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There are currently 319 mixes on this page, the last was uploaded on 30/04/2017 18:56:33

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Mix Info:Evasion 4:47mins @138BPM Techno Trance

Overall Rating
Artist:Max_Motion



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US2K Review: This mix begins on a chanting vox, and ravey/techno hook (main hook and mix theme). Seven seconds on and the vox is heard again acting as an orchestral crash to introduce a four on the floor bass drum pattern. At this point the mix is always very catchy and dance floor friendly arrangement. The theme continues to the twenty seconds position at which point a drum fill announces an accompaniment synth at a higher octave synth right of the stereo-field to answer the existing hook, result being a newer more interesting musical concept. This theme continues to the one minute two seconds position without any vox but interest is maintained with a short drum fill on the way. After this position the chanting vox are re-introduced by a snare fill. After this the snare assumes the role of accenting every second bass drum hit, and the mix continues to yet another interesting sound effects, a water bubbling sound and a screechy skid fx.

All the elements in the mix make it quite compelling to listen to as it progresses to the two minute twelve seconds position where the lead synth is either layered with a higher pitched synthesiser or is played an octave higher with an alternative melody hook line (main hook 2), progressing the listener to a major bridge section at the two minute twenty seven position which begins directly after a powerful snare roll.

The major bridge consists of the chanting, vox the new higher pitched lead playing a broken melody out of short stabs, accompanied by a more percussive synth and "a broken stop/start bass drum pattern". This is one of Max Motions clever "Trade Marks" a feel that that the mix has breaks on it and it wants to get going again.

After the two minute thirty nine mix position after another snare drum roll, indeed the mix does get going again, with twice as much vigour, a variation of the main hook returns accompanied a full four on the floor groove including bass drum and snare accent on every second beat but also a “trancey” sixteenth note melody played on what sounds like a filter swept (possibly delay treated) electronic piano sound. One particularly brilliant thing about this particular sound is that when it playing the lower frequency phase of the sweep it moves to the left side of the stereo-field and to the right when it plays at a higher frequency, and the sweep is itself over about 4 to 8 bars, and seems to take lead. This helps to maintain variation whilst resulting in an extremely addictive and danceable. This dance-floor friendly feel is enhanced by the fading in over time of some subtle percussion; either closed hit hat, shaker or tambourine. Interestingly enough this is panned left and usually hi-hats do not sound right there to me but it sounds good so I am guessing that the percussion has been equalised to remove some of the "top end".

The mix continues to be very interesting and danceable up to the three minute, thirty two seconds position, at which point the chanting vox return briefly restate the theme whilst the conclusion of the mix begins with bass drum/snare fill and a single synth playing a temporary note sequence based on the main hook.

After two minute thirty six seconds play position the main hook returns with the swept piano lower down in the mix whilst the original synth regaining leadership of the mix, reforming a variation of main hook 2. For some reason the overall mix sounds more full, it may be the lead has been layered with another instrument, extra delay or reverb has been added, or a third synth been added in its own right. If this is not enough the listener is "spoilt even further" after the four minute position with the mix is giving an impression of gradually speeding up. I guess this is achieved with the use of higher velocity snare drum hits (possibly multiple snares layered) and repeated shorter notes on the synths. It does not really matter how it is achieved but it is very effective in forming an exciting finale. One last snare roll announces the end of the finale at the four minute thirty four seconds position, after which the mix begins to end on the chanting vox (restating the main mix theme) accompanied by an arrangement of the synths from earlier in the mix playing an ending theme based on main hook 2, and the mix finally ends cleanly after four minute forty one seconds of play on the reverb/delay tails of these synths.

My final evaluation of this mix is Structure (10/10), Danceable Catchy factor (10/10), Mixing/Mastering including use of equalisation, reverb, delay, stereo-position, compression etc. (9/10), use of drum fills/sound effects to add interest and announce changes (10/10), demonstration of general musical skill (10/10). My final score for this mix is 10 out of 10. This is excellent tech trance with some exciting vox. I recommend anyone who enjoys techno or trance to have a listen. If you are dj the majority of this mix is very danceable I highly recommend it to you for mixing in with happy club/Ibiza or field party music. In the early years of the Berlin love parade this kind of music was regularly heard ”in the mix”.


