← All articles
Neuroathletic training & performance
Free tone generator app: adjust tones, frequencies and pulses
A clear tone, a brief pulse or noise on a particular side: my free tone generator app lets you assemble acoustic stimuli specifically. Two independently adjustable channels give you control over sound, frequency, volume and rhythm. After the first complete load, the app also works offline on Android and iOS.
You can find it in the overview of my six free training apps. In this article, I explain every setting and show how to connect sound localisation, gaze orientation and movement in specific tasks.
Go straight to the appOpen the free tone generator. Begin with low device volume and only one active channel. For separate left/right output, use stereo headphones and disable any mono output enabled on your device.
What is a tone generator for?
A tone generator provides an acoustic signal whose properties you define yourself. Hear a tone continuously, generate brief pulses or direct output to the left, right or both sides. In neuroathletic training, I use these settings, for example, for spatial sound localisation, targeted orientation tasks and individually tailored integrations with bone conduction.
Compared with a metronome, the focus here is on shaping the sound. The metronome provides a flexibly adjustable beat. The tone generator additionally allows custom sine frequencies, two channels and a defined audible pulse length. The suitable choice depends on your task.
Set two channels independently
Channel 1 is initially active and plays on both sides. Channel 2 is switched off and collapsed. “Enable” opens it. Activate and deactivate both channels independently; at least one must be active to start.
A channel means a separate sound source, not automatically one ear. Each channel can output left, right or to both sides. For example, place channel 1 left and channel 2 right, or hear only one channel bilaterally.
Sine, white noise or pink noiseSine: a tone with adjustable frequency.
White noise: a broadband noise signal.
Pink noise: a noise signal with more weighting of low frequencies than white noise.
The frequency setting belongs to the sine tone. For noise, choose the noise type rather than an individual pitch.
White noise: a broadband noise signal.
Pink noise: a noise signal with more weighting of low frequencies than white noise.
The frequency setting belongs to the sine tone. For noise, choose the noise type rather than an individual pitch.
Stereo output and volumeFor each channel, choose Left, Right or Both and an app level of 0–100 %. With “Both”, each side receives the same signal from that channel. The starting level is 15 %. Actual loudness at the ear also depends on device volume and headphones; the percentage is not a dB measurement.
Set volume low and comfortable. If a tone is inaudible, do not simply keep increasing the level: frequency, device and headphones affect playback. A clearly audible mid-range tone is sufficient for familiarisation.
Frequency: choose the pitch
For sine, choose 20–20,000 Hz using the slider or precise numeric entry. Hertz describes oscillations per second: a higher value produces a higher tone. The slider uses a logarithmic scale so that low frequencies are not compressed into a tiny part of its range.
The starting value is 440 Hz. The large setting range does not mean every device reproduces every value equally well, or every person hears it. Devices with low sample rates further limit the highest generatable frequency. The app is not a calibrated hearing test.
Continuous tone or pulses: separate sound duration and rhythm
Continuous outputWith Continuous tone the chosen signal remains on without rhythmic interruption until you pause, stop or reach the set duration. This also applies to white and pink noise.
Pulsed outputWith Pulsed sound and silence alternate. For each channel, choose 10–300 BPM and a pulse length of 20–3,000 ms. BPM determines how often a pulse begins. Pulse length determines how long you hear it. Both values are adjustable independently, provided pulse length fits into the interval.
Example: 60 BPM means one pulse onset per second. At a pulse length of 200 ms, you hear 200 ms of sound followed by 800 ms of silence. At 120 BPM, a pulse starts every 500 ms: the same pulse length leaves 300 ms of silence.
Between pulses, at least 20 ms of silence remains. If you increase tempo until the set pulse length no longer fits, the app automatically shortens it and shows the new value. At 300 BPM, the interval is 200 ms; no more than 180 ms can be sound.
Soft signal edges: The app briefly fades tones in and out at their beginning and end. This reduces switching clicks. Frequency, pulse tempo and pulse length remain separately defined.
Duration and pulse count
Three ways to end outputUnlimited: Stop manually.
Fixed time: 1–3,600 seconds, up to one hour.
Fixed pulse count per channel: 1–10,000 pulses for each active pulsed channel. At least one active channel must be pulsed.
Fixed time: 1–3,600 seconds, up to one hour.
