As it prepares to launch its new Phone (2), Nothing announces a ringtone composer that features exclusive sounds from Swedish House Mafia

Nothing Glyph Composer
(Image credit: Nothing)

London-based startup Nothing has announced that, to coincide with the release of its Phone (2), it’s created the Glyph Composer. Designed to enable you to create your own ringtone, this comes with an exclusive sound pack from Swedish House Mafia.

Born in 2021 - and with Teenage Engineering as one of its founding partners - Nothing has already released one phone and several sets of wireless earbuds. Phone (2) will get its official unveiling on 11 July.

The new Glyph Composer will run on both Phone (2) and its predecessor, Phone (1). Ringtones are created by tapping pads, and will feature both a sequence of sounds and corresponding lights that flash on the back of Nothing’s devices.

As well as contributing a Glyph Sound Pack, which you can use to create a personalised ringtone, Swedish House Mafia have also provided a preset ringtone that they created themselves. This is said to provide a first taste of upcoming new music.

“We’re excited to have collaborated with the Nothing team in London to launch a smartphone innovation that brings the worlds of music and tech ever closer,” said Swedish House Mafia members Axwell, Steve Angello and Sebastian Ingrosso. “All three of us have been fans of Carl Pei and Nothing’s vision since the beginning, and we are proud to be the first creatives to unleash a Glyph Composer sound pack into the wild. We can’t wait to see and hear what our fans and Nothing users’ remix. ” 

If you want to watch the Phone (2) launch, you can tune in via the Nothing website on 11 July. The Glyph Composer will be available following the launch.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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