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There are currently 327 mixes on this page, the last was uploaded on 31/01/2018 01:24:09

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Mix Info:Razor Back 3:49mins @139BPM Techno

Overall Rating

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Here's another ear pleasure noise

US2K Review: This techno mix begins with a bass drum roll and a single low octave note, before a saw techno lead central to the stereo field plays two notes to answer it, and a sweep with few more notes on at least one other synth are heard to form the beginning of the introduction melody, supported by four on the floor kick pattern. A variation of this musical idea continues up to the ten seconds position with the last a few notes on the saw synth completing an almost instantly catchy melody line.

After the catchy melody there is a few sound effects and a rising sweep sound over a techno bassline and bass drum pattern which includes sophisticated fills and the listener reaches a the saw lead once again, this time playing a more rhythmic variation of the introduction, with a higher pitched acid-like instrument left of the stereo field answeing every four lead notes, and a danceable main hook for the mix is forming.

When the main mix hook is complete, I use this term because it is used later in various guises, the four on floor becomes more regular and a closed hat is added and a snare joins the arrangement to accent ever second beat of the bass drum at the thirty one seconds position after a stronger slightly discordant sounding saw synth note. The new note then continues to occasionally play an accompaniment to the hook melody, resulting in a fuller more danceable musical arrangement.

The danceable theme continues to the one minute eight seconds before some rhythm variations take place including a bass drum roll four seconds later. This drum roll enables the hook melody to sound fresh for longer, right up the one forty seconds positions, although in addition to some more obvious drum variations there definitely something more subtle taking place on each repeat of the melody line, because it sounds like it is speeding up.

There are some drum variations at the forty seconds position including another drum roll whilst the saw lead synth changes to playing a slower note pattern, then all drums leave the mix for a very short moment to introduce the beginning of a major bridge section in the mix.

The bridge section is created with a clever musical idea where the bass and parts of the drum pattern are played in an intermittent descriptive way that answers the lead synth. This idea of lead and main bass being answered by an alternative pattern on bass drum and snare and alternative bass line continues to the one fifty nine seconds position.

Around the two minutes position the bridge idea is slowly forgotten when the two patterns unite again via a variation of the main mix hook, although the bass drum does not play a danceable steady four on the floor until after the two minute twenty eight seconds.

The steady four on the floor finally makes it return over some repeats of a new bass line idea and what sounds like a creaky door opening right of the stereo-field and a rising sweep sound and a kick drum fill.

After the two minute twenty eight seconds a very catchy variation of the main hook makes a full come back along with the acid synth (this time playing a slightly different note sequence), and the snare once again plays a second beat accent for the bass kick drum.

The addictive theme progresses to the two minute fifty eight seconds position, with further listener interest maintained with various sound effects or descriptive musical instrument sounds. Just when the composition is starting to sound less interesting, a low frequency warm pad is added right of the stereo-field forming a harmony whilst another temporary subtle change in the lead or drums takes place of which I would need to examine the flp file to identify.

The harmony after it is introduced there plays intermittently there-after providing a change which has been sufficient to make the main hook for the mix fresh to the listener again. This results in the composition being successful in retaining its appeal right up to the two minute twenty three seconds play position, where the conclusion starts after one of the notes of the lead synth is played a little harder and longer and the creaky door opening sound is heard again forming a climax note for the mix.

After the point of climax the final mix conclusion begins which involves the bass drum and snare playing a descriptive rhythm and a repeated intermittent note sequences from the original main hook on the saw lead synth, and a bass instrument playing answering melodies when the lead synth is quiet . The pair of instruments provide almost a duet conclusion (the other percussion and occasional notes prevent this being a true duet).

The concluding two instruments take the listener to the three minute thirty seconds position, at which point the sweep and creaky door sound effects from earlier are used with removal of all drums to indicate the last major change for the mix.

The last change in the mix is a faster note sequence on the lead to form the start of a goodbye fanfare (the kind of note sequence more familiarly heard played on an air horn at a sporting event). The fanfare finishes on an appropriate lower octave resolving note, and this combined with the echo trail from one of the sound effects, ends the composition in a very skilful clean way.