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Mix Info:Show Me Love Commerical Trance Remix by Trance Portal 3.36mins @135BPM Commercial Trance

Overall Rating
Artist:Trance_Portal



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Jerry made a song based on 'Show Me Love' by Robin S, it's on his utube site if you want to listen to it. I have remixed it , due to copyright it probably wont end up on your site , but let me know what you think!!. The full version

US2K Review: This is an excellent mix, I am crying this very moment about the fact only 10 seconds can go on my site due to copyright risks.Although not all the mix is on my music site, I have decided to review it. It starts immediately with a pulsing bass line and four on the floor bass drum. Just like the original very danceable from the first second. Twenty six seconds into the mix and the famous melody enters the mix, at first on a higher octave bass synth, but after a massive crash, followed shortly by a reverse cymbal this lead is either doubled or replaced by a more modern trancey sounding instrument, although it may be merely a cleverly mastered orchestral crash instrument which is old skool. What I am certain is the reverb and delay treated sound effects (massive elecro clap/crash) that follow to add further interest and anticipation for the listener are very modern and fashionable even now after a year.

One minute twenty eight seconds into the mix a sound effect which starts left of stereo and has a delay tail that moves to the right of the speaker introduces a more modern sounding progressive (positively phased) synth hook. This leads the listener to a backwards sweep, and short bridge formed from the drum pattern being dropped and a new intermitted version of the new hook. Gaps in the synth pattern let the bass-line have periodic leadership opportunities, which creates an interesting musical variation for the mix.

The “taking it in turns” bass/synth leading theme is built on with the bass drum returning discretely during one of the synth lead returns. I am not certain whether a crash or sound effect was needed to announce it because it seems to work and too many can upset the flow and so it is open to debate. The progressive synth line becomes more regular and acting like a drum fill before a bass drum roll, a bass line solo and false ending on a reverse cymbal announces the return of the modernised orchestral crash as lead for the conclusion to the mix, which resumes up to the three minute seven seconds position before a crash and vox part introduce what sounds like the end of the original old skool version to finish the mix finally after three minutes forty one seconds.

My final scores for this very good remix of "Show Me Love" are Structure 10/10, Use of variation 8/10 (Without the vocals the mix is a little samey), Use of drum fills and sound effects to announce changes or add interest 9/10, general musical skill 9/10 , Use of mastering including reverb, delay equalisation, panning and equalisation 7/10, wide audience appeal 9/10. My final overall score is 9 out of 10, for a very good remix of a classic dance record which is well worth a listen to everyone.


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Mix Info:On a Costa Del Crossing (Normality Mix) 6:51mins @136BPM Progressive Trance

Overall Rating
Artist:US2K



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This is an improved version with a good hook at the start, although I am not sure if some will like the long slightly experimental middle section. I think this is progressive trance but DBA may correct me if he wishes. Some X old skool ravers may appeciate my tribute to a famous rave hook where the record was played backwards for a short moment. The normality mix is a contradiction in terms.

US2K Review: It is one of my own so sorry no review or score. I would like one of the chosen few can review it for me.


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Mix Info:Bright Tunnels (Max`d Up Remix) 3:51mins @145BPM Techno (Intelligent and Dance Influences)

Overall Rating
Artist:Max_Motion



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Here's another tune i have remixed of Portal Z , the original is on his site. here

US2K Review: This begins with a rhythmic "twangy" bass line sequence which sounds a little like a Jaw Harp. Another more trancey left-right panning 16th note synth hook and four on the floor bass drum pattern is faded in for a few seconds until a very danceable theme has formed. The mix continues in this way with interest maintained with occasional drum fills up to the next major change around the 26 seconds play position. After this point a bass drum introduces a new powerful centrally positioned synth playing slower longer note (8ths or whole beats even) based trance anthem, whilst the bass drum pattern plays a broken "stop-start" beat. The combination forms a sense to the listener that the mix has the breaks and wants to get going again.

