White noise, pink noise, brown noise: which is best for tinnitus?

If you have tinnitus and you have searched for sounds to mask it, you have probably run into the phrase "noise colours." White noise, pink noise, brown noise. They all get mentioned, often with vague claims about which one is "best."

Here is the honest answer: there is no single best noise colour for tinnitus. 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. Mondelli et al. (2020) compared four noise types in 35 patients and reached the same conclusion: "the four noises were equally effective, with no statistically significant differences." Which sound you prefer depends on your individual tinnitus pitch, your personal taste, and the environment you are in. What matters is understanding what each noise colour actually is so you can make an informed choice for yourself.

This post breaks down six noise colours: what they are scientifically, how they sound, what they feel like, and why different people gravitate toward different ones.

What "noise colour" actually means

Sound is made up of frequencies. Low frequencies sound deep and rumbly. High frequencies sound bright and hissy. When you combine many frequencies at once, you get noise. The "colour" of noise describes how energy is distributed across those frequencies.

Think of it like light. White light contains all visible wavelengths in roughly equal amounts. Other colours of light emphasize certain wavelengths over others. Noise colours work the same way, except with sound frequencies instead of light wavelengths.

The difference between noise colours is not about which frequencies are present; most of them contain all audible frequencies. The difference is about which frequencies are louder relative to others.

That distribution changes how the noise sounds, and it changes how the noise interacts with your perception of tinnitus.

White noise

What it is

White noise has equal energy at every frequency across the audible spectrum. If you measured the power at 100 Hz, 1,000 Hz, and 10,000 Hz, you would get roughly the same reading.

How it sounds

Bright, full, and consistent, like a television tuned to a dead channel or steady rainfall on a hard surface. It has noticeable high-frequency content, which gives it a "hissy" or "airy" quality.

What to know

Because human hearing is more sensitive to higher frequencies, white noise can sound somewhat treble-heavy even though the energy is technically flat. For people whose tinnitus sits in the higher frequency range, white noise provides broad-spectrum coverage that spans the same territory. For others, the brightness can feel fatiguing over long listening sessions. A review by Attarha, Bigelow, and Merzenich (2018) in JAMA Otolaryngology raised the question of whether prolonged exposure to unstructured broadband noise could engage maladaptive neuroplastic mechanisms, and recommended structured acoustic stimulation over featureless noise. This remains a debated point in the field, but it is worth being aware of.

White noise is the most widely recognized noise colour and the one most people try first. In the Barozzi et al. (2017) trial, two-thirds of participants who were given a choice between noise colours selected white noise. It is a reasonable starting point, but it is far from the only option worth exploring.

Pink noise

What it is

Pink noise decreases in power by 3 dB per octave as frequency increases. In practical terms, this means the lower frequencies carry more energy than the higher ones. Mathematically, its power spectral density is inversely proportional to frequency (1/f).

How it sounds

Deeper and more balanced than white noise. Often compared to a steady waterfall, consistent wind through trees, or gentle rain. It sounds "fuller" because the bass and midrange are more present relative to the treble.

What to know

Many people find pink noise more natural-sounding than white noise. This makes sense; a lot of sounds found in nature follow a roughly 1/f distribution. Because of the reduced high-frequency energy, pink noise can feel less fatiguing during extended listening, which matters if you are using sound masking for sleep or long work sessions. Notably, Mondelli et al. (2020) found that in noisy settings, pink noise was the only noise type that produced a statistically significant improvement in speech recognition, suggesting it may be a practical choice if you need to hear conversations alongside your masking sound.

Some people with mid-range tinnitus pitches gravitate toward pink noise because the energy distribution aligns well with the frequency range where their tinnitus sits. Others find it too muffled. Personal preference varies widely.

Brown noise (also called red noise)

What it is

Brown noise (named after Robert Brown and Brownian motion, not the colour) decreases in power by 6 dB per octave. It drops off even more steeply than pink noise, meaning the low frequencies dominate significantly.

You may also see it called "red noise" in some contexts, following the light-colour analogy where red light has the longest wavelengths.

How it sounds

Deep, rumbling, and heavy. Think of strong wind, distant thunder, or the low roar of a large river. There is very little high-frequency content, so it has almost no hiss or brightness.

What to know

Brown noise has gained significant popularity in recent years. Its deep, bass-heavy character is distinctive, and many people report a strong personal preference for it. In the Barozzi et al. (2017) trial, the patients who did not choose white noise selected red (brown) noise, describing it as reminiscent of "soothing noises like shower or rainfall." Interestingly, no participants in that study chose pink noise.

For people whose tinnitus is high-pitched, brown noise takes a different approach than white noise. Instead of covering the tinnitus frequency directly, it fills in the lower frequency space. Some people find this preferable. Others find that without energy near their tinnitus pitch, the masking effect is less noticeable. There is no universal rule here. It depends on you.