My final evaluation of this composition, having listened to it again is that it is better than I originally thought, perhaps Max Motion had made a few other mixes prior which had very similar and that had given me bias in my listening or perhaps my hearing or judgement was less reliable then, although I did notice with such a catchy initial melody that the chance to make very danceable overall record with wider audience appeal was lost due to the four on the floor and hook being less steady and the lack of a chord based harmony early in the mix or on the bridge section. These ingredients, and possibly some more percussion would be required to make a mass appeal dance record from 'Raazor Back'.

My final scores are demonstration of general music skill (10/10), catchiness of melody/hook -line (10/10) , Use of sound effects, drum rolls/fills and natural cues in the composition to announce changes or add interest to the mix (9/10), Use of musical melody variations, instrument arrangement changes to add interest to the mix (10/10), Wide audience appeal (7/10), Use of equalisation, reverb, delay, compression, stereo panning and other sound engineering techniques (8/10).

The overall score is 9 out of 10, a skilled dj could still include parts of this mix in a more danceable set ( I have already found a very useful loop point at the forty nine seconds and fifty six seconds position which would work well as party of a funky house record), however the mix in its current form, in my opinion, will appeal to general techno fans or general music enthusiasts more than clubbers or ravers, although I recommend everyone has a listen with an open mind, they could be pleasantly surprised.

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Mix Info:Forget the World (Full Version) 5:03mins @128BPM Club Dance/Trance (Commercial Standard)

Overall Rating

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Message sent with this Mix:
I made it originally for lyrics so thats why it has the sort of verse, chorus layout.

US2K Review: This mix begins with a nice steady four on the floor, bass drum and clap snare, and after a few repeats there are some suitable sound effects including a backwards vox and a steamy sounding sweep, and a very atmospheric reverb treated snare or similar is used to announce something new is going to happen. After the snare the four on floor is dropped from the mix and a catchy C Major dance floor ready 16th note delayed bass line is heard.

Shortly after a few repeats of the bass line at the thirty seconds mix position, an intermittent bass drum pattern enters the musical arrangement with a clap snare which playing the pattern the bass drum played earlier. An intelligent idea because it retains the underlying four on the floor groove whilst adding interest to the mix. This concept is continued up to the point where a very atmospheric reverb treated crash, which has the role of introducing a saw instrument which also plays a seriously club/rave melody which is in harmony with the bass line. This adorable combination continues to the one minute position, at which a natural musical cue point is taken advantage of to played a third synth line, this time its a more plucky/percussive trance patch.

The three instruments together play a extremely catch hook of club hit standard. This continues to the one minute fifteen seconds position before there is another change (I am unsure whether a drum roll or crash is needed at this point but without the music is no less enjoyable). All instruments leave the mix except the bass line and four on the floor drum pattern.

The leaner musical arrangement continues up to the one minute thirty seconds position, at which point a deeper sub bass, enters the mix, playing slower longer notes, adding some additional drive emotion to the mix.

The mix continues to the two minute position at which point the saw synth this time playing shorter notes at a higher octave initially, but after repeats a very low pitched reverse cymbal is heard, and the synth plays the super club hook line from earlier accompanied by the plucky trance instrument again up to the two minute forty four mix position.

The hook is ended again with a reverb/delay treated sweep, after which point the two baselines and four on the floor play a reduced arrangement intended to provide a rhythm section for the listener so that the hooks will be fresh when they return.

The rhythm section continues to the three minute section at which point the saw synth returns playing its alternative higher octave melody line, once and then a great musical idea takes place, the synth continues but also its lower octave club hook is heard too, and its possible there are two saw instruments after-all.

The two saw melodys compliment each other extremely well and provide an ideal pre bridge theme. The only obvious bridge in this mix is reached at the three minute thirty seconds position, which is formed by all existing instruments leaving the mix except the lower octave saw based club hook and clap snare, and a piano or harpsichord being heard for the first time. It plays very short interspersed notes which provide a new harmony (maybe indicate the underlying chords) without interfering with the lead saw synth melody.

The bridge continues with the bass drum returning and leading the listener or dancer to the four minute position at which point it provides a powerful roll to end the bridge and initiate the conclusion for this club record. The roll finishes around the four minute seven seconds position and a sweep is heard immediately afterwards. The conclusion begins as soon at the time of the sweep sound.