Around the 41 seconds position a myriad of sound effects including what sounds like a Star trek teleporter, Dr Who’ s Tardis announce the anticipated more up tempo musical theme. Immediately afterwards a very danceable combination of a fast four on the floor (main groove) with a very catchy hook formed by an arrangement of synths all round the stereo-field using the musical ideas from earlier combined with a new punchy rhythmic bass.

The danceable theme is kept interesting with subtle variations from various synths in the mix up to the next major change in the mix. The change is announced with a cymbal/crash at the one minute thirty three seconds position, and results from one of the synth lines being substituted for a slower higher octave lead line. From this point the entire mix begins to slow down once again.

Progressing further to the two-minute position a "stop-start" bass drum pattern is used again to "put the breaks on again". This idea is continued seven seconds later where a crash, and even a "false stop" is used to make the listener think the mix is coming to an end. Of course it does not finish yet, instead sound effects and "stop start" beats are used this time giving the listener an indication of another imminent change and the idea that the mix “wants” to speed up again, whilst the slow lead synth slowly changes its note pattern to a catchier more hook-like sequence. The mentioned synth has already gained full pace by the time a drum fill around the two minute 18 seconds position has re-introduces the main mix groove. Although the melody is exciting it is of a nature more suited to intelligent or sci-fi techno, rather than a lead hook suitable for the dance floor (only in the 'Blade' and 'Matrix' films have I witnessed a large group dance to the style this mix has developed into) .

Towards the three minute mark the instruments from the backing arrangement including percussion and breathy female vocals is faded louder to gain dominance over the previously leading synth line. Then the original lead has its notes sequence changed to a slightly less regular, more "descriptive" pattern so it can fulfil its new role as accompaniment. The new theme continues for a twenty four seconds before the synth regains its role as a lead with some high stabs before a temporary drop of the main groove begins the conclusion to the mix.

The main groove returns after a bass drum fill and then the synth line which has recently regained leadership plays a more energetic/exciting melody suitable for a sci-fi techno ending, accompanied by a bass line and at least one other synth playing a rhythm note sequence.

Extra interest is added with various sound effects and whooshes, until one final major bass drum fill at the three minute thirty seven seconds position announces the departure of all drums and percussion, allowing the synth line, a pulsing trance bass pattern and sound-effects (Star trek teleporter and Dr Who' s Tardis again maybe) to end the mix. The final moments are the synth playing an ending scale and the tail of one of the sound effects at the three-minute fifty one minute position.

My final comments were the mix being sped up to 145 bpm leant towards something more danceable, and to start with it delivers this but half way through when the change takes place to a more intelligent theme the tempo is maybe a little too fast for the intelligent techno fan. The first part of the mix could be used by a dj though because it is suitable for the dance floor, the later theme of the mix seem to be uncertain of style, the lead lines are not catchy or happy enough for dancing too but the groove is a little too fast for intelligent techno, but that will not matter to those who enjoy techno across the board.

My final scores for this mix are structure 7/10, general musical skill 9/10, catchiness 7/10, use of sound effects or drum fills to add interest or announce changes 10/10, production including mastering fx such as equalisation, reverb, delay and stereo positioning 10/10, use of variation and instrument arrangement 9/10, wide audience appeal 7/10. My final score taking these mix factors into consideration is 8 out of 10. Die-hard Techno enthusiasts will enjoy the whole mix and djs will find the parts of the fist minute thirty seconds of the mix useful for a dance set.


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Mix Info:Shout Out ( Maxtra Remix ) 4:15mins @136BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Ok Nige , here's a remix of the 'Portal Z' track of the same name , it can be found here :- http://www.youtube.com/user/PORTALZ2000?feature=mhee , if you want to compare!!!.

US2K Review: This mix begins with a powerful introduction hook is formed between a bass and a raspy rave/techno synth sound playing at a lower octave right of the stereo-field. Every four strong notes played are accented by single kick/bass drum hits. The result is both intense and exciting and grabs the attention immediately in a similar way to the dynamic guitar line used in the the 80s survivor record used for the Rocky movies.