If you tend to prefer deeper sounds in general (bass-heavy music, low ambient hums, the sound of a car engine) brown noise is worth spending time with.

Blue noise

What it is

Blue noise is the inverse of pink noise. Its power increases by 3 dB per octave as frequency goes up. Higher frequencies carry more energy than lower ones.

How it sounds

Bright, sharp, and hissy, like a strong spray of water from a high-pressure nozzle or aggressive static. It has a distinctly treble-forward character with very little bass warmth.

What to know

Blue noise is less commonly discussed in the context of tinnitus sound masking, but it has its uses. Because the energy is concentrated in the higher frequencies, it can be relevant for people whose tinnitus sits in a very specific high-frequency band and who want focused energy in that range.

Most people find blue noise harder to listen to for extended periods compared to pink or brown noise. It is not a noise colour that many people choose as their primary masking sound, but it is worth knowing about because individual responses vary. What sounds harsh to one person may sound perfectly fine to another.

Violet noise (also called purple noise)

What it is

Violet noise increases in power by 6 dB per octave, the inverse of brown noise. It is the most treble-heavy of the standard noise colours, with power concentrated strongly in the upper frequencies.

How it sounds

Very bright and sharp, almost like a high-pitched hiss or the sound of air escaping from a narrow opening. It has even less bass content than blue noise.

What to know

Violet noise is niche. Most people do not reach for it as a primary masking sound because of its aggressive high-frequency emphasis. However, in a tool that allows mixing multiple sound layers, violet noise can serve as a useful component, adding a small amount of high-frequency energy on top of a deeper base layer to create a custom blend.

This is one of those noise colours where having precise volume and pitch control matters. A touch of violet noise mixed with brown noise at low volume creates something neither colour offers on its own.

Green noise

What it is

Green noise is less formally defined than the others. It generally refers to noise with energy concentrated in the mid-frequency range, roughly 500 Hz to 2,000 Hz, with reduced energy at both the low and high extremes.

How it sounds

Muted, ambient, and somewhat hollow. It sits between the brightness of white noise and the depth of brown noise. Some people describe it as sounding like background ambience in a quiet outdoor setting.

What to know

Green noise is not part of the standard mathematical noise-colour framework, so definitions can vary depending on the source. That said, the concept is useful: it describes a noise profile focused on the middle of the frequency spectrum, which is where a lot of human hearing is most sensitive and where some people perceive their tinnitus.

If the standard noise colours feel like they emphasize the wrong part of the spectrum for you (too bassy, too hissy, or too flat) exploring the mid-frequency range is a reasonable next step.

So which one should you choose?

This is the part where most articles give you a confident answer. This one does not, because the honest answer is: it depends entirely on you.

Here is what actually matters:

Your tinnitus pitch

Tinnitus varies enormously from person to person. Some people hear a high-pitched tone, others hear a low hum, and others hear something in between, or multiple tones at once. Studies on tinnitus pitch distribution show that 4,000 to 6,000 Hz is the most common range: Nascimento et al. (2018) found 6,000 Hz was the most frequent pitch in 148 patients, while Flores et al. (2015) found an average of 4,000 Hz among those with noise-induced hearing loss. The pitch (or pitches) of your tinnitus influences which noise colours feel most relevant to you.

There is no formula that says "if your tinnitus is X Hz, use Y noise colour." But understanding the frequency distribution of each noise colour gives you a framework for experimenting systematically instead of randomly.

Your personal preference

Two people with similar tinnitus pitches may prefer completely different sounds. One might gravitate toward deep brown noise, while the other prefers bright white noise. Preference is subjective, and it is valid. If a sound feels right to you, that matters.

Your environment

The best noise colour for falling asleep may differ from the best one for working at a desk, which may differ from the best one for a quiet room versus a noisy office. Context changes the equation.

Mixing matters more than picking one

Here is something most noise-colour articles miss entirely: you do not have to pick just one.

A single noise colour is a starting point. But real-world sound masking often works with layered sounds rather than a single source. Cuesta et al. (2022) studied an enriched acoustic environment using personalized broadband noise filtered by individual hearing loss curves, with 83 tinnitus patients listening for 1 hour daily over 4 months. The approach produced clinically relevant improvements in 96% of participants. Research into residual inhibition also shows that masking sounds covering the hearing loss region are most effective, which supports the idea of tailoring your sound environment rather than relying on a single preset.

This is exactly why siasola Tinnitus Masking Sounds includes a 5-layer mixer with independent volume and pitch controls for each layer. You are not limited to choosing "white noise" or "pink noise." You can combine brown noise as a base, add a layer of pink noise in the midrange, and introduce a specific environmental sound on top. Each layer has its own pitch control, so you can shift the frequency emphasis to match your preferences precisely.

