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.
The PRD operates Radio Thailand, its public broadcasting arm.
The network includes six FM national sations, which Orban noted in a release as receiving a processing upgrade. They are A.S. Radio in King Palace and Bangkok, PRD Chonburi, PRD Panga, PRD Yasothon, PRD Lampang and PRD Nakhon Sri Thumrat.
JAA Systems, based in Malaysia, as well as the Bangkok-based Broadcast and Studio Co., Ltd., assisted with the Optimod installations.
According to the release, the six stations are now using the audio processing technology for improved loudness and clarity while maintaining full compliance with broadcast standards in their respective coverage areas.
“It is a highly reliable processor that gives broadcasters confidence in maintaining premium audio quality, especially for high-power FM operations like A.S. Radio Station (King Palace Radio Station) and other PRD stations,” said Pairoj Veeraondh, CEO of Broadcast and Studio Co.
An aerial view of Levi’s Stadium on Dec. 11, 2024 in Santa Clara. Credit: Kirby Lee/Getty Images
With thousands of people descending on the Bay Area for the Super Bowl, two vendors are highlighting the use of radio to deliver “hyperlocal” messages onto automotive screens.
Lazer Spots, in partnership with Audacy and GeoBroadcast Solutions, will debut RDS-based visual geotargeting for automotive screens this Friday through Sunday, during the weekend of the big game.
A GBS release said it marks the first time a radio station has used over the air visual content, via RDS, through its MaxxCasting technology.
Audacy’s all-sports 95.7 KGMZ(FM), “95.7 The Game,” licensed to San Francisco, will use the technology for visual offerings in a five- to six-mile radius surrounding Levi’s Stadium in Santa Clara.
Atop the Hyatt Regency hotel, the RDS will run through GBS’ MaxxCasting 1.75 kW ERP booster node, which, as Radio World reported last month, Audacy recently added.
That hotel happens to be less than 3,000 feet away from Levi’s Stadium, where the festivities between the New England Patriots and Seattle Seahawks will be held this weekend.
“This activation allows us to deliver timely, location-specific information directly to the dashboard and enhance the event experience for thousands of football fans in a way that’s never been done before,” Audacy San Francisco SVP and Market Manager Kieran Geffert said.
The release said that Audacy will use the technology to produce traffic conditions, weather updates, parking guidance, stadium information and other localized messages. Audio will not be interrupted.
GBS’ MaxxCasting is a technology that allows FM stations to boost their signals with the deployment of a cluster of low-to-the-ground, directionalized and synchronized booster sites.
We’ve also reported on audio-based geotargeting through ZoneCasting, the recently FCC-approved technology that allows stations to split their over-the-air signal into disparate zones.
Two radio technology companies are teaming up for a solution designed for stations to move content from “production to playout” more smoothly.
vCreative and Radio.Cloud have announced the completion of an integration that allows delivery of audio from vCreative’s production suite into Radio.Cloud’s cloud-based playout platform.
Through the elimination of manual file transfers and redundant steps, radio stations can move content to on air faster and with greater accuracy and visibility, the companies said.
The integration uses vCreative’s AutoDub standard, which brings audio and metadata from vCreative to different automation systems. New for this integration, however, is that it adapts vCreative for a cloud-based environment, such as Radio.Cloud’s platform.
“So many groups and stations I talk to about our platform are already using vCreative,” said Andrew Scaglione, account director at Radio.Cloud, in a release.
Stations already using both platforms can take advantage of the new workflow, the companies said.
Radio.Cloud’s Radio Playout Studio and Programming Suite is used for automation and playout by more than 100 stations nationwide, according to the company.
vCreative and PromoSuite support content production, sales, traffic, trade management and promotions and are used by approximately 9,000 stations and teams across radio, TV and digital.
A video automation deployment at Houston Media, handled through SCMS, in May 2025.
SCMS and radioDNA have announced a collaboration to launch a new line of video automation systems designed to help radio outlets expand their visual presence.
According to a release, the solution is intended to replace legacy coaxial wiring with a network-centric architecture that comes without the cost or complexity of traditional TV-based infrastructure.
