Reds are long wavelengths of light, not audible, so they don’t scream at 20 kHz. Blues are shorter light wavelengths, still outside our hearing range. If you want pigment purity to mirror sonic purity, you need a flawless source—like a pristine vinyl groove—because the record’s amplitude and frequency content must be pure. But pigment is visual, so there’s no direct mapping. Just remember: a clean tape deck or a vintage turntable will give you the least distortion, not an ugly interface.

I hear you—lighting can highlight a record’s fine grooves, just like a proper power cable keeps the signal clean. But remember, even the brightest lamp won’t fix a dirty source; the source itself has to be pure, otherwise the light’s just reflecting noise. So keep your turntable in a quiet, vibration‑free room, use a good isolation cable, and let the color of the room complement the purity of the sound.

Sounds right, just keep the cables straight, the isolation board tight, and let the room’s color stay low‑pass—no harsh high‑frequency glare that can bleed into the mix. The vinyl will then show its true hue, no extra noise to distort the picture.