The Society of Broadcast Engineers has launched its annual membership drive, with the theme “Shape the Future.”
It’s urging current members to encourage colleagues to join the society. Last year the campaign recruited 49 people.
The campaign runs to the end of May.
“As a recruiting incentive to members, the SBE asks for prize donations from SBE sustaining member companies,” it said in the announcement.
“In addition, the recruiter will earn $5 per new member (up to $25) off his or her 2027 membership dues.”
Several SBE Sustaining Member companies plus the society itself are providing prizes including shirts, hats and broadcast equipment. Those are include BSW, Dielectric, GatesAir, Heartland Video Systems, LBA Group, SCMS, Telos Alliance and Time Base Consoles.
The SBE donates logo items, a copy of CertPreview and a free Webinars by SBE registration.
The society’s current membership across radio and TV is approximately 4,000 members in 117 chapters in the United States, Hong Kong and Eastern Europe. There are members in more than 25 other countries.
Radio World’s ebook series turns to the important topic of site remote control, monitoring and RF facility management.
As we’ve documented, broadcasters increasingly are streamlining the studio side of their operations. More functions are in software. And distribution technologies have become more sophisticated.
But what does this mean for the traditional station remote control function? How are broadcasters monitoring their operations now? What capabilities do today’s powerful network management systems offer? What role are third-party service providers playing?
We explore this topic with manufacturers, service providers and engineers.
This is No. 140 in the Radio World ebook series. Thank you for helping make it an ongoing success.
Radio World Buyer’s Guide articles are intended to help readers understand why their colleagues chose particular products to solve various technical situations. This month’s articles focus on products that support remotes and sports broadcasting.
Chris Leonard has served as president and general manager of Hawaii’s New West Broadcasting since 1996. The company operates six signals on the Big Island, airing three primary station brands serving a population of approximately 200,000. The stations, Leonard said, specialize in a live and local focus. “We do over 100 off-premise events per year,” he said.
Relying on Tieline to feed their signals to transmitter sites are 94.7 KWXX(FM) in Hilo, simulcast on 101.5 KAOY(FM) in Kealakeukua; 97.1 KNWB(FM) in Hilo, simulcast on 93.1 KMWB(FM) in Captain Cook; and 670 KPUA(AM) in Hilo with its 98.5 FM translator.
“One of my first Tieline codecs was a Genie STL we won in a competition at the NAB Show,” Leonard recalled.
He followed that up with a ViA remote codec to enhance New West’s remote broadcast capabilities.
Today, Leonard employs Tieline Bridge-ITs, Gateways and the Report-IT app. He also recently set up an MPX STL link.
For remote broadcasts, including retail and community settings, the Tieline ViA is New West’s backbone. Leonard said he has also used the codec for sports play-by-play. “The ViA can connect to all of our stations and any studio we want.”
He installed a dual SIM internal module in the ViA, utilizing Verizon and AT&T LTE cards for redundancy. Leonard reports this setup has worked well in more remote portions of the island when paired with a Starlink Mini.
A Gateway 8 codec in Hilo and Gateway 4 codec in Kona replaced legacy T1/ISDN codecs to connect the stations over IP. Leonard said the feeds have provided reliable connectivity and superior audio quality. Being able to choose compression options was helpful when bandwidth was limited.
Tieline’s Cloud Codec Controller software allows New West to keep an eye on its gear to ensure it is running smoothly. Leonard monitors and configures MPX codecs, Gateways, the ViA and even Report-IT users.
During COVID-19, the company used Report-IT to perform client voiceover sessions remotely.
“We are a relatively small company on the most remote landmass in the world, but Tieline treats us like a giant,” Leonard said.
The latest gender analysis study from the group Mentoring and Inspiring Women in Radio, or MIW, finds “progress in key areas while leadership gaps persist.”
“For a quarter century, MIW has compiled and analyzed the number of women rising to management roles within the radio industry, providing one of the longest-running benchmarks of female leadership progress in broadcasting,” the group said. It focuses on U.S.-based commercial radio.
It tracks women holding the positions of general manager, sales manager and program director/brand manager. The study is based on raw data collected by PrecisionTrak.
It found that about 22% of U.S. radio stations had women general managers in 2025, a slight increase from the previous year. MIW said this category shows “solid growth” from 2004 when the percentage of female general managers was only about 15%.