By integrating directly with digital audio backends from manufacturers like Wheatstone and Telos’ Axia line, the system automates camera control using OBSBOT TailAir cameras. The systems integrate NDI video networking with video production software, suitable for centralized control and automation of multiple cameras.
The companies provided photos of an install at Houston Public Media, the operator of 88.7 KUHF(FM), last May.
OBSBOT TailAir cameras at Houston Public Media
“What radioDNA brings is a way to elevate that effort dramatically, using automation and networking to make the result look intentional, professional, and monetizable — without blowing the budget,” said Doug Tharp, vice president at SCMS, said in the release.
The proprietary software connects with existing radio automation systems to handle routine video switching and remote guest integration automatically, eliminating the need for a full production crew.
Stations can incorporate Zoom-based video feeds into live shows, bringing in guests, reporters or contributors and presenting them as part of a broadcast-quality production, the companies said.
Beyond live streaming, the platform enables automated content repurposing for social media clips and supports dynamic video ad insertion for new revenue streams.
A studio at Houston Public Media
SCMS will represent and sell radioDNA’s visual radio automation systems, according to the release, providing media outlets with solutions that include system design, equipment sourcing and deployment support, according to the release.
radioDNA is based in the Twin Cities, and has a focus on end-to-end services that includes RF system engineering, video automation, cloud-based radio and video platforms and ongoing systems maintenance.
Myriad Schedule Pro is the updated scheduling suite from Broadcast Radio.
Broadcast Radio has announced the release of its Myriad Schedule Pro software suite.
The UK-based company said that the suite represents the evolution of its music and playlist scheduling software, replacing the existing Myriad Schedule Plus.
The most significant shift, according to the company, is its functionality as a standalone scheduling solution. Though it suggests its own Myriad Playout, the scheduler is compatible with third-party playout applications such as RCS Zetta, WideOrbit, ENCO DAD, PlayoutOne, PlayIt Live and StationPlaylist.
Myriad Schedule Pro is integrated with its Myriad Anywhere platform, which allows users to manage station scheduling remotely via a web browser.
New for Myriad Schedule Pro, the application contains a live-updating window that offers a detailed history for each track, including listener voting data captured via its Broadcast.Radio web player and mobile apps.
A tool called future moves allows music directors to automate a song’s progression as it matures within a station’s rotation — for example, automatically moving a track into a recurrent category after 50 plays.
Media packets, meanwhile, allow multiple versions of a song or a high volume of tracks by a single artist to be grouped together, ensuring variety in rotation without cluttering category decks.
Also in Myriad Schedule Pro, jingles and links can now be set to follow only songs with certain attributes. The software also features a viewer that allows multiple station logs to be opened side-by-side for comparison.
All existing Myriad Schedule Plus users will receive the upgrade at no additional cost, the company said.
A Waves Voice ReGen promotional image. The company targets it to the growing creator economy.
Voice ReGen is a new AI-based voice cleanup tool from Waves Audio.
The company describes it as an “AI-powered voice enhancement service designed to deliver flawless sound for videos, podcasts and all forms of content creation.”
The starter level is free and suitable for short-form work and quick voice fixes. Creator and Pro levels are for heavier users and cost $9.99 and $24.99 per month, respectively.
“Today’s creators know visuals matter, but many still struggle with audio such as background noise, room echo, uneven levels or recordings that simply don’t sound ‘pro,’” it states in the announcement.
“Great sound is essential for engaging viewers and building trust, yet it’s often the most challenging part of production.”
A user uploads the audio or video. In seconds, the web app delivers a “polished, broadcast-ready voice track.”
The process removes background noise and room echo, restores missing frequencies, smooths out volume inconsistencies and enhances presence.
ENCO has a new offering for embedding captions and subtitles into a live program stream from any location, called Raptor.
It said Raptor is intended for use in broadcast and live AV work. ENCO will highlight the product at the ISE 2026 show in Barcelona next week.
Cloud-based Raptor was previewed at IBC and NAB Show New York last fall. It is hosted by ENCO partner StreamGuys.
