Noise Colors Sounds
Compare the main noise colors and their spectral balance. White, pink, brown and related noise colors are generated electronically rather than recorded in nature.
Listen now
Broadband original white noise
Original DSPPink NoiseOriginal lower-weighted pink noise
Original DSPBrown NoiseOriginal low-frequency-weighted brown noise
Original DSPGreen NoiseOriginal mid-band DSP sound, with a documented 165 Hz high-pass and 1,550 Hz low-pass
Original 10-minute master · listening review pendingBlue NoiseBright synthetic noise spectrum
Owner-approved DSP · measured spectrumViolet NoiseHigh-frequency-weighted synthetic noise
Owner-approved DSP · measured spectrumSoft White NoiseA softer white noise variation
Owner-approved DSP · custom spectral profileDeep Brown NoiseA low-heavy variation of brown noise
Owner-approved DSP · custom spectral profileWarm Pink NoiseA warmer pink noise variation
Owner-approved DSP · custom spectral profileNeutral Mid NoiseSynthetic mid-frequency noise
Owner-approved DSP · custom spectral profileAbout this category
White noise distributes power broadly across frequencies; pink noise emphasizes lower bands relative to white, while brown noise places even more energy toward bass frequencies. Blue and violet weight the treble instead. Green Noise has no agreed spectral standard; our separately generated version concentrates energy in a measured middle band using disclosed filters.
Choosing your next sound
Which noise color feels most comfortable depends on the listener and their playback equipment. Use similar volume levels when comparing options.
Planned sound additions (1)
Listen and compare the spectrum
Noise colors do not all have the same physical definition. White, Pink and Brown have conventional idealized spectral forms, while Green, Soft White, Deep Brown, Warm Pink and Neutral Mid are variations whose actual measured profiles matter more than their names. Blue and Violet concentrate proportionally more energy at high frequencies.
Begin with the three standard reference colors, then compare one variation at a time using the dedicated page. Particularly bass-heavy masters may sound quiet on small speakers; especially bright ones can feel sharp. All sources are separate files, not a single sound renamed.
Six independently produced sounds, six measured responses
Blue and Violet Noise correspond to established theoretical increasing-power spectra. Soft White, Deep Brown, Warm Pink and Neutral Mid are custom filtering labels, not universally agreed noise colors. These figures are fitted slopes from our approved 10-minute MP3 masters over the 120–6,000 Hz analysis interval, not claims of how loud they sound in a room.
| Sound file | Measured slope | Distinct character / label |
|---|---|---|
| Blue Noise | +10.01 dB/decade | Power rises toward treble; defined blue spectrum |
| Violet Noise | +20.01 dB/decade | Steeper upper-frequency weighting; also purple noise |
| Soft White Noise | −6.70 dB/decade | Filtered broadband hiss, not a textbook color |
| Deep Brown Noise | −66.42 dB/decade | Heavily filtered low-frequency master, not standard Brown |
| Warm Pink Noise | −41.65 dB/decade | Extra low-weighted custom Pink variation |
| Neutral Mid Noise | −2.76 dB/decade | Independent mid-band DSP; not Green Noise |
Each linked Sound Page includes a five-band spectrum measured from its actual MP3. Positive slopes emphasize higher frequencies; negative slopes shift energy lower, but speaker response, additional filtering and listening level matter. Never turn up the volume simply because an extreme bass file seems quiet on a phone. Read more about colored-noise theory from IEEE Technology Navigator; measurements here are independently derived from WhiteNoiseChoir sources.
The separate Green Noise master is still awaiting listening approval and remains outside the individually approved indexed pages. Avoid assuming green, neutral-mid and pink noises are interchangeable.