With 95+ sounds across multiple categories, the app goes far beyond the six noise colours described here. Nature sounds, ambient textures, and other audio profiles each have their own frequency characteristics that can complement or replace traditional noise colours entirely.

How to experiment effectively

If you are new to noise-colour exploration, here is a practical approach:

Step 1: Start with the basics

Listen to white, pink, and brown noise individually for a few minutes each. Pay attention to which general frequency range feels most relevant to your tinnitus (high, mid, or low). This narrows the field.

Step 2: Try the less common colours

If the big three do not feel right, explore blue, violet, and green noise. Some people find their preference in an unexpected place.

Step 3: Adjust pitch

A single noise colour at its default pitch is just one version of itself. Shifting the pitch up or down changes the frequency distribution, which can make a significant difference. The pitch exploration tool in siasola Tinnitus Masking Sounds is designed specifically for this kind of fine-tuning.

If you want to understand more about why pitch matters, frequency matching explained covers the concept in detail.

Step 4: Layer and mix

Once you have identified one or two noise colours that feel like a good starting point, start layering. Add a second sound. Adjust volumes independently. Shift pitches. The goal is a custom blend that feels right to you, not a preset that someone else decided was "optimal."

Step 5: Test in different contexts

The blend you prefer for sleep may differ from what you prefer during the day. Try your mixes in different environments and at different times.

Beyond noise colours

Noise colours are useful, but they are just one category of sound. Many people find that environmental and nature sounds (rain, ocean waves, wind, flowing water) work as well as or differently than pure noise for their individual situation. A randomised crossover trial by Durai and Searchfield (2017) found that broadband noise produced a greater reduction in Tinnitus Functional Index scores than nature sounds after 8 weeks, but noted "a great deal of individual variation" in response. A study by Wang et al. (2017) found that natural sounds like spring water and rain were effective maskers for monotone-like tinnitus, even without fully masking the signal. These sounds have their own complex frequency profiles that do not map neatly to a single noise colour.

If you want a broader understanding of how sound masking works as a concept, what is sound masking for tinnitus is a good starting point.

The sound library in Siasola Tinnitus Masking Sounds includes 95+ sounds across many categories (noise colours, nature recordings, ambient textures, and more). Combined with per-layer pitch control and the 5-layer mixer, it gives you the tools to explore far beyond the six noise colours discussed here.

The bottom line

There is no universally "best" noise colour for tinnitus. White noise is not inherently better than pink, and brown noise is not inherently better than either. What matters is what works for your specific situation: your tinnitus pitch, your preferences, your environment.

The best approach is systematic exploration: listen, compare, adjust pitch, layer sounds together, and refine over time. A tool that gives you granular control over each of those variables makes that process faster and more precise.

References

1. Attarha M, Bigelow J, Merzenich MM. Unintended consequences of white noise therapy for tinnitus: otolaryngology's cobra effect: a review. JAMA Otolaryngology-Head & Neck Surgery. 2018;144(10):938-943. doi:10.1001/jamaoto.2018.1856

2. 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

3. Cuesta M, Garzon C, Cobo P. Efficacy of sound therapy for tinnitus using an enriched acoustic environment with hearing-loss matched broadband noise. Brain Sciences. 2022;12(1):82. doi:10.3390/brainsci12010082

4. Durai M, Searchfield GD. A mixed-methods trial of broad band noise and nature sounds for tinnitus therapy. Frontiers in Aging Neuroscience. 2017;9:44. doi:10.3389/fnagi.2017.00044

5. Flores LS, Teixeira AR, Rosito LPS, Seimetz BM, Dall'Igna C. Pitch and loudness from tinnitus in individuals with noise-induced hearing loss. International Archives of Otorhinolaryngology. 2015;20(3):248-253. doi:10.1055/s-0035-1562935

6. 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

7. Nascimento IP, Almeida AA, Diniz Junior J, et al. Tinnitus evaluation: relationship between pitch matching and loudness, visual analog scale and tinnitus handicap inventory. Brazilian Journal of Otorhinolaryngology. 2018;85(5):611-616. doi:10.1016/j.bjorl.2018.05.006

8. Roberts LE, Moffat G, Baumann M, Ward LM, Bosnyak DJ. Residual inhibition functions overlap tinnitus spectra and the region of auditory threshold shift. JARO. 2008;9(4):417-435. doi:10.1007/s10162-008-0136-9

9. Wang Y, Xiao L, Li P, Cui J. Research on masking effect of multiple natural sounds for monotone-like tinnitus. Biomedical Engineering Journal. 2017;34(3):325-328. doi:10.7507/1001-5515.201512039

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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 or any hearing concern, consult a qualified healthcare provider. Individual experiences with sound masking vary. The preferences described in this article are general observations, not guaranteed outcomes.