The KONTAKT 1.2 update and Direct from Disk extension are now available on NI website. KONTAKT 1.2 comes with many new functions such as a release trigger for triggering groups by releasing notes as well as a key and controller activator for group activation either by keyboard commands or via a Midi controller. The update also comes with a Round and Random Robbin function for consecutive cycling through groups upon keystrokes or for random cycling through groups for playback and much more.

The separately available Direct from Disk extension enables KONTAKT to
play samples directly from the hard drive. Sample size will no longer be
limited by the amount of physical RAM - an instrument can be as large as
available hard drive space. All KONTAKT instruments will load many times faster than RAM-based instruments.

The Direct from Disk extension requires the update to KONTAKT 1.2

Edirol announced the new 10-channel Mixer, complete with a number of audio/voice effects plus a stereo USB audio interface. This mixer is primarily targeted at the videographerand has various connections, such as XLR/TRS combo connectors with phantom power, RCA & 1/4" connections, S/PDIF Optical & Coax out, Aux Sends & Returns, and separate Monitor, Master, & Headphone output. It can also record a stereo track directly to the computer through the USB port, and has a separate volume control for playback of audio on the computer.

This 10-channel mixer/ 24-bit USB audio interface is optimized for the videographer with its wide array of Voice effects, including: Narration and Vocal Enhancers, Compressor, Chorus, Noise Reduction, Reverb, Radio, Robot, Male & Female pitch & formant effects.

TC-Helicon Vocal Technologies announced two new vocal harmony processors, the TC-Helicon VoiceWorks and the TC-Helicon Quintet. Both products debuted at Winter NAMM 2003 in Anaheim, California.

PMI Audio Group announced that they have taken over Joemeek, enabling the company to stay in business after the demise of Fletcher Electro-Acoustics, which is out of business.

Musicians consider absolute ear as an invaluable gift. What is its origin ? Is it acquirable ? Can we say that what's increased in efficiency is lost in musical pleasure ? Answers elements... Isn't it unsettling to be confronted with a sort of walking frequency-meter which instantly names the key, or even the chord that you've just played on your instrument ? Isn't it annoying to be said "you're a quarter of a tone too low", and to see this peremptory verdict confirmed by your electronic tuner ? In the same way, isn't it humiliating, while sweating blood over a four pitches dictation, to observe some gifted pupils of the music class retranscribing it in one go ? But first of all, what on earth is this nearly- mythical perfect pitch, which some people even refute the existence?

The translation from the original article by F. Ernould, translated from french by Simple Cel.