This research explores the various forms that tinnitus can take, based on the identification of the psychoacoustic properties inherent to this phantom auditory sensation and the creation of tinnitus portraits. Interviews were conducted with eight musicians who described their tinnitus and engaged in a sound synthesis protocol combining quantitative measurements and qualitative assessments of percepts. Sound samples, oscillators and noise generators, filters, and other synthesis tools were used in the development of individual tinnitus portraits. This process revealed the relevance of pairing the psychoacoustic properties of frequency and intensity that are typically measured in clinical assessment, but also spectral content, pitch and amplitude modulations, temporal and spectral envelopes, and localization, all for multiple percepts in the same participant. The complexity of these portraits points to the specificity and subjectivity of each subject’s tinnitus reality, and while the clinical pairing’s primary objective is giving tangibility to tinnitus, considering the more qualitative attributes, “how tinnitus sounds,” accentuates this tangibility. Giving real form to tinnitus and sharing this reality associated with a feeling of individuality and uniqueness could facilitate the path to acceptance of the condition, especially for musicians who have the capacity to discuss these psychoacoustic specificities.