The concluding section is formed from an arrangement of instruments previously heard playing variations of their earlier melody lines. The conclusion continues to sound catchy up to the four minute fifty two seconds position at which point one of the saw synths plays a slightly higher note in its scale which also happens to be what is termed in classical composition as a final note. That final note is used in such a skilled way that a crash or sound effect is not needed to indicate the last moments of the mix, all that is needed is a last repeat of the club-ready bass line. The mix then finishes cleanly a little after the five minutes mix position.

My final scores for this mix are wide audience appeal (9/10), catchiness and commercial quality (10/10), demonstration of general musical skill (10/10), use of sound effects, drum rolls/fills and other musical arrangement changes to add variation or announce changes (10/10) ,sound engineering including reverb/delay/equalisation, stereo-positioning, compression, limiting and other processing techniques(10/10).

The overall score ignoring the 9, averages are for politicians after-all, and I am great believer in discretion, is 10+ out of 10. My final conclusion on this mix is it is an excellent dance/trance production with a happy hook in C Major which is instantly dance floor / club friendly. Everyone who likes Any type of electronic music should enjoy this.

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Mix Info:Vale of Avoca (Story told by US2K) 5:01mins @136BPM Sci Fi Techno ( HG Wells Influence )

Overall Rating

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Message sent with this Mix:
US2K' s voice treated with top secret processes is no Richard Burton but never-the-less creates an atmospheric type War of the Worlds theme and it is up to you to decide whether the Avoca were good guys or not.

US2K Review: Sorry Max and I cannot review our own music.

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Mix Info:Infinitum 4:13mins @136BPM Tech Trance

Overall Rating

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Message sent with this Mix:
Nige , here's a track i made the middle of last year.

US2K Review: This mix begins with a filter swept/delay treated synth playing a catchy dance floor suitable melody line (main melody mix hook 1). The melody forms a musical cue point with a scale at the thirteen seconds position which provides an opportunity for skilful introduction of a four on the floor pattern including kick and second beat snare accent. This groove continues to the twenty seconds position t which point a snare fill is encountered to add a subtle variation in the mix so the present musical theme can continue to sound “fresh” right up to the forty seconds position.

At the forty one seconds after a whoosh a rhythmic bass line is added to the mix making it yet more danceable, the main groove has been reached. This theme continues up to the fifty five second position where there is a melody fill scale followed by a short snare roll to add variation in the form of an exciting answer to the main theme. These musical ideas are repeated again twice up to the one minute thirty seven seconds position, before a snare fill announces the next major change in the mix which is a short bridge formed by the temporary departure of the bass instrument and the addition of some acid bleeps and analogue radio tuner-like sound effects (which may have also been achieved with a frequency sweep on an acid synth patch). There is also a subtle lawnmower like sound in the mix which adds extra interest to the mix and provides a cue point for a bridge section with an alternative synth melody which acts as a suitable catchy answer to the introduction.

After the lawnmower sound effect a sound effect is used to re-introduce the bass instrument from earlier, this time playing a faster punchier note pattern. It answers the new synth pattern in a way that is extremely dance floor friendly. When I heard it I could not wait until the bass drum returned. There is few higher octave notes (either on the existing lead or an additional instrument) introduced add extra interest to the melody line and provide a cue point suitable scale.

After the cue point, around the two minute sixteen seconds position the four on the floor kick and accent snare are re-introduced. Interestingly enough although the existing melody-line would have been great as a conclusion hook, a more complex musical idea is formed after the return of the drum pattern. At least two mid octave synthesisers all around the stereo-field and a bass line are used to create a looser evolving pattern of instruments answering each other. No instrument seems to take lead more than any other and instead they all have equal importance in driving the conclusion.

The conclusion continues until the two minute fifty one seconds position at which point a few notes with a strong answer to the previous melody lines are used as a natural cue-point for the return of the acid and analogue radio tuner-like sounds, restating the theme of the introduction before the mix continues again sounding “fresher” as a result of the sound effects.

