Colored Noise Generator

Explore blue, violet and gray noise across the spectrum.

Everything runs in your browser. No audio is ever uploaded.

Noise color

White (flat spectrum, equal energy per hertz)The slope is how power changes across the spectrum. Brown and pink tilt toward the lows for a softer hush, while blue and violet tilt toward the highs for a brighter hiss.

Settings

Volume-12 dB

Sleep timer

The last 30 seconds fade out before playback stops.

Audio starts on your first tap on Play, as required by your browser. Press Space to start or stop.

A colored noise generator gives you the whole noise palette, not just the famous three. Every noise color is the same randomness with a different spectral slope, so this noise color generator lets you play blue, violet and gray noise next to white, pink and brown and pick the tilt that suits the sound you want to cover.

This generator carries all six colors. If you only want white, pink or brown with one tap, use the simpler tool: White Noise Generator

How to use it

Choose a color from the list. Each entry names its slope, so you can see at a glance that pink falls by 3 dB per octave while violet climbs by 6 dB.
Compare two colors while it plays. Switching hands over between two noise sources at the same level, so the change is instant and you hear the tilt rather than a jump in volume.
Set the level in decibels. Start low with blue and violet: they carry much more energy in the top octaves than the other colors and can sound painful at a setting that felt fine for brown.
Add a sleep timer of 15, 30 or 60 minutes if you want it to stop on its own. The last half minute fades out rather than cutting.
Press Play or hit the space bar, then use Copy link to keep the color and level you arrived at.

What you can use it for

Matching the noise to the problem. Traffic through a wall is mostly low, an air conditioner is mostly mid, keyboards and voices are high. Pick a color that sits where the intruding sound sits and you can mask it at a lower level.

Tinnitus masking. A high, thin ring is often easier to cover with blue or violet noise than with brown, because the energy is where the tone is. The tinnitus matcher can tell you roughly where yours sits first.

Gray noise for a level backdrop. Gray is weighted so that it sounds about equally loud across the spectrum rather than measuring flat, which is why it turns up in hearing research and tinnitus retraining.

Judging a speaker or a headphone. Pink noise is the reference for checking whether a system sounds even; switching to blue or brown afterwards tells you how it handles a spectrum tilted well away from neutral.

Hearing what a slope does. Six colors in one dropdown is the shortest route to understanding why an equalizer curve changes the character of a sound instead of just its volume.

The six noise colors

Color	Slope	Sounds like	Typical use
White	flat per hertz	A bright, even hiss.	Masking speech, and as a test signal.
Pink	-3 dB per octave	Steady rain.	Sleep, focus, speaker and room checks.
Brown	-6 dB per octave	Distant surf, almost no hiss.	Sleep, and covering low rumble.
Blue	+3 dB per octave	Airy and light, the mirror of pink.	Covering high sounds; dithering in audio work.
Violet	+6 dB per octave	Sharp and thin, all treble.	High tinnitus masking; noise shaping.
Gray	loudness weighted	Even to the ear rather than even on a meter.	Tinnitus retraining and hearing research.

Accuracy and limits

The slopes are targets, not certified curves. The colors are generated with the usual real time approximations: pink from a filter bank, brown by integrating white noise, blue and violet by differentiating. They land close to the nominal tilt across the middle of the range and drift at the extremes.

Gray is the loosest of the six. Equal loudness curves change with level and differ from person to person, so what you get here is a rough smile that lifts the lows and highs, not a calibrated weighting for your ears at your volume.

Blue and violet are the ones to be careful with. Most of their energy sits in the top octaves, where tweeters heat up and hearing damage starts, and where the level always feels lower than it is. Turn the volume down before you switch to them, and treat long sessions with caution.

Frequently asked questions

What is colored noise?

Random noise with a defined spectral tilt. The color name says how the power is distributed: flat for white, falling for pink and brown, rising for blue and violet. The randomness is identical in every case.

What is gray noise used for?

For a background that sounds level to the ear rather than measuring level on an analyzer. It shows up in tinnitus retraining and in hearing studies, where a signal that feels evenly loud across the range is more useful than a flat one.

Which noise color is best for tinnitus?

Usually one that overlaps with your own tone: violet or blue for a high ring, pink or brown for a low hum, gray if nothing else feels balanced. Keep the level just below the tinnitus rather than on top of it, and see an audiologist if it is new or one sided.

Why does violet noise sound so harsh?

Because it rises by 6 dB per octave, so nearly all of its energy is in the treble. That is what makes it useful for masking high sounds and unpleasant to sit in for long. Lower the volume before you select it.

How is this different from the white noise generator?

Same engine, different palette. The white noise generator keeps the three classic colors on tap buttons and is quicker for sleep; this page adds blue, violet and gray in a full list for when you need a specific tilt.

Does it work offline?

Yes. Every color is generated on your own device by the Web Audio API, so once the page has loaded you can disconnect the network and it keeps playing.