In the Top 100 markets, about 24% were managed by women, “which is almost a 5% increase from 2024 and still continues to run higher than the national average.”
MIW says that overall, the most management opportunities for women seem to be in sales. About 35% of stations had a woman sales manager in 2025, basically flat from the year prior. In the top 100 markets, the numbers here also continue to run ahead of the national average at about 37%, though down from about 43% the year prior.
“The greatest challenge for women in radio management continues to be in the area of program directors/brand managers,” MIW stated.
Women program only about 13%, up slightly from the year prior. In the top 100 markets, the number is about 15%, up from 11% the year before.
The group does not include engineering and technology management in its study.
MIW Board President Sheila Kirby said in the announcement that the group was encouraged by movement in the GM and programming roles. At the same time, flat growth in sales leadership and the continued underrepresentation of women in programming nationally remind us that progress is not automatic.”
Radio Workflow has expanded its cloud-based, AI-driven broadcast software platform.
The software, which is intended for small to medium-market stations, takes a unified approach to supporting sales, production, traffic and management functions. The company said it has been investing in broadening its “automation, execution intelligence and scalable system design.”
According to CEO Fletcher Ford, “The expanded platform has been architected and designed under the development leadership of Shane Zammit, chief information officer of Radio Workflow, and his team. Under Zammit’s direction, the platform has matured into a fully unified, cloud-native system that connects sales execution, production workflows, creative tools, automation and analytics.”
This includes expansion of Broadcast Buddy, which an AI-driven “operating companion.”
“Broadcast Buddy is embedded throughout the platform to assist users with meeting preparation, account insights, email summarization, activity logging, document and contract drafting, and system navigation,” Ford said.
“Rather than replacing human judgment, the AI supports it, helping small teams move faster without losing control.”
Radio Workflow also has expanded its sales execution and planning tools. “Sellers can build structured weekly plans, prioritize renewals and at-risk accounts, assign clear ask amounts before visits, and log outcomes directly from the field.”
And it has enhanced its broader operational ecosystem. Ford said this includes a modernized production environment focused on upcoming work; AI-assisted creative tools such as voice mapping and Automix; expanded people, promotions and customer management capabilities; centralized cloud storage; and improved navigation.
Radio World Buyer’s Guide articles are intended to help readers understand why their colleagues chose particular products to solve various technical situations. This month’s articles focus on products that support remotes and sports broadcasting.
Across the U.S., the fall high school sports season is an exciting time not just for the student athletes but for the communities their teams represent.
Most of us are aware of the “Friday Night Lights” phenomenon that brings together small towns all over America. Recently, 102.7 KPGZ(FM) in Kearney, Mo., helped amplify that community spirit with a live broadcast of the Kearney High School Bulldogs’ boys football team on their quest to claim the Missouri High School MSHSAA Show-Me Bowl 2025 Football State 4A Championship.
The varsity boys football team went undefeated in 2025. KPGZ aimed to capture the momentum.
“All of our high school athletes do a wonderful job of representing their school and it reflects so well on the community,” said Brian Watts, KPGZ’s general manager.
Just as the Bulldogs were upping their game, so was the station as its media partner. When KPGZ heard about the new FieldLink sideline reporter codec from Comrex, it felt it would be a great addition to its game broadcasts.
Watts was familiar with Comrex gear, as the station uses an Access NX portable for its play-by-play. But sideline reports from on-field reporter Eric Stevens had always been a challenge due to the cost of wireless mics and IFB gear.
FieldLink uses the free Comrex FieldTap app, available on iOS and Android smartphones. Watts said that all told, the equipment was well within KPGZ’s budget. The FieldLink arrived just in time for the state semifinal matchup in November.
Kelly Gentry, Bulldog Radio Network color analyst; Mike Davis, Bulldog Radio Network special assignment reporter; Brian Watts, KPGZ general manager; Jim Dickerson, Bulldog Radio Network play-by-play voice; and Eric Stevens, Bulldog Radio Network field reporter.
The matchup pitted Kearney (14–0) against Festus (10–3). In a dominant performance, the Bulldogs went on to win 52–24 to advance to the state championship. The playoff game was a win for KPGZ, too, as its commentating crew received validation from listeners on the crisp-sounding sideline reports.