“Raptor introduces a secure and reliable live streaming captioning service to event producers seeking to bring government, education, broadcast and live sports, corporate and worship events and more to television or streaming platforms,” it said.
It was created to take live content from a broadcast, AV or hybrid source, embed captions and send that content back out in real time.
“This is an essential need for cloud-based and decentralized workflows, which are now the norm for many live event producers,” said President Ken Frommert in the press release.
Raptor joins ENCO’s other cloud-based and on-prem captioning and translation products, called enCaption and enTranslate.
Swedish audio company Isovox is announcing the release of its IsoBooth, promising to bring studio-grade soundproofing to any home, office or production environment.
The portable isolation booth features precision-tuned acoustics and lightweight modular construction, according to the company, with assembly it estimates in 15 minutes.
The booths dimensions — 59 inches by 45 inches by 85 inches — make the it suitable for transporting into standard family vans and SUVs.
Weighing approximately 242 pounds — a fraction of the weight of traditional booths according to Isovox — the IsoBooth features panels that can be carried by a single person, though Isovox recommends two people for “ergonomic comfort.”
“Inside, the acoustic environment supports serious audio work, including instrument practice, music recording, mixing, editing, vocals, voiceover, content creation and live streaming,” Isovox said in a release.
The booth is engineered for acoustic neutrality, delivering a flat frequency response — within ±3.5 dB — without requiring additional acoustic panels. It carries a NIC Class 31 (ASTM E413) isolation rating.
The inside of an IsoBooth.
While the booth includes a “zero-noise” active ventilation system that increases the total height to 93 inches, Isovox said the system solves a common problem found in other isolation booths: It delivers clean airflow with virtually no audible noise.
The IsoBooth is compatible with the company’s MixTable, a height-adjustable desk system with integrated speaker mounts, allowing for the direct mounting of speakers via threaded connectors.
Isovox confirmed that the IsoBooth will be available for purchase later this quarter. It will launch as a package complete with the ventilation system and MixTable at an MSRP of $9,399 USD.
Broadcast Software International has released new music scheduling software to help radio stations streamline how they manage and schedule music.
BSI Stratus Music Scheduling offers “intuitive tools, flexible customization and seamless integration with existing automation systems,” according to a company press release.
Key features of the software include intelligent music rotation with rule-based scheduling, real-time preview functionality for conflict resolution, cloud-enabled access for collaboration and integration with BSI’s existing automation platforms.
Marie Summers, BSI’s sales manager, said in the release: “Radio programmers have been asking for a smarter, more adaptable solution — and we listened. Stratus is designed to meet the evolving needs of today’s broadcasters, combining robust features with a user-friendly interface.”
From our Who’s Buying What page: Audiospace has won a contract to develop 240 digital radio platforms for Connoisseur Media.
The first websites and apps rolled out in December.
Audiospace is a Swiss software line from the company Brands Are Live AG. The firm said it is working to expand its global presence.
Connoisseur recently grew by acquiring Alpha Media and its approximately 200 U.S. stations, plus five more in San Francisco, from Bonneville Group. Jeff Warshaw is CEO.
Warshaw was quoted in the press release saying of Audiospace, “They’re not just building apps and websites, they are helping us connect with our listeners while also unlocking new revenue opportunities for our advertisers.”
The announcement was made with Audiospace CEO and founder Jan Müller.
Audiospace develops apps, websites, monetization tools, data infrastructure and additional digital services. The company said it has also been growing in Europe, particularly in Germany.
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From the Radio World “Who’s Buying What” page: Audacy’s 95.7 KGMZ(FM) in San Francisco is the latest Bay Area station to partner with GeoBroadcast Solutions for its MaxxCasting technology.
“95.7 The Game,” the all-sports station, is using the technology to improve its signal across the south bay areas of San Jose, Santa Clara, Milpitas and Campbell, via two new synchronized booster nodes, according to a GBS release.
The first booster is located atop the Hyatt Regency in Santa Clara using 1.75 kW ERP, while the second with 100 watts ERP is located in downtown San Jose. Sister station 105.3 KITS(FM) is already using both locations for boosters.
