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S CIENCE
The Many Colors of Sound
White noise isn’t the only sonic hue—pink, blue, gray, and
brown all affect listeners in different ways.
MEGHAN NEAL FEBRUARY 16, 2016
Most people are familiar with white noise, that static sound of an air
conditioner that lulls us to sleep by drowning out any background noise.
Except technically, the whirl of a fan or hum of the AC isn’t white noise at
all. Many of the sounds we associate with white noise are actually pink
noise, or brown, or green, or blue. In audio engineering, there’s a whole
rainbow of noise colors, each with its own unique properties, that are used
to produce music, help relaxation, and describe natural rhythms like the
human heartbeat. If you know what to look for, you can start to notice the
colors of the noise that make up the soundscape around us.
If you decompose a sound wave, you can break it down into two
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In musical sound waves, the frequencies are spaced at intervals that we find
pleasing to the ear, creating a harmonic structure that gives a sound its
unique tone quality, or timbre. (This is what makes the same note sound
different on a flute than it does on a violin.) The noises we hear every day—
boots stomping across the floor, a car honking outside, the jingling of
keys—are made up of sporadic waveforms, a random distribution of
frequency and amplitude.
And then, in a separate category, there are the colored noises. Unlike the
inconsistent bang of a drum or shouting voice, these sounds are a
continuous signal, but they aren’t exactly pleasant. The word “noise”
actually comes from a Latin word for nausea; in audio engineering, the
term describes any unwanted information that interferes with the desired
signal, like static on the radio.
Pure white noise sounds like that hissy “shhh” that happens when the TV
or radio is tuned to an unused frequency. It’s a mixture of all the
frequencies humans can hear (about 20 Hz to 20 kHz), fired off randomly
with equal power at each—like 20,000 different tones all playing at the
same time, mixed together in a constantly changing, unpredictable sonic
stew.
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The other colors are similar to white noise, but with more energy
concentrated at either the high or low end of the sound spectrum,
which subtly changes the nature of the signal. Pink noise, for example,
is like white noise with the bass cranked up. It’s a “shhh” sound with a
low rumble mixed in, like the soft roar of a rainstorm.
Pink noise sounds less harsh than white noise because humans don’t hear
linearly. We hear in octaves, or the doubling of a frequency band, which
means we perceive as much sonic space between 30-60 Hz as between
10,000-20,000 Hz. We’re also more sensitive to higher frequencies (one to
four kHz, which is about the frequency of a crying baby, sounds the
loudest), so white noise, which has the same intensity at even the highest
tones, can sound way too bright to our ears. The energy in pink noise drops
off by half as the frequency doubles, so every octave has equal power, which
sounds more balanced.
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Spectral analysis of white and pink noise, with frequency on the horizontal axis and
power on the vertical axis (The Physics Hypertextbook)
In recent years, pink noise has become the darling of the noise spectrum,
dethroning white as the in-vogue option on sound generators for sleep or
concentration. In 2013, a study published in the journal Neuron found that
pink noise helped participants achieve deeper sleep; in recent years, various
health blogs have touted it as the key to a better night’s rest.
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The inverse pattern of pink noise, also called 1/f noise, can also be applied
to plenty of systems outside of sound. If you take the rise and fall of the
tide, for example, and break it down into waveforms plotted on a graph, it
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will follow 1/f, which happens to be the exact midpoint between pure
randomness and correlated movement. It turns out much of our world
operates in this sweet spot between chaos and control: The pink noise
pattern has been found in most genres of music, the shot lengths in
Hollywood films, the structure of DNA, the rise and fall of the tide, the
flow of traffic, and variations in the stock market. The world is basically
awash in pink.
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Blue noise, which has more energy concentrated at the high end of the
sound spectrum, is just the opposite: It sounds like the hiss of a water spray,
a high-pitched screeching noise, with no bass tones at all. It’s essentially the
inverse of pink noise: With blue noise, frequency and power increase at the
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same rate, so each octave has as much energy as the two octaves below it
combined.
Because the high-pitched frequencies of blue noise are harder for the
listener to discern, sound engineers use it for a process called audio
dithering, which is intentionally adding noise to a signal to minimize any
distortions that appear during the production process. Adding noise
randomizes the errors, helping to smooth out the rough edges.
Gray noise sounds the same at every frequency; like pink, it’s calibrated to
sound more balanced to the human ear. There is no single example of gray
noise, because every human has a slightly different hearing curve. In
medicine, it’s used to treat hyperacusis, an increased sensitivity to normal
sounds, or tinnitus, a ringing in the ear.
White, pink, and blue noise are the only colors to have official definitions
in the federal telecommunications standard, while brown and gray have
accepted meanings in certain industries. Meanwhile, the other colors of the
noise rainbow have only been informally defined. Green noise, for example,
has been described as a signal with more energy concentrated in the middle
of the sound spectrum; with in a limited frequency range around 500 Hz,
it supposedly simulates the ambient noise of nature. Orange noise is
sometimes described as a clashing, cacophonous noise like an out-of-tune
ensemble. Violet noise is simply a more intense version of blue, with even
more energy concentrated in the highest audible frequencies.
And there’s one more color of noise given an official meaning: black. It’s a
spectral density of roughly zero power at every frequency. If white is all
frequencies at once, black is the color of silence.
We want to hear what you think about this article. Submit a letter to the editor
or write to letters@theatlantic.com.
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