Towards the three minute forty five seconds position there is a short drop of the bass drum and a snare roll adds further interest for the listener before one of the synths is smoothly removed from the mix. After the removal of a synth the rest of the previous musical idea is repeated with a hint that the mix is coming to an end soon. Some musical notes sound like they are spaced wider apart to provide a sense of slowing down.

The mix continues on to the three minute fifty three seconds mix position at which point a subtle lawnmower like sound from earlier makes a brief return becoming louder until it can provide the cue-point combined with a snare fill for all the drums to be removed from the mix.

After all the drums have left the mix, a sparser arrangement of analogue tuner effect, bass and lead synth is left to play towards the end the mix. The mix ends continues to a clean finish on the delay reflections of the last few lead synth note around the four minute ten seconds position.

My final evaluation of the mix Infinitum includes the following factors, catchiness of melody/dance floor friendliness (8/10), use of sound effects, drum fills , natural cue points to announce changes (9/10), use of sound effects and drum fills, melody/harmony/arrangement variations to maintain listener interest (8/10), wide audience appeal (7/10), sound engineering including the use of equalisation, reverb, delay, stereo position, compression etc. (9/10), general demonstration of musical skill (10/10). My final score for this mix is 8 out of 10, and I maintain that although it starts with a catchy hook melody and is generally well produced, it takes a whole 2 minutes to significantly change after an initial quality track build, so I think some may lose interest., hence the lower score for wide audience appeal. Those who are seriously fans of techno, dance or trance of any type and are not just clubbers listening out for a “phat tune” will still enjoy this mix very much. There are parts of this mix that highly skilled dj could include in a more commercial dance music set too.

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Mix Info:Meet the Friendly Folk ( Max Motion Meet & Greet Remix) 6:40mins @125BPM 80s Dance/Pop

Overall Rating

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I spent ages on this beauty , awsome track Nige , hope i have done it justice.

US2K Review: After an introduction on a cymbal and a bass drum strike and a trancey sounding delay treated bass-line. Then part a 4 on the floor bass drum sequence begins with a snare leading by playing a repeated 2/one "readying rhythm" for the listener. After 7 seconds of play one such repeat of this drum pattern introduces a full 4 on the floor groove with the snare changing to a support role of only accenting every second bass drum hit.

By the 4teen seconds position where a cymbal introduces the first hi hat (where else but on the half beat) for the mix, the combination of tried and tested successful dance music elements the listener is already getting a sense that their foot is ready to tap. At the 21 seconds position the listener (or dancer) encounters a very short bridge typical of the genre, an electronic sound bass line and a half beat hi hat (the latter to keep the underlying dance groove available).

A reverse clap at the twenty eight seconds position provides the cue point for the rest of the 4 on the floor components to return with an additional percussion instrument, a tambourine, and the snare drum at a higher velocity to drive the groove harder and add a "little buzz" of excitement to the mix. The music continues to a point where a fill on the tambourine (achieved either by playing it at a different pitch or velocity) is used to introduce one of the hooks from my original mix (main melody hook 1) can be heard emerging via a subtle "non-intrusive" pad/string instrument, "the melody is almost on the wind".

The music is becoming more danceable for the listener as it continues and the artists enhances this further as a reverse clap is encountered at the 43 seconds position. It is not this which really gets the listener going but an element of the mix which many may not notice although but will wonder why they are starting to get a little rush. It is that quiet double percussive hit of every 1st and 3rd bass drum beat originally heard in the introduction now being played as driving percussion.

Around the 57 seconds an intense cue point is achieved with the fully open end of a filter sweep which has been skilfully blended in to "double" the hook-line melody, a snare fill, clap and whoosh sound. After the cue point the hi-hat leaves the mix and the sweep "comes back down", leaving the bass drum and snare to drive the mix whilst main melody hook 1 remains in the background. This musical idea is retained up to the one minute 13 seconds position at which point a cymbal introduces the return of the hi hat and the mix progresses retaining listener interest.

At the one minute twenty 7 position there a whoosh is used to establish a cue point for the beginning of an import bridge section for the mix because it introduces the second main mix hook.

The new bridge initiates with an alternative but successful re-interpretation of the original hook but later after a drum fill the mix launches into the original hook on an accordion-like lead fitting the Celtic theme well. When the pad joins it later the result is very ethereal & ancient battles, hills, valleys and glens long since forgotten come to mind (but in a modern way). There was a hint at this in the original mix but Max Motion has taken the idea one step further.