Fixed pulse count per channel: 1–10,000 pulses for each active pulsed channel. At least one active channel must be pulsed.
In counting mode, each pulsed channel ends its own sequence. Two channels with different tempos finish at different times. An additional continuous tone stays active until the final counted pulse ends. The first pulse onset is directly at startup; no additional full pause follows the last pulse.
Example with two tempos: Both channels receive 10 pulses of 200 ms. Channel 1 runs at 60 BPM, channel 2 at 120 BPM. Channel 2 finishes after 4.7 seconds, channel 1 after 9.2 seconds. All output ends with channel 1. Counting is per channel, rather than the combined total of both channels.
Start, pause and remember settings
Use Start output to begin the session. Use Pause, the large time display or the space bar outside input fields to pause and resume. Stop or Esc ends output. Settings are locked during a running or paused session; stop before changing them.
The app pauses when moved into the background. On returning, resume deliberately. On supported devices, it attempts to keep the screen awake during output. Keep the app open in the foreground for your exercise.
Settings are automatically saved locally in the browser used. There is no synchronisation between devices. The app generates its sounds on the device and requires neither microphone access nor audio transmission over the internet. After the session, a notice about my personal support appears; close it with the cross to hide it for the current day.
Under 02 Instructions you can read the controls directly in the app. The channel overview and time display help keep the chosen configuration in view during a session.
Four neuroathletic applications
Choose a brief comparison task that suits your aim beforehand: for example three gentle arm raises or five target throws from the same distance. Repeat it after the exercise block under the same conditions. This checks which variation supports your current performance. Adapt the following starting values to your movement and device. The first three examples use a real sound source in the room and another person. The fourth shows how I use the tone generator with bone conduction in personal support. Use a quiet, easily perceptible volume.
1. Locate a sound source in spaceAim: Connect the perceived direction of a tone with a targeted pointing movement.
Settings: Channel 1 only; sine 1,000 Hz, Both, Pulsed, 60 BPM, 200 ms, end after 3 pulses; quiet, clearly audible output through a movable speaker or device speaker.
Execution with a partner: Sit securely with eyes closed. Your partner holds the sound source about an arm's length away, initially front-left or front-right at the same height. It stays in one place during the three pulses. Point towards the assumed location, then open your eyes to check. Your partner repositions the silent sound source for the next round.
Comparison and progression: Use six rounds with alternating sides and observe accuracy. Add further positions later. For this task, the sound must actually come from different locations in the room; a left/right headphone button does not replace this setup.
Settings: Channel 1 only; sine 1,000 Hz, Both, Pulsed, 60 BPM, 200 ms, end after 3 pulses; quiet, clearly audible output through a movable speaker or device speaker.
Execution with a partner: Sit securely with eyes closed. Your partner holds the sound source about an arm's length away, initially front-left or front-right at the same height. It stays in one place during the three pulses. Point towards the assumed location, then open your eyes to check. Your partner repositions the silent sound source for the next round.
Comparison and progression: Use six rounds with alternating sides and observe accuracy. Add further positions later. For this task, the sound must actually come from different locations in the room; a left/right headphone button does not replace this setup.
2. The same localisation task at different frequenciesAim: Find which sound makes spatial assignment clearest.
Settings: Setup as in example 1; separate blocks at 500, 1,000 and 2,000 Hz. Each uses 60 BPM, 200 ms and 3 pulses per position; channel 2 off.
Execution: In each block, your partner uses the same positions and distance but a changing order. Again, point with eyes closed towards the assumed source. Before every block, check that the sound is quiet and clearly audible; change frequency manually between rounds.
Comparison: Note which frequency gives the most reliable localisation. Begin the next exercise with this variation. Use the same device: small speakers often reproduce low tones differently from larger ones.
Settings: Setup as in example 1; separate blocks at 500, 1,000 and 2,000 Hz. Each uses 60 BPM, 200 ms and 3 pulses per position; channel 2 off.
Execution: In each block, your partner uses the same positions and distance but a changing order. Again, point with eyes closed towards the assumed source. Before every block, check that the sound is quiet and clearly audible; change frequency manually between rounds.
Comparison: Note which frequency gives the most reliable localisation. Begin the next exercise with this variation. Use the same device: small speakers often reproduce low tones differently from larger ones.
