Sound masking vs white noise vs notched sound: what is the difference?

If you have tinnitus and have searched for ways to manage it, you have probably encountered several terms that sound similar but describe different things: sound masking, white noise, and notched sound. These terms get used interchangeably online, which creates confusion.

This post breaks down what each approach actually is, how it works acoustically, what equipment or apps each one requires, and what the current research landscape looks like. This is an educational overview, not medical advice. Individual experiences vary widely, and you should consult a healthcare professional about your specific situation.

What is sound masking?

Sound masking is the broadest of the three concepts. It refers to introducing an external sound into your environment so that another sound (in this case, tinnitus) becomes less perceptible against the background. The concept was first studied systematically by Feldmann (1971), who categorised masking effects into types based on how auditory thresholds and tinnitus masking curves related, and later formalised as a clinical approach by Vernon (1977), who pioneered wearable masking devices.

The principle is straightforward: your brain has limited attention. When an external sound occupies part of that attention, the internal sound (tinnitus) competes with more auditory information. The tinnitus signal does not change. Your perception of it within the overall sound environment does.

Sound masking is not a single technique. It is a category that includes several sub-approaches, each with different acoustic strategies.

Broadband masking

Broadband masking uses a sound that covers a wide range of frequencies, often the entire audible spectrum. White noise is the most common example, but pink noise, brown noise, and other coloured noise variants also fall into this category.

The idea is to fill the frequency space broadly so that the tinnitus signal sits within a larger wall of sound. Think of it like a single conversation in a quiet room versus a single conversation in a busy restaurant. The conversation does not get quieter. It just sits inside a denser sound environment.

Broadband masking is the simplest approach. Any speaker, fan, or noise app can produce it. The downside is that it introduces sound across frequencies you may not need, which some people find distracting or fatiguing over long listening sessions.

Partial masking

Partial masking takes a more targeted approach. Instead of covering the tinnitus entirely with a loud broadband signal, partial masking uses a sound that is set at a lower volume, close to but not fully covering the tinnitus.

The reasoning behind this approach comes from a concept called "residual inhibition," where some individuals report a temporary change in their tinnitus perception after exposure to certain sounds. A systematic review by Perez-Carpena et al. (2021) found that sound stimuli produced complete residual inhibition in 34.5% of patients studied (range 5.6 to 72%). Research into the neural mechanism suggests that sound exposure temporarily suppresses hyperactive spontaneous firing in auditory neurons; Galazyuk et al. (2017) found that approximately 40% of spontaneously active neurons in the inferior colliculus showed suppression of firing extending roughly 40 seconds after a 30-second stimulus.

Partial masking typically requires more control over the sound you are using. You need to be able to adjust volume precisely and, ideally, shape the frequency content of your masking sound so it sits near your tinnitus frequency without overwhelming it.

Frequency-targeted masking

Frequency-targeted masking narrows the masking sound to focus on the frequency region around your perceived tinnitus pitch. If your tinnitus presents as a high-pitched tone around 6,000 Hz, for example, a frequency-targeted approach would concentrate sound energy around that region rather than spreading it across the full spectrum. Research supports the relevance of frequency targeting: Moore, Vinay, and Sandhya (2010) found a strong correlation (r = 0.94) between tinnitus pitch matches and the audiometric "edge frequency" (where hearing loss worsens abruptly), and Perez-Carpena et al. (2021) reported higher residual inhibition rates with pure tones and narrowband noise centred on the individual's tinnitus pitch, compared to broadband noise.

This approach requires two things: first, some way to identify your tinnitus frequency (or at least approximate it), and second, a sound source that lets you control pitch and frequency content with enough precision to target that region.

Frequency-targeted masking sits between broadband masking and notched sound approaches. It uses the same general principle as broadband masking (introducing external sound) but applies it more selectively.

What is white noise?

White noise is not an approach to tinnitus; it is a specific type of sound. It gets its own section here because it is so commonly conflated with sound masking as a whole.

White noise is a signal that contains equal energy across all frequencies in the audible spectrum. It sounds like static or a hissing waterfall. The name comes from an analogy to white light, which contains all visible wavelengths.

In practice, white noise is one tool that can be used for broadband masking. But it is not the only option, and it is not always the most suitable one. Other noise colours distribute energy differently:

• Pink noise has equal energy per octave, which means lower frequencies are more prominent. It sounds deeper and is often described as more natural.
• Brown noise (also called Brownian or red noise) emphasizes low frequencies even more. It sounds like a low rumble or heavy rainfall.
• Blue and violet noise tilt toward higher frequencies, which can be relevant if your tinnitus sits in a higher range and you want the masking sound to have more energy in that region.