“Just really freaking cool,” Stevens remarked.
Kearney went on to defeat Hannibal 24–14 to capture the 4A State Championship title.
From our Who’s Buying What page: ESPN Brazil used an AEQ Olympia 3 commentary system in covering the NBA Finals last June. The system was integrated by LineUP.
“The coverage is part of a technical modernization process that the network has been developing in recent years,” AEQ said in a release.
“ESPN had already worked with AEQ solutions at major international sporting events, such as the one held in Rio in 2016. The experience gained in that context has served as the basis for standardizing its operations with the Olympia 3 system.”
Olympia 3 is a commentary system for native integration into IP environments, intercom and software control.
“The project involved replacing the commentator panels used at the São Paulo headquarters, both in external booths and for live broadcasts. In total, eight units of the system were implemented, with the aim of adapting the local infrastructure to the technical standards required by large-scale international productions,” AEQ stated.
“The technical integration carried out by LineUP optimized audio monitoring and mixing, as well as enabling precise adjustments to input and output levels. In addition, communication stability between narrators, commentators and technical management was reinforced, a crucial aspect in coverage that operates with multiple production points and real-time decisions.”
In Oklahoma, the system was installed in the stadium’s commentary area, operating on IP infrastructure.
Nautel will offer two in-depth paid training sessions this year, to be held at the company’s new training center in Hackett’s Cove, Nova Scotia.
Courses will be in June and September. Each will last three days and will cover FM transmitters, AM transmitters and RF technology essentials.
John Wilton, Nautel’s head of customer service, said in the announcement that the training is intended to complement what’s available from the Society of Broadcast Engineers at the NAB Show.
“The ‘aging out’ of broadcast engineers is causing concern in the community over the lack of RF knowledge. Many new engineers are coming in from the IT sector or straight from school,” he said.
“Modern transmitters are software-intensive, to be sure, but usually those new engineers don’t have a background in transmitter and RF technology.”
The training center opened last fall. Wilton said the sessions are at the level of an introductory college course.
“This is an opportunity to see the results of adjusting parameters, get real-time measurements, and learn safety practices. We’ll also offer ‘tips and tricks’ for keeping transmitters running smoothly,” Wilton said.
Each training session costs $1,800 (US) and qualifies for SBE recertification credits.
With the 2026 NAB Show approaching, here is one in a series of previews asking exhibitors about their plans and expectations.
Mick Olesh is CEO of Waves Audio, a provider of audio digital signal processing solutions for the professional audio, broadcast, live sound and consumer electronics markets.
Radio World: Mick what’s the most important trend affecting your clients and their businesses in 2026?
Mick Olesh: In the broadcast industry, the move toward cloud-based systems is a major opportunity. Also, AI-collaborative tools that enable fast, simple and highly efficient workflows are becoming essential.
Audio is increasingly embedded into platforms and end-to-end workflows. As a result, clients are choosing solutions that reduce time-to-quality while integrating cleanly into remote, networked production environments.
Waves’ internal roadmap, focused on cloud broadcast, cloud podcast production and API strategy, directly reflects this reality.
RW: What products will Waves highlight in its booth?
Olesh: Waves eMotion LV1 Classic is a 2026 TEC Award-winning, powerful live sound console, offering 64 stereo channels (or 128 inputs) and 44 stereo buses of industry-leading sound, expandable to 80 stereo channels (160 inputs), 52 buses and 32 auxes. It includes 16 inputs powered by Waves Signature Preamps. The LV1 Classic delivers the deepest processing in the live sound industry, with an intuitive workflow, easy scalability and maximum portability.
The Waves Cloud MX Audio Mixer is a state-of-the-art cloud-based audio mixing and processing solution, powered by a cloud version of Waves’ double-precision, 32-bit floating-point eMotion LV1 mix engine. It integrates with our audio plugins to deliver unprecedented processing power in the cloud. It supports major cloud platforms and protocols, including AWS, Google Cloud Platform and Dante Connect, and integrates with Grass Valley AMPP for cloud-based live broadcast production. It is also NDI-compatible for flexible audio routing.
The Waves SuperRack LiveBox brings VST3 plugins from Waves and third-party manufacturers to any live production or broadcast environment. It features Dante or MADI connectivity, ultra-low latency and the industry-standard SuperRack Performer plugin host, all in a single, compact unit.
