FAQ
Does OBS automatically add every song in nested folders?
Do not count on that. The documented VLC playlist workflow supports adding files, but does not establish recursive folder scanning or ongoing folder monitoring. Add and verify each intended file in the playlist.
Can I use files from several folders in one playlist?
Yes. Add selected files from each folder to the VLC Video source playlist, then inspect the combined list for missing items, duplicates and order. The files do not need to be moved into one folder if you maintain their paths and test playback.
Does owning a song mean I can livestream it?
No. Access to a recording for personal listening does not by itself establish permission to broadcast it. Check the rights for the recording and composition, and ask whether the channel needs Content ID allowlisting.
Does looping guarantee an uninterrupted 24/7 stream?
No. Loop Playlist returns to the beginning after the listed entries finish, but it does not guarantee a continuous broadcast or a fixed runtime. Test the loop, monitor the YouTube preview and account for rights, computer, network and platform conditions.