The 2nd main hook melody becomes more catchy and intense up to the 2 minute 7teen seconds position at which point a subtly different snare from those previous is used to cleanly drop all percussive instruments except the lead synth which is allowed to solo from a melodic perspective due to the fact that the other remaining instruments’ are solely percussive.

After a last variation of main hook one a whoosh is used to drop the bass and reintroduce mix hook 1 around the 2 minute 25 seconds position. This repeat of the first main hook is accompanied by a broken beat (4 on the floor with 4th beat missing) which becomes a more complete pattern including snare accent and fills after a crash at the same time as an unexpected return to mix main hook 2.

On the return of main mix hook 2 the original haunting synth is used which retains some character from the original mix, and this continues with re-introduction of the bass until a whoosh and a drop of the drum groove except a closed hat, the more folky accordion-like synth makes a comeback. It initially plays a support melody for a short bridge but when that ends regains the role of lead.

Around the three minute 5 seconds position after an atmospheric sci-fi sound effect the full drum pattern returns and then a series of seriously catchy free-style interpretations of mix main hook 2 are played through a musical concept of wonderfully dramatic pads, strings and period support from the haunting original synth.

The pad and string accompaniment reaches its greatest intensity at the 4 minute three seconds position due the fact that layers have formed chord extensions of a far more complex nature than earlier parts of the mix. Once these chords have formed the lead melody seems to take advantage of the increased note range made available.

Around the 4 minute 23 seconds position a natural cue in the musical is used to drop the accordion-like lead and leave the other synth to play a few final quiet notes accompanied by some descriptive sweeps. The only other instruments heard are percussive cymbals and a snare playing double hits and fills. The listener is given every impression that the mix is going to end right up to the 4 minute 43 seconds position, but then a snare roll changes everything.

Main mix hook 2 returns as lead with a full drum set groove for a finale/coda section soon accompanied by some strings which are not just dramatic and matching the lead hook synth but sounding more beautiful than the earlier sections.

After the 5 minute 20 seconds position Max Motions switches from beauty to excitement again because the lead becomes faster and more powerful and some alternative musical melodies on the lead are heard to skilfully answer the mix' s main musical themes.

The rising intensity of the lead continues until the 5 minutes thirty 4 seconds position at which point a snare roll and a whoosh allow the departure of that particular drum from the arrangement. At the same time the listener or dancer gets the impression that the entire mix is slowing to an end. This achieved with longer notes at less velocity (how hard an instrument is plucked or struck in the live instrument arena) and the bass drum being switched from 4 on the floor to playing a "broken beat" again, but the listener is being fooled for a second time because it is another false ending.

After the 5 minute 57 seconds position some snare hits and yet another roll, and a strings playing a discordant note for an orchestral crash, provide a cue point for a mellow conclusion on haunting synth supported by more subtle strings. This final theme continues up to the 6 minute 34 second position at which point a drum roll and the echo/delay of the last sustained note finishes the mix spot on.

My final evaluation of this mix includes the following mix criteria, general demonstration of musical skill (10/10), skill in using sound effects, drum fills and other natural musical cue points for changes (10/10), use of variation in melody, harmony, musical arrangement to add interest to the mix (10/10), musical structure (10/10), catchiness and dance-floor appeal (10/10), use of sound engineering techniques including equalisation, reverb, delay, stereo position, compression and other mastering (9/10), bonus score because I like mix so much (10+/10). My final overall score for this excellent very danceable form of tech trance with 80s pop and progressive influence is 10+ out of 10. I highly recommend this mix to anyone who enjoys any type of techno, trance or dance music.

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Mix Info:Something Mellow 4:46mins @140BPM Atmospheric Vocal based Chillout/Ambient

Overall Rating

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Message sent with this Mix:
Max says Ok Nige , here's my version , not quite . US2K ( Nigel says) well I never this is seriously music to sober up to after a hard night of partying lol Queen' s Bohemian Rhapsody Crossed with Aphex Twin. Suggest it is only alcohol the person is sobering up to with this lol

US2K Review: Max and I cannot review our own music.