Waves eMotion LV1 Control is a premium control surface designed as a fader expansion for LV1 Classic digital mixing consoles. Waves Titan SoundGrid Server enables unprecedented DSP power forrunning plugins in real time.Waves IONIC 24 is a 24-in / 18-out SoundGrid stagebox with pristine sound powered by Waves Signature Preamps.
And we’ll demonstrate how our comprehensive line of more than 240 audio plugins support today’s broadcast and live sound environments.24-in / 18-out SoundGrid stagebox with pristine sound powered by Waves Signature Preamps.
RW: AI technology has swept through every industry. What role does AI play in your products?
Olesh: AI acts as a collaboration tool across our product portfolio. More than 80% of our current product development incorporates some level of AI to deliver faster workflows while expanding creative possibilities through intelligent assistance.
Creators expect AI-driven automation by default. Broadcasters expect intelligent cleanup, leveling and consistency. Enterprises expect scalable AI audio processing embedded directly into workflows.
AI is no longer a premium feature. It is rapidly becoming a baseline capability.
RW: What other trends will you be watching for at the convention?
Olesh: We are closely watching continued advances in cloud-based broadcasting, new approaches to audio control surfaces, mixing consoles and the evolution of plugin-based processing.
The government of the United Kingdom has launched a review of the nation’s radio industry, including whether the nation should transition away from FM broadcasting.
The goal of the review is “to ensure [radio] continues to flourish as audiences increasingly shift to digital platforms.”
The Department for Culture, Media & Sport said the government “is committed to helping U.K. radio to thrive and retain status as most trusted form of media, amid changing listener habits.”
It noted that nearly three-quarters of U.K. radio listening is now on digital or online platforms.
“The government will work with key industry partners to help manage this transition.”
It said the review will examine digital shifts, market trends and emerging technologies including the use of AI.
“Radio remains the most trusted form of media in the U.K., with more than 85% of U.K. adults tuning in every week,” it said in the announcement.
“From national and international headlines to crucial local updates, radio stations provide timely, reliable content that reflects the diverse fabric of the U.K.’s communities. They offer companionship and social connection to millions of people.”
But almost 75% of that listening is on platforms other than FM and AM.
The review will explore whether there should be a “managed transition” away from FM in the 2030s.
It asks about the potential impact of a decision on the future of Digital Terrestrial TV (DTT) on radio distribution.
And it will look into the role of emerging technologies, including AI.
“A previous Radio and Audio Review in 2021 concluded that FM should continue until at least 2030, but recommended that in 2026 government and industry revisit a potential analog switch-off,” the department said, citing “broad support across the industry for this further review.”
The review will investigate scenarios for the consumption of U.K. radio and audio content on all platforms into the 2030s, “taking into account likely models of future listener behavior, market trends and technical developments.”
It will consider the impact of these scenarios on current and future distribution strategies for the U.K. radio industry and on the future availability of U.K. radio services for listeners on all platforms.
It will make recommendations on the distribution of radio services and provide advice to government on ways of strengthening the viability of U.K. radio until the early 2040s.
Nominations are now open for the Radio World “Best of Show” Awards at NAB Show.
Radio World and several of our sister brands at Future produce this the program, which is open to official convention exhibitors or companies that display products within official exhibit booths.
The deadline for entries is April 2. Companies pay a fee to enter; not all entries are winners. Awards are based on a review of the products by a panel of engineers and editors. (See a selection of last year’s recipients.)
KBest Media in Big Spring, Texas, will sell its radio stations to Ryan Media, a subsidiary of OneRyan Global.
The new owner is promising a significant local presence for the stations, which include 95.7 KBST-FM, 94.3 KBTS(FM), 1490 KBST (AM) and a translator on 103.9.
The sellers are the estate of Sheila and Mike Abusaab, along with Malinda and Danny Flenniken and Kusamakar Sooda.
The company’s five full-time and three part-time employees will transition to the new ownership. The studios will move from Johnson Street to East Third Street in Big Spring.
Terms were not disclosed. The sale is pending FCC approval.
OneRyan was founded by Amanda Ryan in 2018. It is the family office of Ryan LLC Founder, Chairman and CEO G. Brint Ryan and his family, whose business interests include real estate, hospitality, private equity and philanthropy. This is their first broadcast purchase.