KGMZ, unlike many Bay Area FMs, is not a “superpower” Class B FM, thus, the new boosters fall within its protected 54 dB contour, as depicted in KGMZ(FM3)’s engineering exhibit.
The coverage area of KGMZ(FM3) from Santa Clara, within KGMZ’s primary F(50,50) and F(50,1) 54 dBu contours.
KGMZ already has an existing booster, located in Diablo, serving the East Bay area.
A GBS release said the MaxxCasting nodes add approximately 400,000 potential listeners, with improved coverage around Levi’s Stadium, home of the San Francisco 49ers, the SAP Center, home of the San Jose Sharks, and San Jose International Airport.
The release notes that the nodes “lay the groundwork” for future ZoneCasting capabilities, or geotargeting via boosters that originate programming, as Radio World has written about in the past.
NextKast has introduced a web interface called StudioLink built on the company’s MobileVT voice tracking platform.
It said the interface supports radio broadcasters working in the studio, remotely or with teams working in multiple locations simultaneously. NextKast describes it as “a role-aware web interface” designed for the day-to-day operation of a modern radio station.
“StudioLink is a fully integrated all-in-one system that supports the entire station workflow process delivering multi-track voice tracking, advanced remote broadcast technology via NextKast’s GoLive, and easy-to-use music library management.”
The company says GoLive makes live broadcasts sound natural.
“With GoLive configured as the in-studio on-air screen, talent has a clean, focused interface they can use in the studio or anywhere else to voice track, review playlists and logs, and make quick edits — without touching server-level settings. Program directors can review logs, adjust track categories and make real-time programming decisions.”
It said a station can control most operational aspects remotely including live shows, voice tracking, audio management, programming changes and traffic.
StudioLink also supports producing voice breaks in a separate application and dragging them directly into the system. “This flexibility is there when needed without complicating the everyday voice-tracking experience.” A new customer management system will integrate with StudioLink.
The company posted a promotional video; watch it below.
Broadcast Devices Inc. is now shipping an updated version of its PAS-200 passive audio switcher, which it said is designed for both broadcast and professional sound environments.
“Applications range from transmitter site emergency switching and remote source selection to console input multiplication and automation system integration,” the company said. It differs architecturally from the RAS-200 series, which BDI also recently announced.
New for this version, the PAS-200 includes networking support via an Ethernet SNMP v2 interface and supports remote automation through an RS485 serial interface.
BDI said the switcher’s redesigned Windows-based GUI software allows for more intuitive control.
The PAS-200 supports up to 16 A/B, user-programmable pairs of balanced analog or AES3 digital audio (non-synchronous), as well as low-voltage DC control signals, through a passive signal path.
Dual power supplies with separate power cords are included. Optional accessories include a rack-mounted remote control panel and audio breakout panels for XLR and BNC connectivity.
Pricing information and shipment are available through the company.
Information Station Specialists’ Magnum K1 antenna.
Engineered in the U.S. heartland, the pending Magnum k1 antenna, Information Station Specialists said, will offer AM station operators a path for an affordable antenna with a “fly under the radar” footprint.
The Michigan-based company said the model is pending the completion of full-power tests. The FCC granted an AM station the authority to test the antenna at 1 kW on Jan. 12, according to Bill Baker of Information Station Specialists. The company anticipates it will begin taking orders in the spring.
But Baker told us that the antenna is designed to specifically support up to 1,000 watts of power on middle and upper AM frequencies.
He has heard from interested station owners early and often who crave an antenna that can reduce their land footprint — or better yet, be installed on a building roof.
“It can absolutely save an AM license when a broadcaster is forced to move their antenna because of a land sale, loss of lease or the sudden requirement for a tower replacement,” Baker said.
The Magnum k1 stands less than 50 feet tall and only a modest, flat area of ground or rooftop is required, Information Station Specialists said. It recommends a 100 ft. x 100 ft. flat installation surface with the antenna and its supporting mast installed in the center.