The point is that "white noise" has become a generic term for any background sound used alongside tinnitus, but the actual acoustic properties matter. Different frequency distributions interact differently with different tinnitus presentations. A controlled trial by Barozzi et al. (2017) compared white, pink, and red (brown) noise in tinnitus retraining therapy and found no significant clinical difference between them; all three produced significant improvements. Similarly, Mondelli et al. (2020) compared four noise types (white, pink, speech, and high-tone) and concluded they were "equally effective," with no statistically significant differences between groups. There is no universal best noise colour; it depends on the individual's tinnitus characteristics and preferences.

What is notched sound?

Notched sound is a fundamentally different approach from masking. Instead of adding sound at or near your tinnitus frequency, notched sound removes a band of frequencies centred on your tinnitus pitch from the audio you are listening to.

How notched sound works acoustically

Imagine you are listening to music or broadband noise. A notched sound approach would take that audio and cut out a narrow frequency band, the "notch," right where your tinnitus pitch sits. You hear everything except the frequencies immediately surrounding your tinnitus.

The acoustic rationale comes from neuroscience research into a concept called "lateral inhibition." In the auditory cortex, neighbouring frequency regions can influence each other. Pantev, Okamoto, and Teismann (2012) reviewed this mechanism: neurons with characteristic frequencies within the notched area are inhibited by neighbouring neurons outside the notch (which are stimulated by the music). The original study by Okamoto et al. (2010), published in PNAS, reported that after 12 months of listening to self-chosen music with a frequency notch centred at each patient's tinnitus frequency, the study group showed statistically significant reductions in perceived tinnitus loudness, along with reduced evoked neural activity in corresponding auditory cortex areas.

This is an area of active research with mixed results. A randomised controlled trial by Stein et al. (2016) with 100 participants found that notched music primarily affected perceived loudness, while broader measures of tinnitus distress did not show relevant changes. A meta-analysis by Tavanai et al. (2024) of seven clinical trials found no statistically significant effect on the Tinnitus Handicap Inventory at 3 and 6 months, though a large effect size was observed using the Visual Analogue Scale. A more recent meta-analysis by Jiang et al. (2025) of 14 randomised controlled trials (793 patients) found that notched music significantly reduced tinnitus disability scores and perceived loudness compared to conventional music at the 3-month mark. The approach is active from a neuroscience perspective, but it is not established as a standard protocol.

What notched sound requires

Notched sound is more technically demanding than basic masking. You need:

1. A reasonable estimate of your tinnitus frequency. This is harder than it sounds. Neff et al. (2019) tested three established pitch matching methods and found intraclass correlation coefficients between 0.63 and 0.69 ("good reliability"), but results can vary up to two octaves between sessions (Henry et al., 2001), partly due to a phenomenon called "octave confusion." Tinnitus pitch can also vary over time and can present as a complex tone rather than a pure frequency.
2. Audio processing that can apply a precise notch filter. This is not something a basic noise app or a fan can do. It requires DSP (digital signal processing) capabilities.
3. Consistent use over extended periods. Most research protocols involving notched sound use listening periods measured in weeks or months. Teismann, Okamoto, and Pantev (2011) also found that TMNMT was effective for tinnitus frequencies at or below 8 kHz but not above, suggesting the approach may not apply to all tinnitus presentations.

Notched sound vs frequency-targeted masking

These two approaches are sometimes confused because both involve identifying your tinnitus frequency. But they work in opposite directions:

• Frequency-targeted masking adds sound AT your tinnitus frequency to make it less perceptible in the moment.
• Notched sound removes sound AT your tinnitus frequency, based on the hypothesis that this specific pattern of stimulation may influence cortical activity over time.

They are acoustically and theoretically distinct approaches.

Comparing the three approaches

What the research landscape looks like

It is worth being direct about the state of research across all three approaches.

Sound masking in various forms has been studied for decades, beginning with Feldmann's (1971) systematic categorisation of masking effects and Vernon's (1977) introduction of wearable maskers. A controlled trial by Henry et al. (2006) compared tinnitus masking with tinnitus retraining therapy (TRT) in military veterans and found both produced significant improvements, with masking performing better at 3 months and TRT showing greater long-term benefit at 12 and 18 months. There is a large body of literature, but it is not monolithic; different masking protocols, different populations, different outcome measures, and different study designs make it difficult to draw simple universal conclusions. What is clear is that sound masking is a well-established concept in audiology and is used as one component within broader management strategies that audiologists and ENTs may recommend.

