Subsequently the sounds were layered on top of each other. Wind for example provided the white noise in a notification. The components were recorded organic sounds like wind, water, pops, people’s voices. Instead it was opted for original sounds as basic building-block elements. We did that on purpose, because we don’t want it sticking.” “If you actually ask people to hum or sing the Skype ringtone, they can’t, accurately. When users got a notification that someone was calling, they wanted it to be an intimate, unobtrusive extension of the person at the other end of the line.Īlthough there was a huge ringtone-hype around 2003 pinnacling them as popular means of expressing who you are, Skype’s original sounds avoided the ringtone character to eshew brainworm-effects. The pitch for Skype was described as “the landline of the future” but the team wanted Skype to feel as natural as answering an old phone. They were carefully designed to reflect a mix of pleasant, familiar noises: calling was marked by the traditional, pulsing ring of a telephone while other actions triggered a combination of whimsical bounces, pops, whispers and zooms.įriendliness was central to Skype’s original sound interface. Sounds accompanying the app were central to the user’s experience. Originally people skyped to hear their beloved voices. Or what do you say when you want to call a friend via Internet? Skype has achieved something many brands strive for: becoming a synonym.
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