“Testing thus far proves it has the efficiency to be a full-time antenna for many Class B, C and D stations that operate on frequencies 900 kHz and above,” Baker told us.
The Magnum k1 package includes the antenna itself, as well as mounts, a support mast and pole, guy lines, hardware and electronics in a weatherproof cabinet.
“Because the antenna’s design is series-resonant with a matching network, an antenna tuning unit is not needed,” he said.
The idea was hatched about seven years ago. The company’s HPR.0990 AM antenna for travelers’ information station broadcasters could handle more wattage than the standard 10 watts of TIS power in an emergency under a special temporary authority with the FCC.
AM stations began to use the model for STAs and even full-time applications for power levels under 300 watts.
Baker pointed to Emmis’ 1070 WFNI(AM), which has been operating with the HPR.0990 from a downtown Indianapolis rooftop site with around 200 watts while the company seeks to find a prospective purchaser, according to WFNI’s STA. (WFNI filed for a silent STA this past December.)
One station in Connecticut is also using the HPR.0990 and hopes to move back to its licensed 1 kW with the Magnum k1.
“We are being real careful to get this product right,” Baker said. Upcoming field tests to prove its power worthiness, he believes, will prove that.
Additional options, including a preassembled ground plane, roof installation kit, tuning analyzer and engineering support, will also be available.
Operators can request an estimate of signal performance with the Magnum k1, Baker said, and also whether the antenna is likely to be efficient enough for commission approval on their frequency from any site in the U.S., prior to purchase.
The Magnum k1 joins other antenna and tuners offerings from Information Station Specialists, including “The Lowdown”, a 630-meter amateur radio antenna, “The Range Extender,” a Part 15 antenna and tuner and the Matchbox impedance matching network.
The front of the Black Lion Audio PBR XLR 16F DSub. Click to enlarge.
Black Lion Audio has announced that preorders are now available for the PBR XLR 16F DSub for studio cable connectivity.
It is a 16-point female XLR/DB25 patchbay designed to alleviate cable management difficulties, while also adhering to high audio fidelity standards, the company said. The patchbay allows engineers to connect up to 16 microphones to mixers, audio interfaces or outboard hardware in a single rack space.
The device has 16 gold-plated female XLR connections that Black Lion Audio said are designed to deliver consistent audio quality “throughout the entire signal path.”
The rear of the Black Lion Audio PBR XLR 16F DSub. Click to enlarge.
On its rear panel, two DB25 connectors mounted to an internal steel backplate provide connectivity for mixers and audio interfaces.
The PBR XLR 16F DSub is housed in a reinforced steel chassis, which the company said ensures durability for daily use while still maintaining a refined aesthetic.
Custom patch labels are included, with additional labels available at Black Lion Audio’s website.
The company said the patchbay will list for $349 USD.
The project was completed by the Bogotá-based integrator Aspa Andina and is part of the digitization of the network’s facilities using SX2 production consoles.
Aspa Andina said that the upgrade of the network’s studios in the glass building on Bogotá’s 45th Street “sets a benchmark” as the first station in Colombia to digitize through an SX2 control surface.
The SX2 allows the interconnection of studios via Cat-6 Ethernet cabling. The control surfaces on the SX2 consoles can perform audio routing from assigned outputs, which includes booth monitoring, audio codec returns and hybrid output, DHD said.
The upper section of each SX2 modular control surface features a 10-inch touchscreen. The surface is also equipped with motorized faders, which allow for the implementation of a virtual microphone mixer on a second layer. Through DHD’s Automix tool, studio microphones can be routed to any of the 16 available program buses.
The SX2 also supports headphone jacks with independent level control. In Cadena Melodía’s case, this allows return audio to be sent to each announcer, including specific talkback or commands from its control room when needed, DHD said.
Cadena Melodía was founded in 1967 following the merger of Radio Industrial and Melodía FM Estéreo. It broadcasts under the callsign HJCU on 730 AM in Bogotá.
The Cadena Melodía network expanded in the 1980s, adding stations in Bucaramanga, Cúcuta, Cartagena de Indias, Barranquilla, Cali and Pasto.
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