In the announcement, Managing Partner Malinda Flenniken said, “Mr. Ryan and I have been envisioning KBest Studios ‘booming from downtown Big Spring’ for several years now, and even shared the idea of relocation with KBest’s President Mike Abusaab before his passing in 2021. In 2023, Sheila Abusaab and I began negotiations with Mr. Ryan for a full transfer of ownership.
“These types of transactions take time, but we are finally growing closer to the finish line. My only sadness is that Sheila passed away before seeing the groundbreaking. But we will continue the project and anticipate exciting things ahead.”
She said Brint Ryan brings “vision and commitment to Big Spring.” The company quoted Brint Ryan saying that “Local radio has always been more than music and news — it’s about community, connection and trust. …We’re especially excited to add KBest to our other Big Spring assets, including Hotel Settles and Mr. Gatti’s Pizza. It’s all part of our broader commitment to supporting and growing the businesses and institutions that make this community special.”
She described a vision for downtown Big Spring: “A ‘Rockefeller Plaza’ type of atmosphere with the energy of KBest’s live coverage visible from the street corner, right next to the magnificent Hotel Settles standing as the beacon.”
Radio World Buyer’s Guide articles are intended to help readers understand why their colleagues chose particular products to solve various technical situations. This month’s articles focus on products that support remotes and sports broadcasting.
Tom White, a former high school video production instructor, is intimately familiar with the complexities of producing live video webcasts for sporting events.
He’s now with Amitrace, a systems integrator specializing in video production systems for education, government and corporate environments. White relies on Henry Engineering’s SportsCaster to solve the “audio headache.”
While video gear has become more accessible, he said audio remains a challenge for schools.
“Before we had the SportsCaster system, it would take me hours to install the audio gear,” White said. “I was using several mixers just to deal with the headphone feeds and intercom. It was a complicated mess and never worked very well.”
Henry White on the job.
The SportsCaster is designed to provide “audio control in a box.” It integrates announcer mic mixing, specific headphone mixes for the crew, and duplex intercoms for off-air communication.
“The SportsCaster allows me to mix audio and communicate with all of the members of our production staff with ease,” White said.
For football games involving play-by-play talent, color analysts, field reporters and various producers, the unit replaces complex wiring schemes. White noted that the producer can give cues to on-air talent while simultaneously “calling the shots” to camera operators. The system isolates audio paths so team members hear only what is necessary, minimizing confusion for inexperienced student techs.
“Teaching students how to use [legacy setups] was nearly impossible,” White recalled. “Hank at Henry Engineering worked with us to design a system that would streamline the process. That’s where the SportsCaster came from.”
Today, White uses his years of webcasting experience to help others set up the system through Amitrace. He reports that the learning curve has dropped drastically.
“The struggle we had in the past was giving all of these people the ability to talk with each other,” White said. Now he can train a producer minutes before kickoff.
With World Radio Day upon us, Bauer Media is highlighting its participation in a new campaign called Connected Journeys that celebrates “the unique joy of listening to radio in the car.”
“At the heart of the campaign is a coordinated on-air message, supported by social media activity, broadcast in unison by a diverse, broad and highly trusted group of broadcasters at a scale never seen before,” the big media group said in a release.
“The message will broadcast on all 104 Bauer Media radio stations across nine different countries; the entire NRJ network in France and elsewhere; alongside 22 other leading broadcasters across Europe, including RTL and Regiocast,” it said.
“Some countries will see extraordinary market takeovers. Poland, for example will see the campaign run across every major radio station in the country reaching 78% of the population. With 24 broadcasters from 15 countries bringing the event to life, the campaign will run across radio stations that reach 180 million listeners every week, making it one of the most unique and impactful collective efforts in the history of European radio.”
The campaign emphasizes that radio “remains Europe’s most trusted medium” and that as in-car entertainment becomes more complex, radio has enduring value. It encourages listeners to prioritize simple access to radio when choosing a vehicle.
Bauer Media Group and Swedish Radio co-chair a broader initiative called Radio Ready for Connected Cars. It focuses on keeping radio in new cars prominent, accessible, easily discoverable and controllable by voice assistants. Many of the participants in Connected Journeys are involved in that as well.
Kirk Harnack will serve as a strategic consultant to MaxxKonnect.
