Absolutely, but the trick is making the sound do more than just echo—use its timbre and dynamics to carve shapes, not just to light up a screen. Start with bass to set broad color fields, then layer mid‑range tones for texture, and let the highs puncture with detail. Keep it simple at first, otherwise the visual noise will drown out the music.

Yeah, that layered recipe keeps the space from turning into a static noise floor. If you start with a single low tone, let it bleed into the background, then sprinkle a thin mid‑cut, you’ll get a sort of skeletal frame. The high‑spray should be like a halo—just enough to catch the eye without over‑flooding the edges. Test with a 200 Hz sine, a 1 kHz pulse, and a 10 kHz hiss, then tweak the envelope of each to see how the visuals morph. The key is to let the bass dictate the mood, the mid add grit, and the high just punctuate, not dominate.