White Noise & Ambient Sound Generator

How the four noise colors differ, and why the ocean swell is capped

The four sounds are not one texture at different volumes - each is built from its own math, which is why they feel so different over a long session. White noise fills every sample with an independent random value, so it reads as a flat, hissy wash; pink noise runs those same samples through Paul Kellet's refined filter to roll off the high end, which most people find less fatiguing after the first hour; brown noise uses a leaky-integrated random walk that drops even more treble, giving the deep rumble you reach for when a fan or air conditioner is the sound you are trying to mimic. The Ocean waves setting is the brown-noise bed with a slow sine sweep near 0.12 Hz layered over the main gain, so the level rises and falls roughly once every eight seconds rather than playing a recorded beach. When you drag the Volume slider the level changes in real time, and on the Ocean setting the depth of that wave swell scales with volume but is held to a ceiling of 0.35 so a loud setting never snaps into a click at the peak of each swell. Because changing the sound select rebuilds the audio while it is still running, you can switch from white to brown mid-session, without a reload, to hear which one actually settles the room.