|Mast (by Laali, Nov 6th, 2008)
|Perfect! (by forestgum, Jul 17th, 2007)
Perfectly for this Christmas Greetings, I'll send this tone to my friends.
|Fantastic (by nautin, Jul 4th, 2007)
It is a great present for Xmas.
|Jingling baby (by Mina, Jun 29th, 2007)
Finally i got what i've been looking for! Thanks God, i'll store it in my mobile
|It sounds cool! (by Will, Jun 21st, 2007)
I heard it... sounds better than others.
Wagner's Ring? Way Too Long
By Stephanie N. Mehta, FORTUNE senior writer
Ringtone technology came out of Finland, which may not rule the music world but
definitely rocks when it comes to cellphones. A decade or so ago the Finns had a
problem. Big-shot executives would be sitting in a conference room, they'd all
put their phones on the table, and -- these being important people -- they'd all
have the same hot gadget. Then one of the phones would ring and everyone would
lunge because there was no way of knowing whether the phone was Pekka's or
Around the same time, an engineer for Finnish cellphone maker Nokia figured out
a way to change the sounds a phone makes by sending codes over the air -- the
same technology used to ship short text messages. Nokia commercialized the
service in 1997, and soon it wasn't merely executives using ringtones to
personalize their phones (they all have Beatles ringtones, anyway) but
hip-hop-loving kids looking for the latest sound and harried soccer moms who
program different rings for each of their kids and friends.
Yet only recently have serious music figures like Sir Mix-A-Lot viewed ringtones
as a platform for their creativity. (The "Baby Got Back" rapper has produced "MixTones"
for an outfit called Versaly Entertainment.) That's largely due to new handsets
that play "true tones," or reasonably good versions of recorded music.
Before true tones came along, phones could play only polyphonic or even cruder
monophonic tones, which could capture just a song's melody, often in
tinny-sounding bleats. Disco D, monitoring the "Love You Tonight" recording to
make sure a typical true-tone cellphone could replay the upper and lower notes,
says he doesn't compose for older handsets. "I, like, want some control over how
my art gets transmitted."
Berry Gordy had his "Hitsville U.S.A." house. Phil Spector had the Brill
Building. Eddie O'Loughlin has Disco D's home studio in Brooklyn's Williamsburg
neighborhood, and a couple of other studios just like it.
A songwriter in the 1960s, O'Loughlin realized he had a knack for helping tweak
other writers' work. He formed his own production company and in the 1970s
helped launch the music careers of Gloria Gaynor and John Travolta. In the 1990s
he reinvented himself yet again as an executive for rap label Tommy Boy, then
founded Next Plateau, in part to capitalize on the ringtone craze. "The fact
that he's still relevant is insane," says Disco D.
O'Loughlin is old-school in at least one way, however. Even though he's
producing standalone ringtones, he wouldn't be averse to returning to the studio
to expand the most popular rings into full-length tracks. "There's nothing like
making a hit record or producing a hit act," O'Loughlin says.
As for musicians who think ringtones aren't real art, O'Loughlin predicts that
they'll eventually come around, recalling that when he got his start in the
music business there were high-minded performers who wouldn't dream of appearing
on television. "There's more income in ringtones, and they are going to be
important tools for launching a record, even a career," O'Loughlin says.