Noise Generator Online: Hear White, Pink, and Brown Noise Side by Side
White noise has equal power in equal-width frequency bands. Pink noise spreads roughly equal power across each octave, which leaves less energy in the highest frequencies. Brown noise tilts even further toward the low end. Those distinctions are easier to hear than to describe. Select a color above, set a low listening volume, and play it through the same headphones or speakers you normally use. You can also download a fixed-length WAV for a sound-design project. No recording or uploaded file is required.
White noise: a broad, bright hiss
The white setting makes a new random sample at each point in time. There is no relationship between adjacent samples. Over many samples, its power is approximately flat per hertz, but a short recording can have random fluctuations. White noise is useful for checking whether an EQ change makes one part of the audible range stand out. It also works as a starting point for synthetic wind, static, or percussion textures. Do not assume a flat digital signal will sound flat in a room. Your speakers and the room change what you hear.
Pink noise: a softer high end
Pink noise has a power spectrum that falls approximately 3 dB for every doubling of frequency. The 100 to 200 Hz octave receives roughly the same total power as the 1000 to 2000 Hz octave. That is different from white noise, where the wider octave holds more total energy. This tool uses a running filter approximation driven by white random samples. It is suitable for listening and sound design, but it is not a calibrated measurement signal with a guaranteed spectral tolerance. If you are testing speakers to a published standard, use a verified test file and measurement chain instead of treating this browser output as a laboratory reference.
Brown noise: more low-frequency weight
Brown noise is also called red noise or Brownian noise. It emphasizes lower frequencies more strongly than pink noise. Here, a leaky accumulator integrates random samples, then applies a fixed scale. The leak keeps the signal bounded rather than allowing a random walk to drift indefinitely. Because the signal contains more low-end energy, a phone speaker may reproduce it differently from headphones. Try each sound at the same speaker setting before choosing one. White, pink, and brown describe statistical spectra, not promises about sleep quality, concentration, or medical benefits.
If you want to investigate what a frequency label means in music, try the note frequency calculator. For a quick example, the A above middle C is 440 Hz in standard tuning; that number is a point in the spectrum, while each noise color spreads energy over many frequencies. Our spectrum analyzer can display the balance of a downloaded recording, although its graph also depends on windowing and the chosen input.
Listening volume and WAV duration are separate controls
The volume slider changes only the audio you hear in this page. It does not change the samples in the downloaded file. Playback loops a four-second generated buffer until you press Stop or leave the page. A new random buffer is made each time playback starts. There can be a small discontinuity at the loop boundary, so this is not intended as a seamless ambience track for professional release. The WAV exporter creates a fresh, non-looped buffer. Choose 5 to 300 seconds in five-second increments. Export is mono, 44,100 samples per second, and 16-bit PCM regardless of the playback device's sample rate.
At one channel and 16 bits per sample, a 60-second WAV contains about 60 x 44,100 x 2 = 5,292,000 bytes of sample data, plus a small header. Five minutes is about 26.5 MB. The sample rate and bit depth calculator lets you estimate other PCM sizes. If you need a smaller file for a demo, feed the WAV into the audio converter. Lossy encoding can change noise texture, especially at low bitrates.
A downloaded noise file will not be identical to the one you heard in the browser. The exporter draws fresh random samples; it does not record the playback loop. If you need to repeat the exact same sound in a project, save the first WAV and reuse that file. Generating a second file produces another random sequence, even when the color and duration settings match.
Use noise carefully in a mix
Keep playback quiet at first. An audio file's numerical amplitude does not tell you the sound pressure level at your ears. That depends on your device, headphones, amplifier, and volume control. The NIOSH noise guidance discusses exposure risks and recommends a limit of 85 dBA for eight hours of occupational exposure. This website does not measure sound pressure or calibrate your speakers. Avoid long listening sessions at high volume.
For a soft texture under a track, download a short pink-noise file and turn it down in your editor before adding fades. The fade toolcan soften the start and end. If you want to remove background hiss from an existing recording rather than generate noise, use the noise gate. A gate attenuates audio during quiet passages; it does not isolate or erase noise under a voice.
