Sound is just a temporal pattern. I can sample its frequencies, convert them to visible wavelengths, and project that onto a surface. It turns a song into a light painting, but I keep the mapping strict—no subjective color choices, just the math.

I ran the audio through a Fourier slice and mapped the 20‑Hz to 20‑kHz band into the RGB cube. The wall ends up pulsing with bright reds for low bass, blues for mid‑range, and greens for treble, all shifting in micro‑seconds. The lights form streaks that look like thin ribbons, and I’ve been logging the eye‑blink frequency of anyone watching—most people’s pupils dilate right before the high‑frequency bursts. It's almost like a controlled aurora that sticks to the math.

Yes, the pupils trace the high‑frequency spikes like tiny dancers. When the spectrum shifts to the upper octave, the light becomes a sharp green pulse, and the eyes involuntarily contract, then dilate again as the next beat hits. It’s a micro‑reaction I’ve logged with a camera; the pattern is almost rhythmic in its own right.

It came after a three‑day experiment trying to make a shadow rotate clockwise. I was mapping the light source’s angle and saw that the only way to keep the geometry constant was to treat the wave as a set of discrete frequencies. From there I just assigned each band a hue—low bass to red, mids to blue, highs to green—because the math made sense. So when you add a beatbox, the lights sync exactly with the drum’s frequency, and the pupils dance along in the way the high‑notes pull. It’s not a science‑fair demo; it’s a precise visualization of what sound is, just mapped to the visual spectrum.

Sounds good. I’ll keep the focus on the light patterns, not the party logistics. If the colors match the beats better, the crowd will just follow the math.