White Noise
Constant power across all frequencies. Ideal for masking distracting speech.
Two tones, one in each ear, and a third beat that only exists in your head. Headphones required.
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Calibrated frequencies for deep work and relaxation.
Continuous frequencies for auditory masking.
Constant power across all frequencies. Ideal for masking distracting speech.
Deep, bass-heavy rumble reminiscent of a distant waterfall or thunder.
Balanced spectrum that sounds more natural to the human ear, like steady rain.
Even deeper than Brown noise, focusing heavily on the low-end spectrum.
Near-silence with subtle low-frequency drift. Meditative, like the sound of a quiet room at night.
Psychoacoustically equalized to sound equally loud at every frequency.
Natural soundscapes recorded in high fidelity.
Gentle rainfall creating a natural, soothing atmosphere perfect for deep concentration.
Rainfall on a tent canvas — cozy, immersive and deeply relaxing for focused work.
Rhythmic ocean waves rolling onto shore — a timeless natural soundscape for calm focus.
Steady breeze flowing through open spaces — airy and expansive for clear thinking.
A gentle brook flowing through a quiet forest — peaceful and grounding for deep work.
Birds and insects in a sunlit meadow — warm, organic ambience for relaxed focus.
Brainwave entrainment through stereo frequency offset. Layers with any noise above.
Deep sleep and healing. Ultra-low 2 Hz beat for total relaxation.
Meditation and creativity. 6 Hz beat for deep introspection and flow.
Calm focus and learning. 10 Hz beat for relaxed concentration.
Active thinking and energy. 14 Hz beat for alertness and problem solving.
Play a 300 Hz tone in the left ear and a 310 Hz tone in the right, and neither ear receives anything pulsing. Yet most listeners hear a steady 10 Hz throb. The beat is constructed in the superior olivary complex, the first place in the auditory pathway where signals from both ears are compared, and it exists nowhere in the air.
The Prussian physicist Heinrich Wilhelm Dove described the effect in 1839. It stayed a curiosity of hearing research for well over a century before headphones made it easy for anyone to reproduce.
Speakers destroy the effect completely. The moment both tones reach both ears through the air they combine acoustically into ordinary amplitude modulation — a physical wobble that has nothing to do with the neural process that makes binaural beats interesting. Each ear must receive exactly one tone, which means headphones or earbuds, every time.
FocusNoise renders each preset as a two-channel buffer with the two sine waves generated separately, so the stereo separation is exact for as long as you leave it playing.
The claim usually attached to binaural beats is the frequency-following response: that brain activity gradually synchronises to the perceived beat, so a 10 Hz beat encourages a 10 Hz brain state. Some studies report measurable effects on attention and reported relaxation; others find nothing beyond expectation. It is an open question, not a settled one, and nobody should sell it to you as a treatment for anything.
What is not in dispute is that a very quiet, perfectly steady tone underneath your working audio is unobtrusive and easy to leave running. Try the presets, notice which ones you actually keep coming back to, and let that be the test.
No. Each ear has to receive one tone and only one tone. Through speakers the two tones mix in the air before they reach you, which produces a plain acoustic wobble rather than the binaural effect.
Not conclusively. Studies on attention and self-reported relaxation are mixed, with some positive findings and some null results. Treat them as an interesting thing to try rather than an intervention, and do not use them in place of medical advice.
Quiet. Binaural beats work best sitting just under whatever else you are playing — the default volume here is deliberately low. If the tones are the loudest thing you hear, turn them down.