White noise specifically has been studied both as a standalone masking sound and as a component of structured protocols. It is the most commonly used control condition in tinnitus research, which means it appears in many studies but often as the comparison group rather than the intervention. A Cochrane review by Hobson, Chisholm, and El Refaie (2012) analysed six trials (553 participants) and found the limited data "failed to show strong evidence of the efficacy of sound therapy," though they emphasised that absence of evidence should not be interpreted as evidence of ineffectiveness. A subsequent Cochrane review by Sereda et al. (2018) of eight trials (590 participants) found insufficient evidence to support the superiority of any one sound therapy option over the others.

Notched sound approaches are newer and the evidence base is smaller. There are promising findings from some research groups, but also null results from others. The field has not reached consensus on optimal notch width (Wunderlich et al., 2015, found 1/4-octave to 1-octave widths produced comparable results), listening duration, or which populations might or might not respond to this approach. It remains an active and interesting area of investigation.

The honest summary: research is ongoing across all three approaches. No single approach has been established as universally effective for all tinnitus presentations. Individual experiences vary. What works in a controlled study with specific parameters may not translate directly to self-directed use at home.

How these approaches relate to siasola Tinnitus Masking Sounds

Siasola Tinnitus Masking Sounds is a sound customization tool, not a medical device. It was built by Justin, who has had tinnitus since he was 18. He wanted precise control over pitch, layering, and mixing that he could not find in existing apps, so he built it.

The app provides tools that are relevant to several of the approaches described above:

• For broadband masking: The app includes 95+ sounds with a 5-layer mixer, so you can build and blend broadband soundscapes with independent volume controls.
• For frequency-targeted masking: The pitch exploration tool and per-layer pitch controls let you adjust sounds to target specific frequency regions. This level of precision is what separates a general noise app from a dedicated sound customization tool.
• For extended listening: Sleep fade mode allows sounds to taper off gradually, which is useful if you use sound masking during the transition to sleep.
• DSP effects: Built-in DSP processing gives you additional control over how your sound layers interact and how the overall mix is shaped.

The app does not make claims about outcomes. It does not diagnose, treat, or prescribe. It is a tool that gives you control over your sound environment with more precision than most alternatives. What you do with that control is between you and your healthcare provider.

If you want a deeper dive into sound masking as a concept, read our explainer on what sound masking is and how it is used alongside tinnitus.

Key takeaways

1. Sound masking is the broad category. It means adding external sound to change how you perceive your sound environment. It includes broadband, partial, and frequency-targeted approaches.
2. White noise is one specific sound type, not an approach in itself. It is a flat-spectrum broadband signal. Other noise colours (pink, brown, blue) distribute energy differently and may be more or less suitable depending on your tinnitus characteristics.
3. Notched sound is acoustically opposite to masking; it removes frequencies at your tinnitus pitch rather than adding them. It is based on neuroscience hypotheses about cortical reorganization and remains an active research area with mixed findings.
4. No single approach is established as universally effective. Research is ongoing. Individual experiences vary.
5. Precision matters. Whatever approach you explore, having control over pitch, volume, and frequency content gives you more options than a generic noise generator.

References

1. Barozzi S, Ambrosetti U, Callaway SL, et al. Effects of tinnitus retraining therapy with different colours of sound. International Tinnitus Journal. 2017;21(2):139-143. doi:10.5935/0946-5448.20170026

2. Feldmann H. Homolateral and contralateral masking of tinnitus by noise-bands and by pure tones. Audiology. 1971;10(3):138-144. doi:10.3109/00206097109072551

3. Galazyuk AV, Voytenko SV, Longenecker RJ. Long-lasting forward suppression of spontaneous firing in auditory neurons: implication to the residual inhibition of tinnitus. JARO. 2017;18(2):343-353. doi:10.1007/s10162-016-0601-9

4. Henry JA, Flick CL, Gilbert A, Ellingson RM, Fausti SA. Comparison of two computer-automated procedures for tinnitus pitch matching. Journal of Rehabilitation Research and Development. 2001;38(5):557-566. PubMed:11732833