Around the 12 second position there is a drum fill and the raspy synth plays an answering note sequence to that played earlier. Some notes are played at the higher octave (either by same synth or a very similar one) indicating a more significant change is going to take place. What the listener may not notice though is that the synths are slowly moving towards the center of the stereo-position to fight for lead, which I am sure was intended.

A drum roll/fill around the twenty eight seconds position introduces a faster even more catchy, danceable synth line (main hook melody 1) and a sophisticated (variable pitch/velocity for second or fourth beat accent which will stay interesting longer than the standard 4/4) four on the floor bass drum pattern. A very addictive musical hook idea is forming, I am sure in a club the revellers would be tempted to enter the dance floor. The danceable theme continues until the forty two seconds position, with subtle variations added on way by various synths in the arrangement. Of particular interest is a "slightly gliding" synth left of the stereo-field which plays pairs of notes to answer the main hook initially but slowly develops its own melody in its own right towards the 56 seconds mix position.

One bass drum roll later and and a whoosh sound, the "answering synth" has moved more central to the stereo-field and has took over as lead for a subtle less energetic bridge section. The raspy synth from the introduction takes the role of accompaniment playing a rhythm with the bass whilst answering notes played by the new lead.

Progressing further around the one minute twenty six seconds position an accent snare for the bass drum is introduced after a drum fill. Some amazing sound effects and drum fills are used to keep the new musical theme interesting whilst a third synth line is slowly introduced to the mix and the existing raspy rave/techno accompaniment evolves into playing either the same notes or something very close to the lead line by the one minute fifty four seconds position. The final result is a very powerful layered/stacked lead hook line, with a myriad of accompaniment synths all around the stereo-field to create an important modern full sound. Everything has been so gradual the end of the bridge and the beginning of a new main theme was hardly noticeable but the mix is becoming very catchy and danceable again, which I am certain techno or trance fans will appreciate alike. The original synth still has some presence in its own right because its note glide can still be heard in the mix as an effect similar to an acid wobble. Modern listeners and rave veterans will appreciate this old meets new sound which I will describe as main hook 2. I am sure the artist must have realised this because he later adjusts the timbre and filter settings of the gliding synth over time which was also done with acid house music. The described musical theme continues to the two minute forty four seconds position before a whoosh sound effect and a bass drum roll introduces one short last bridge section for the mix.

The last bridge consists of what I term a "stop-start" drum pattern and a "broken" sparser arrangement from main hook 2 with the higher octave lead synth playing a pattern which indicates to the listener some is still yet to happen.

The listeners expectations are met around the three minute fifteen second position because at that point some more sound effects, a return of a much more exciting fresher sounding variation of main hook two takes place, backed up by an abundance of interesting sound effects for a finale or crescendo to the mix. This addictive theme continues to the four minute mix position before the final conclusion is announced by a drum roll.

After the four minute mark most of the instruments are removed form the mix except two synths, the bass drum and snare. The synths play a musical theme which is based on the rest of the mix but slower and suitable to finish the mix, The drums play a “broken” “stop-start” beat to reinforce the fact the mix is about to finish which it does ten seconds later on a sample which sounds like helicopter blades pitch shifted up.

My final scores for this mix are general musical skill 10/10, catchiness 10/10, use of sound effects/drum fills to add variation or announce changes 10/10, general use of variation in melody lines and musical arrangements to retain interest 10/10, musical structure 10/10, production including equalisation, delay, reverb equalisation and stereo positioning, wide audience appeal 10/10. My overall score for this excellent tech trance remx (mix genre was originally incorrectly described as a dubstep, techno hybrid) is 10+ out of 10, and it well worth listening to by techno, trance and old skool acid house fans.


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Mix Info:So Simple 3:42mins @132BPM 90s Dance/Rave

Overall Rating
Artist:US2K



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Message sent with this Mix:
Some 90s style dance/rave music. I have included the FL mix file so you can see how I made it.

US2K Review: Sorry folks no review or score as it is one of mine.




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