One additional individual did not participate because she experienced consistent colour and texture but no experiences of shape and location. Thus, seven individuals

with consistent colour and non-colour synaesthetic experiences (two PR-171 purchase males; mean age (±SD): 32.7 ± 11.6 years; range: 21–50 years) participated in the subsequent assessments and experiments. They reported vivid visual experiences in response to auditory stimuli (voices, music, and ambient sounds). These visual experiences predominately resembled simple geometric objects (e.g., cube, sphere, or wavy line), and changes in auditory characteristics (pitch, timbre, and melody) altered the described hue, brightness, shape, and spatial location. All reported also seeing colours induced by graphemes. Five of them had musical training (one is a professional musician), but none reported having perfect pitch.1 All seven synaesthetes were right-handed. We also tested seven sex-, age-, and handedness-matched non-synaesthetic controls (mean age (±SD): 32.5 ± 12.2 years; range: 21–50 years) for comparison in the main experiments. As controls do not have any kind of synaesthesia (criteria for inclusion in the control group), they did not participate in the

subjective session. Four of the controls had music training Roxadustat cell line (none had perfect pitch). The auditory stimuli comprised 30 different instrument sounds, each of 2 sec duration. All sound clips were 16-bit stereo files at the sampling frequency of 44.1 kHz and 65 dB. The 30 sounds consisted of 10 flute notes, 10 piano notes, and 10 violin notes.

The instrument notes were computer-synthesised, matched for frequency of the fundamental, and consisted of notes from C1 (33 Hz) up to Eb6 (1245 Hz), separated by intervals of musical fifths (i.e., 700 cents). Thus, the following notes were used: C1, G1, D2, A2, E3, B3, F#4, Db5, Ab5, and Eb6. We mapped out the characteristics Adenosine of responses to instrument sounds to see whether they varied systematically with timbre and pitch and whether there was any coherent pattern across synaesthetes. We also used the images generated in this session to construct stimuli to assess the specificity of the synaesthetic experiences and for our experimental manipulations. We presented 60 sounds (30 different notes × two repetitions) in a randomised order. After listening to each sound, the synaesthetes were asked to select their synaesthetic colour using the graphics software Gimp (http://www.gimp.org). If their synaesthetic percepts involved more than one colour or visual features other than colour, we asked them to draw their synaesthetic image using Gimp or pastels. We also asked them to provide as much additional description as possible. After drawing their synaesthetic experience for each sound, they were asked to rate how well their image matched their synaesthesia on a five-point scale, with ‘one’ being ‘poor match’ and ‘five’ being ‘perfect match’.