It can be dormant in adults. I discovered it when I was 16 after meeting a pianist who had it and “taught me” how to do it. I kept getting faster and more accurate as I practiced solfeggio in music school in my 20s.
Crazy thing is it changes with age. At around 30 I started regressing. These days I identify the tones but shifted by one semitone.
I feel like the pianist trained you rather than you achieving it like a little kid does. That happens sometimes if you put in the effort (learning/memorizing/training). While I am not old enough to know how it changes, could it be perhaps that what you had learned when you were 16 was in your mind a certain pitch and as ears change (a 16 year old can hear higher pitch than 30 year old), you don’t relearn it, therefore it’s shifted? Please correct me (pretty sure I’m wrong)
I have it from early age, and it also shifts now that I'm almost 40. I think the more constantly I use it though, the more it seems to settle back into accuracy.
That's not true for everyone. Some extraordinary musicians with perfect pitch also reported that it starts drifting for them as they age (I remember Oscar Peterson and Jacob Collier telling this)
Out of curiosity, did it shift up or down for you? I've had perfect putch from a young age, but now at 30 I hear everything a semiton higher (so e.g. a B sounds like a C to me, and I have to manually subtract the semitone to infer the real pitch and hope that I am not overcorrecting)
It's well known people with perfect pitch always lose it in middle age, the reason is unknown, but it's always extremely upsetting when it happens, and since perfect pitch isn't very useful to begin with, it's actually a curse.
Hey I'm in a similar situation as you. I transitioned out of a dev job recently and I'm putting more energy into my business. I have experience in podcasts, at least from a technical point of view. Reach out if you want to connect [email protected]
WSJ has a very paternalistic view of Chilean politics. Lithium extraction (and mining) pollutes water and uses a ton of it. In Atacama, the driest desert in the planet, it is already extremely scarce for local populations. Chile is not blowing up anything. A sovereign nation can do as it pleases with its natural resources and take any measures to protect its natural environment and population. Anyway, a lithium electric car revolution is a myth, lithium is too scarce to be a scalable solution.
Citation required. Australian Lithium miners would like to talk. As would Julian Simons, from the grave, he won his "limits to growth" bet because Erlich had made the usual mistake I think you are making: the difference between active sources, known reserves and probable amounts worldwide is immense, and the difference between active source and reserves varies as a function of capital investment and risk capital.
Typically people do the "if everyone wanted one NOW" model. But we're in a supply chain curve. Its not now, its over the next 25 years. We don't have a shortage of Lithium in time, over time, we have a shortage in supply chain now, but for a market which is GROWING not increasing by multiple orders of magnitude quanta in one cycle.
You might like to post that as two or three separate comments, since you're getting pushback on just one part of it. I strongly agree with you about the WSJ (and, personally, the rest, but the rest is separate).
The business model here is a group of people have volunteered to maintain a shared opt-in repository and indexer so that musicians who want to release their content under a CC license can easily do so. There's no exploitation happening, unless you broadly consider Open licenses like CC or the GPL to be exploitation.
And if you do have a problem with CC licenses in general, it's probably better to take that up with https://creativecommons.org/
Do you say the same about people who write open source software? This is basically open source music, CC licensed. Just like in the software world, sometimes experimentation and sharing takes priority, not always, but it still has its place.
Some music isn't for sale. This is where you find that music.
People who record music are not desperate. Those trying to be the next popstar might be. Doubt there is huge overlap between those groups. You are more likely to see those on tiktok.
Yes, it's fantastic for indie game developers no doubt. After having a catalogue they can get a good paying job and build a career. Musicians, on the other hand, only get offered more exposure gigs.
This is not an exposure gig. Some artists chose to publish their work as CC license (like some devs publish under open source licenses). This site allows them to upload these works, there are plenty of site that offer the same thing such as https://commons.wikimedia.org/wiki/Main_Page
So I know a few musicians who release for free. All of them have day jobs as software developers, designers, and one really cool guy who is a C level exec.
If music is your career, sure you have to get good fast and sell at every opportunity.
However don’t discount how good you can get just jamming out with friends for 30 something odd years.
It could be there's not a real correlation between the likelihood of being a musician when you're a developer or vice versa. Proving that isn't the purpose of these articles anyways. I was interested in the relationships between the processes of learning and creating/writing music and code that many developers and musicians I've met (and myself) have noticed.
Crazy thing is it changes with age. At around 30 I started regressing. These days I identify the tones but shifted by one semitone.