3. From auditory orientation to a visual targetAim: Connect a heard spatial direction, gaze orientation and hand movement into a sequence.
Settings: The clearly perceptible frequency from example 2, 60 BPM, 200 ms, 3 pulses; one channel only through the real sound source.
Execution: Your partner holds a clearly recognisable coloured target beside the speaker. First locate the tone with eyes closed and point towards its assumed location. After the tone, open your eyes, find the target and touch it by hand. Your partner holds both objects still and within comfortable reach. Begin with four positions in front of you.
Comparison and progression: Notice how much correction is needed after opening your eyes. Only once localisation and target movement work safely separately should you combine them into a fluid sequence. This is a practical integration of auditory, visual and motor orientation.
Settings: The clearly perceptible frequency from example 2, 60 BPM, 200 ms, 3 pulses; one channel only through the real sound source.
Execution: Your partner holds a clearly recognisable coloured target beside the speaker. First locate the tone with eyes closed and point towards its assumed location. After the tone, open your eyes, find the target and touch it by hand. Your partner holds both objects still and within comfortable reach. Begin with four positions in front of you.
Comparison and progression: Notice how much correction is needed after opening your eyes. Only once localisation and target movement work safely separately should you combine them into a fluid sequence. This is a practical integration of auditory, visual and motor orientation.
4. Bone conduction as an individually tailored additionAim: Connect a specifically selected vibration stimulus with a previously assessed balance or movement task. We develop this application together with suitable bone-conduction headphones.
Specific example configuration: Channel 1 only; sine 100 Hz, Pulsed, 180 BPM, 50 ms. We define output side and volume according to the headphones used and your response. Set duration to the agreed brief exercise block.
Sequence: First, for example, assess your quiet standing with eyes open. The chosen stimulus follows, then the same standing comparison. If the response fits, combine the configuration with an already learned suitable exercise. For home use, you receive frequency, side, level, duration and task as specific settings.
What matters: 100 Hz is a possible starting configuration, not a universally suitable frequency. Transmission through bone-conduction headphones and individual tailoring are part of this exercise; ordinary in-ear headphones do not reproduce it equivalently.
Specific example configuration: Channel 1 only; sine 100 Hz, Pulsed, 180 BPM, 50 ms. We define output side and volume according to the headphones used and your response. Set duration to the agreed brief exercise block.
Sequence: First, for example, assess your quiet standing with eyes open. The chosen stimulus follows, then the same standing comparison. If the response fits, combine the configuration with an already learned suitable exercise. For home use, you receive frequency, side, level, duration and task as specific settings.
What matters: 100 Hz is a possible starting configuration, not a universally suitable frequency. Transmission through bone-conduction headphones and individual tailoring are part of this exercise; ordinary in-ear headphones do not reproduce it equivalently.
Which setting suits your aim?
A frequency is initially an adjustable acoustic stimulus. I assess individually which sound type, side and temporal structure helps a particular task. In my work with Applied Neurofunction I consider the interaction of perception and movement, identify functional difficulties and address them through suitable integrations.
The tone generator gives me reproducible settings and you a free tool for continued practice. We can agree on a particular combination, compare its effect on your task and adjust it if needed. You do not need to try as many frequencies as possible on your own.
Use in German and English
Use the DE/EN language button to switch the interface, instructions and installation help. The choice remains saved in the browser used if it allows storage. Other apps of mine opened on the same website adopt this language. Choose it separately on other devices or in other browsers.
Free on Android and iOS, including offline
Use is free of charge and without an account. Open the desired app on my website and tap the installation button with the arrow. It opens either available installation or suitable instructions for your device and browser. No separate installation file is required.
Android: add to the home screenOpen the app, for example, in Chrome and use the installation button. Follow the offered dialogue or instructions to add it to the home screen.
iPhone and iPad: add as a web appOpen the app in Safari. Installation help guides you through Share → Add to Home Screen. Enable “Open as Web App” if offered, and confirm with “Add”.
Prepare for offline use: Fully open each desired app once with an internet connection, then through its new icon too. As long as the saved browser data remains, use it without Wi-Fi or mobile data. Check this before your first offline session. Opening the overview page alone does not set up the individual apps.
After website data is deleted, load the app online again. Updates and links to my support also need internet. Installation help also covers supported computer browsers, such as Chrome or Safari on Mac.