5. Henry JA, Schechter MA, Zaugg TL, et al. Outcomes of clinical trial: tinnitus masking versus tinnitus retraining therapy. Journal of the American Academy of Audiology. 2006;17(2):104-132. doi:10.3766/jaaa.17.2.4

6. Hobson J, Chisholm E, El Refaie A. Sound therapy (masking) in the management of tinnitus in adults. Cochrane Database of Systematic Reviews. 2012;2012(11):CD006371. doi:10.1002/14651858.CD006371.pub3

7. Jiang W, Zheng Y, Zheng C, Chen R, Li B. The efficacy of notched music therapy vs conventional music therapy for chronic subjective tinnitus patients: a systematic review and meta-analysis. European Archives of Otorhinolaryngology. 2025;282(7):3431-3442. doi:10.1007/s00405-025-09260-9

8. Mondelli MFCG, Cabreira AF, de Matos IL, Ferreira MC, Rocha AV. Sound generator: analysis of the effectiveness of noise in the habituation of tinnitus. International Archives of Otorhinolaryngology. 2020;25(2):e205-e212. doi:10.1055/s-0040-1713377

9. Moore BCJ, Vinay, Sandhya. The relationship between tinnitus pitch and the edge frequency of the audiogram in individuals with hearing impairment and tonal tinnitus. Hearing Research. 2010;261(1-2):51-56. doi:10.1016/j.heares.2010.01.003

10. Neff P, Langguth B, Schecklmann M, Hannemann R, Schlee W. Comparing three established methods for tinnitus pitch matching with respect to reliability, matching duration, and subjective satisfaction. Trends in Hearing. 2019;23:2331216519887247. doi:10.1177/2331216519887247

11. Okamoto H, Stracke H, Stoll W, Pantev C. Listening to tailor-made notched music reduces tinnitus loudness and tinnitus-related auditory cortex activity. PNAS. 2010;107(3):1207-1210. doi:10.1073/pnas.0911268107

12. Pantev C, Okamoto H, Teismann H. Music-induced cortical plasticity and lateral inhibition in the human auditory cortex as foundations for tonal tinnitus treatment. Frontiers in Systems Neuroscience. 2012;6:50. doi:10.3389/fnsys.2012.00050

13. Perez-Carpena P, Bibas A, Lopez-Escamez JA, Vardonikolaki K, Kikidis D. Systematic review of sound stimulation to elicit tinnitus residual inhibition. Progress in Brain Research. 2021;262:1-21. doi:10.1016/bs.pbr.2021.01.020

14. Sereda M, Xia J, El Refaie A, Hall DA, Hoare DJ. Sound therapy (using amplification devices and/or sound generators) for tinnitus. Cochrane Database of Systematic Reviews. 2018;12(12):CD013094. doi:10.1002/14651858.CD013094.pub2

15. Stein A, Wunderlich R, Lau P, et al. Clinical trial on tonal tinnitus with tailor-made notched music training. BMC Neurology. 2016;16:38. doi:10.1186/s12883-016-0558-7

16. Tavanai E, Rahimi V, Bandad M, Khalili ME, Fallahnezhad T. Efficacy of tailor-made notched music training (TMNMT) in the treatment of tinnitus: a systematic review and meta-analysis. European Archives of Otorhinolaryngology. 2024;281(10):5033-5049. doi:10.1007/s00405-024-08732-8

17. Teismann H, Okamoto H, Pantev C. Short and intense tailor-made notched music training against tinnitus: the tinnitus frequency matters. PLoS ONE. 2011;6(9):e24685. doi:10.1371/journal.pone.0024685

18. Vernon JA. Attempts to relieve tinnitus. Journal of the American Auditory Society. 1977;2(4):124-131. PubMed:845067

19. Wunderlich R, Lau P, Stein A, et al. Impact of spectral notch width on neurophysiological plasticity and clinical effectiveness of the tailor-made notched music training. PLoS ONE. 2015;10(9):e0138595. doi:10.1371/journal.pone.0138595

Disclaimer

This post is for educational purposes only. It is not medical advice, and it does not recommend any specific approach for managing tinnitus. siasola Tinnitus Masking Sounds is a sound customization tool, not a medical device. It does not diagnose, treat, cure, or prevent any condition.

If you have tinnitus, consult a qualified healthcare professional, such as an audiologist or ENT specialist, about your specific situation. Do not use any sound-based approach as a substitute for professional evaluation and guidance.