White, pink, and brown noise differ in how power is distributed across the frequency spectrum

Three noise types define the reference spectrum of ‘coloured noise.’ White noise maintains uniform power across all frequencies — it sounds harshest and brightest. Pink noise diminishes by 3dB per octave, approximating the spectral balance of many natural sounds and the human hearing system — it sounds balanced. Brown (Brownian) noise diminishes by 6dB per octave, rolling off much faster in the high end — it sounds deep and rumbling. In synthesis, these differences matter for sound design: white noise excels for hi-hat and snare transients; pink for wind textures; brown for ocean or low rumble. In SuperCollider: WhiteNoise.ar, PinkNoise.ar, BrownNoise.ar.

Examples

x = {WhiteNoise.ar(0.4) !2}; x.play  // brightest
x = {PinkNoise.ar(0.4) !2}; x.play  // balanced
x = {BrownNoise.ar(0.4) !2}; x.play // darkest

Assessment

Given a synthesis patch for a snare drum that uses noise, explain why you would choose white noise rather than brown noise, and what filtering would then shape the attack and body.