I do NOT have any experience with the mentioned program, so perhaps I am out of line in commenting at all.
However, I just wanted to point out that true "perfect pitch" is something that can, as one person pointed out, ruin your enjoyment of music, and that what is usually (and usefully) taught is not perfect pitch but the improved ability to identify perfect relative pitch, which can include increased awareness of "beat" frequencies or overtones, if your hearing is sufficiently acute. (You already know this, but for those who don't, two notes played in a chord create a third note -- sometimes referred to as a "beat" frequency in electronics -- that will pulse faster as you drift further from being in tune and slower as you approach perfect relative pitch; the goal in this type of training is to be able to play or sing the notes in a duet so that the note created by the intersection of the vibrations is stable, indicating that each of you is in relative perfect pitch to the other. Unless asked to listen for these specific overtones, most of us are consciously unaware of them, although they affect our perceptions of musicality nevertheless.)
A singer in a band facing monitors in a live venue will NEVER hear an overtone, and his or her intonation will probably depend more on physical support from the diaphragm and lots of practice than extensive training in relative pitch.
On the other hand, a classical singer or academic who wishes to learn to sight-read (a friend of mine uses a difficult passage from Alban Berg's opera Wozzeck as a final exam for his advanced voice students) would benefit greatly from learning relative pitch.
Whether a course that claimed to teach "perfect pitch" would be useful to you or not depends not only on what you wish to accomplish but also your cultural values. Any Anglo musician who has been to Mexico has noticed that standards of intonation are very different in a mariachi band, for instance, yet everyone is still having a wonderful time and making great, joyful music that is hard to resist. Likewise, other cultures, especially Asian, use scales that are completely unrelated to the corpus of western European music.
Keeping these cultural differences in mind helps put perfect pitch and perfect relative pitch in perspective. It's great (for others) if perhaps one person in a large symphony orchestra has perfect pitch to help tune sections and identify where pitch has drifted off. But aside from the certain cache that accompanies the mystique of this unusual ability, the person who has perfect pitch will usually tell you that all things being equal, he/she would rather not have it.
Mark H.
