Pure synthesis — no samples
Enables audio, then pick whichever layers you want below. Stopping the session silences everything at once.
Brook, Rain, Tin Roof, Rain on Water, Ocean, Wind, Thunder, Fire, Crickets, a binaural beat layer, a Resonant Tuning drone, a Drift phase-sweep texture, and White, Pink, Brown, Blue, and Violet colored noise. Every layer has its own volume slider and can be mixed with any other layer.
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They differ in how their energy is distributed across frequencies. White noise has equal energy at every frequency and sounds like a bright hiss. Pink noise rolls off at higher frequencies (roughly −3dB per octave), sounding darker and more balanced to the ear. Brown (or red) noise rolls off faster still (−6dB per octave), producing a deep, low rumble often compared to a distant waterfall. Blue and violet noise go the other direction, emphasizing high frequencies instead — blue noise in particular is commonly used for tinnitus masking, since it sits higher in the spectrum than the ringing tinnitus itself often does.
Yes. Every layer runs independently with its own volume, so you can combine as many as you like — rain with distant thunder and brown noise underneath, for example.
Not for the ambient textures — rain, ocean, wind, fire, and the noise colors all work fine on speakers. The Binaural beat layer requires headphones, since it depends on each ear hearing a slightly different frequency. Drift is also a stereo effect best heard on headphones.
Pure synthesis, generated in real time via the Web Audio API — not looped samples. That means the sound never repeats or falls into an obvious loop the way a short recorded clip would.