syn-es-the-sia:
n. Physiol. Sensation produced at a point other than
or remote from the point of stimulation, as of a color from hearing a
certain sound (fr. Gk, syn = together + aisthesis = to perceive).
http://web.mit.edu/synesthesia/www/synesthesia.htmlSeems that the "remote point" of stimulation is a key factor here. Recording a band live with multiple mics is analagous to the ear simultaneously being in many places at one time. Hearing the same performance from many angles could fall under this "remote point" definition. Subltle cues (mic bleed and phasing) can reinforce this experience. Modern pop mixes also have several different perspectives going on simultaneously, but typically not of the same thing... So I can picture this as a kind of "mosaic" visualization, as opposed to the more synergistic "blend" of a live recording.
In regards to association of color to sound, it may be intersting to not that such notable figures as Isaac Newton, Alexander Scriabin, Nikolai Tesla, Helmholtz, and many others at one point or another worked on the theory that each color in the spectrum had an associated pitch in the musical scale. This can be determined mathematically by continually doubling a pitch's frequency until it reaches a corresponding value of a color frequency in the visible spectrum.
Evidently, the ear is capable of discerning the same pitch across a range of multiple octaves, wheras the eye only has one "octave" of visible range. The commonly accepted frequency limit of visible Violet light is approximately double that of Deep Red.
It is also interesting to watch a black light, for instance, as it looks as though it is starting to take on a tinge of red at higher frequencies... indicating that there may exist another "invisible" octave of light lurking in what we call the "Ultraviolet" range.
Of course, there is also the issue of perfect pitch (which I believe to be present in even the most casual of listeners). Different frequencies are clearly recognizable and have certain elusive "characteristics", that are nonetheless identifiable and commonly experienced by many listeners. Eg. 350Hz, 700Hz, 1400Hz and so on (corresponds roughly to an F) could be described as "muddy", "boxy", "wooly" and so on... Wheras 110, 220, 440, (Corresponding to the A note) are of a more vibrant, unrestrained nature. Look a the Neve 1073 EQ and you will find that it uses exactly these frequencies - Rupert knew what he was doing!!!
There also exist studies pertaining to tempo, and brain wave entrainment. Seems different meters and tempo can cause the brain to enter different "states" favoring Alpha, Delta, Theta waves etc. It has been suggested that heart rate can also be entrained in a similar way.
Being involved with sound and music is so cool.... I think I'm going to chill out for a bit now...
Cheers,
Eric