Harnack is well known as host of the online video series “This Week in Radio Tech,” or TWiRT. He also has long been associated with Telos Alliance, most recently as senior sales consultant. He left Telos after 25 years in January, as Harnack posted on Facebook.
As a consultant or engineer he also works or has worked with companies like Akamai Broadcasting, Oxford Media Group, Kauai Broadcast Partners, South Seas Broadcasting and Delta Radio, according to his LinkedIn profile. He also has experience as a television meteorologist, currently with RFD-TV.
MaxxKonnect offers prioritized connectivity and technical services. It said Harnack’s new role will build on their “established relationship focused on helping broadcasters better understand and deploy modern connectivity solutions and advanced audio technologies in real-world broadcast environments.”
It said Harnack will contribute to its educational initiatives, participate in industry events and discussions, and provide insight on emerging trends. It cited his 45+ years in radio and television broadcasting including expertise in AoIP, networking and virtualized broadcast systems.
Director of Sales and Marketing Adam Robinson highlighted Harnack’s “infectious energy, technical depth and deep-rooted industry connections.”
WorldDAB is out with the second edition of an ebook to help those who want to launch a DAB+ digital radio service or are in the process.
The resource is called “Establishing DAB+ Digital Broadcast Radio.” The first edition came out three years ago; it has been updated to coincide with World Radio Day this Friday.
“The book offers a unique, in-depth guide to the regulatory, technical and commercial aspects of establishing a successful DAB+ digital radio service,” according to the organization.
It covers the process from initial interest through to analog switch-off. New information is included on Automatic Safety Alert (ASA), hybrid radio features, regulation/licensing and how to minimize costs of site design.
“There are also updates on country examples, the digital adoption process and analog switchover.”
Sonos is an audio tech company that makes an ecosystem of wireless speakers, home theater systems, headphones, architectural components and other home audio products.
Audacy broadcast stations have been available on Sonos devices since 2020. Now Audacy becomes the U.S. sales and distribution representative for Sonos Radio’s streaming inventory. Sonos Radio will join the Audacy Digital Audience Network, and its stations will be distributed on the Audacy platform.
Audacy said it has been working to create alliances with “high-performing brands that deepen listener engagement and expand advertiser opportunities.” It pointed to recent distribution collaborations with iHeartMedia and TuneIn, a sports content deal with Jomboy Media and a sports marketing agreement with MOGL.
“Adding Sonos Radio to this roster reinforces Audacy’s commitment to building a robust ecosystem of premium audio experiences across platforms, audiences and content formats,” according to the announcement, which was made by Audacy President of Digital Sales Michael Biemolt and Sonos Radio Director, Product Management Jack Rutledge.
Listeners will be able to find Sonos Radio stations on the Audacy app and web, with Sonos Radio featured alongside Audacy’s owned-and-operated brands,” they said in their joint announcement. Audacy will also distribute Sonos Radio stations across platforms including Google Home, Alexa and Apple Music.
Once an audio commercial is imported into NextKast’s main server, the station traffic manager matches the order to the audio for scheduling and playout.
NextKast has launched NextTraffic, a built-in traffic and billing system for its automation platform NextKast OnAir.
“NextTraffic is fully integrated into the NextKast OnAir platform and serves as a complete alternative to third-party traffic systems for broadcasters seeking an all-in-one solution,” the software company said in its announcement.
For stations using an external traffic system, it said, NextKast OnAir continues to supports third-party traffic integration.
“Unlike traditional traffic solutions that require separate software, exports and manual reconciliation, NextTraffic is fully integrated into NextKast OnAir, automating the entire advertising workflow from client order to proof-of-play and invoicing.”
It said this creates a single streamlined system that eliminates third-party traffic software.
The system uses a patent-pending Traffic Tag System that embeds a unique tag into each commercial. The tag contains scheduling data such as advertiser, campaign details, dates, rates and frequency. The company says this allows ads to be automatically scheduled, verified and logged without spreadsheets, manual logs or reconciliation.
“Using the embedded traffic tag, a single ad can be sent to one or multiple stations and automatically schedule itself based on its campaign parameters.”
Once received, the ad determines where and when it should air, without manual input. {layback is logged and audited automatically.
According to NextKast, this approach is especially beneficial for independent operators running multiple stations or regional networks.
Connexion
