Why would I choose this over the general tone generator?

Because there is less to configure and the purity is the whole point. Nothing here can introduce harmonic content, so a file from this tool is a clean reference for measuring a system. The general generator is better when you intend to use a different shape.

What is the phase control useful for?

Two cases mostly. A tone that must cancel another has to start half a cycle out of step, and a tone that will be mixed into existing audio can be started at its peak so the join does not click. For a standalone reference tone, leaving it at zero is fine.

Why does my generated tone click at the end?

Because the file stops wherever the waveform happened to be, which is rarely at zero. Set a duration that lands on a whole number of periods if you can, or trim the file's end with a fade, and the click disappears.

How pure is the tone, really?

The samples are computed from the exact trigonometric function rather than from a lookup table or a cheaper approximation, and the output is sixteen bit, so the noise floor is that of the file format rather than of the synthesis. Any harmonic you see on a spectrum display came from the playback system, not from the generator.

Can I generate two different frequencies at once?

Not in a single file from this tool. Generate each tone separately and mix them with a joining or mixing tool, or use the binaural beat generator, which writes two slightly different frequencies into the two channels of one stereo file.

Sine Wave Generator

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Sine Wave Generator produces a single pure tone with no harmonic content beyond the fundamental, which makes it the cleanest reference signal the suite can make. Frequency, amplitude, duration and phase are all adjustable.

What is Sine Wave Generator?

The panel has four controls and no wave selector, because the shape is fixed. Set the frequency, length, level and starting phase, press generate, and a mono WAV appears ready to play or download.

The controls in detail:

Frequency from one hundredth of a hertz to twenty thousand, with a fine step of one hundredth of a hertz and a default of 440.
Duration from a tenth of a second to sixty seconds, defaulting to three.
An amplitude slider from one to one hundred percent of full scale, defaulting to eighty.
A phase dial from zero to three hundred and fifty nine degrees, which sets where in the cycle the waveform begins.

Each sample is the trigonometric sine of the accumulated phase, evaluated directly rather than approximated by a table, so the output is sample-exact at the quarter points of the cycle: zero at the start of a period, full positive at one quarter, zero again at the halfway point and full negative at three quarters. That precision is what makes a sine the right tool for measurement rather than for sound. A pure sine contains energy at exactly one frequency, so a spectrum display of a generated file shows a single line with no harmonics above it, and any deviation from that when the file is played back through a system tells you the system added something rather than the file. Setting the phase is occasionally essential: two identical tones that must cancel have to be offset by exactly half a cycle, and a tone that will be mixed into a longer recording can be started at its peak to avoid an onset click. As a reference signal a pure tone also makes distortion easy to spot, because an added harmonic appears on a spectrum display as a line that should not be there, standing out against an otherwise empty plot. The fundamental is the only frequency present, so measuring the file itself returns exactly the value you typed and nothing else, which is what allows a playback system to be judged rather than the source.

What a sine cannot do:

It offers no harmonics, which is a strength for measurement and a limitation for anything musical or for testing a tweeter's behaviour above its passband.
The amplitude is linear rather than in decibels, so level references need converting.
There is no envelope, so a tone that does not end on a zero crossing will click at its close.
Only one channel is written, so there is no stereo or per-side control.
Frequency is constant, with no glide or vibrato.
The output is capped at sixty seconds and at sixteen bit depth.

Use it as the reference signal for anything where a single known frequency matters: calibrating a level, checking for distortion by looking for harmonics that should not be there, finding a resonant frequency by sweeping manually, or producing a tuning note. When the shape is the point rather than the purity, the general tone generator adds square, sawtooth, triangle and pulse, and when a level in decibels is needed the test tone generator takes the value directly.

How to use Sine Wave Generator

Enter the frequency you need, using the fine step for tuning work.
Set the duration, then set the level with the amplitude slider.
Adjust the phase if the tone has to start at a specific point in its cycle.
Press generate, check the preview, and download the resulting WAV.

When to use Sine Wave Generator vs related tools

Sine Wave Generator is the tool for a single known frequency, which makes it the natural reference for tuning and distortion checks. Tone Generator adds the other four shapes plus a duty cycle control, and Test Tone Generator provides a decibel-referenced level with an optional burst pattern. When the frequency needs to move, Sweep Tone Generator glides from one value to another and Chirp Generator modulates it continuously.

Privacy & Security

This tool runs entirely in your browser — no data ever leaves your device. There is no server round-trip, no upload, no logging, and no account required. Your input is processed locally using client-side JavaScript and is never stored, transmitted, or accessible to anyone else. When you close the tab, everything disappears.