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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:With The Bass 3:39mins @139BPM Tech Trance

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US2K Review: This mix begins with shot sound and some aftermath echo, from after three seconds of play a bass drum role, trancey synth stab is heard and a very commercial sounding bass line emerges over a four on the floor bass drum pattern with occasional fills.

The very strong bass line continues for ten seconds before the synth is heard that played the first stab now beginning to play a melody line fairly widely spaced between periods of solely drum pattern and bass line.

The introduction theme continues up to a bridge section at the thirty one seconds position which consists of a slow pad melody behind a variation of the synth based trance melody from earlier. This time the synth plays a more energetic and regular note sequence setting the basis of a hook (main hook for this mix).

The mix main hook remains interesting up to the 49 second position with the help of an occasional clap to remind to the listener that this is dance music and a suitable beat will be returning shortly. After this point some intermittent bass drum fills are used to ready the listener even more for the return of the four on the floor drum pattern. This prelude to the return of the dance floor continues to the fifty eight seconds position with an additional accompaniment synth joining the arrangement, to answer the melody played of the other one.

There is use of two percussive whoosh fx of varying pitch and what sounds like a very metallic clap/snap roll do finally announce the return of the four on the floor drum pattern. This time the pattern is subtly different because there are either two pitches or velocity of bass drum sound, and it is highly likely that every second beat is an accent.

At the one minute five seconds position a subtle acoustic sounding snare joins the arrangement to provide the listener with a more conventional steady four-on-the-floor snare accent rhythm.

The new more complete sounding arrangement continues to the one thirty eight seconds position at which point the synth lines have not done anything significantly different for a whilst and although the mix would be less interesting without some intelligent drum fills and a second synth occasionally answering the main hook I am a little disappointed that on subsequent repeats there has neither evolved a significant up/down (either octave or tonal) of the "final notes" or decorative deviatiation from the underlying chords. If this is meant to be trance which would be intentionally this constant then there is either not the needed accompaniment layers to form enough emotion or a stronger melody line was needed to start with. I wonder because even the pad/string has begun to lose its purpose at this point that whether dropping it and bringing it back would have made the mix "fresher" to the listener

At the one minute thirty nine seconds position a whoosh sound is used to announce the first major change in the mix which is an alternative musical idea consisting of a different bass line and a different more intermittent melody focused on the second intermittent synth part used to answer the hook. This time the accompaniment synth is leading and the listener is given the impression of waiting for the return of the full main hook and to me it is a bridge or middle eight section.

The lead from the main hook slowly returns up to the two minute position, initially playing a simple accompaniment note sequence. Seven seconds later a whoosh sound effect allows the concept of the main hook to fully return and continue to the three minute fifteen seconds position, with both the lead and accompaniment synth providing subtle improvisations to conclude the mix.

The conclusion is more interesting than the earlier parts of the mix but I still feel another instrument layer could have improved things further and ended the mix "in style" either a powerful string/pad or simply a hi hat pattern of some type.

The final moments of the mix are introduced with a single hit of a powerful clap/snare, and consist of a "good bye" melody derived from a new intermittent variation of the mix main hook which this time includes occasional accidentals of a more discordant nature which work to confirm that the composition is concluding.

The mix finally ends cleanly on the delay trail of the last note of this melody line and the bass line after all other instruments have have appropriately left the arrangement.

My final evaluation of this mix takes the following factors into consideration, demonstration of general musical skill (9/10), catchiness and danceable factors (7/10), musical structure (8/10), Use of sound effects, cymbals or drum fills to add variation or announce changes (10/10), wide audience appeal (7/10), Use of studio and sound engineering techniques such as equalisation, reverb, delay, stereo-panning or compression (8/10), Use of variation in musical arrangement, instrument or melody (8/10). My final overall score remains at 8 out of 10 and my original statement remains:

It sounds like an attempt at the commercial uplifting sound but does not quite get there due to the chosen melody hook not being memorable enough, but that does not stop it from being a very good production and well worth a listen to everyone who enjoys techno or trance. I love the bass for certain!

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Mix Info:Something Mellow (US2K Breakbeat version of Epic 2 The Max collab) 2:45mins @162BPM Breakbeat/Drum and Bass

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Some more Drum and Bass/ Break Beat. The commercial old school revival at the moment has inspired me to produce this. No sub bass this time

US2K Review: This is by myself and Max Motion so I cannot review this mix but I welcome others to make comments, or any of the resident viewers to do their worst.

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Mix Info:Step Up 2:51mins @91BPM Dub Step

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thing a little different for ya.

US2K Review: This mix begins with sound effects including a siren. Shortly afterwards a harsh synth and bass combination with characteristic of dub step enter along with a suitable beat for the genre. The dub-step rhythm always sounds to me like a break beat pattern with a slight lag. This is the main theme and hook for this mix. The standard dub step theme continues to remain interesting right up to the thirty seven seconds position after which a shout sound effect announces a major change which is the snare pattern and bass-line speeding up temporarily. This section is my favourite part of this particular mix. This more energetic theme continues up to the one minute two seconds position after which point a series of sound effects introduce a bridge section which begins with the departure of all the drums and alternative bass-line and more sound effects including the siren from earlier then yet another bass playing a "squelchy" answering melody line which pans round the speakers. When this short bass sequence finishes the bridge ends and main dub step theme returns from the introduction but this time accompanied by many atmospheric sound effects. There are subtle changes to the lead synth periodically as it continues to maintain listener interest. The main theme is left at the two minute thirty six seconds position, initially by the departure of the drums and then a series of alternative synth sounds playing music themes reminiscent of that you hear in horror films. This is a brilliant ending for the mix in my opinion. It continues right up to the two minute forty five seconds position finally ending on a rather atmospheric reverb treated long sustained synth note. The echo from this sound ends the mix cleanly at the two minute forty nine seconds position.

My final evaluation of this mix consists of the following criteria, demonstration of general musical skill (10/10), catchiness (9/10), use of sound effects or drum fills to add interest or announce changes (10/10), wide audience appeal (8/10), structure (9/10), use of variation in melody or musical arrangement (8/10), use of studio engineering skills such as application of reverb delay, equalisation, stereo-positioning, compression etc. (9/10). My final overall score is 8 out of 10, and I highly recommend this very competent dub step mix to fans of the genre.

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Mix Info:Nintee 3:41mins @130BPM Commercial Trance

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New Collab tune for ya Nige

US2K Review: This mix begins with a really happy catchy trance melody line which makes the listener have immediate expectations of a highly commercial sounding mix. A "reverse cymbal like" vocal right of the stereo-field is used at the seven second and seventeen seconds positions add a feeling that an imminent change is about to take place, which does after the second time. A cymbal introduces a steady four on the floor bass drum (main mix groove).

The mix progresses as the melody line slowly becomes gradually less happy sounding. After a short drop of the bass drum a whoosh sound announces a more percussive synth accompaniment and two bar accenting hi hat cymbals. The harmony of the two synths creates an unusual emotional theme, something between melancholy and happiness. Despite this being a rare feel in danceable music which this mix in my opinion is aiming to be, it is very interesting and the foot at least taps.

The unusual musical mood lasts until the one minute seventeen seconds position where a crash announces a lovely bridge section. At the start of the bridge all drums leave the mix and there is a bass-line very similar to one of my favourite "Love Parade" 1991 records. An occasional backwards vocal is used as a reverse cymbal again periodically to ready the listener for the conclusion. At the one minute thirty two seconds position the bridge ends introducing a new theme for the conclusion.

The trance synth from earlier plays a melody line which plays musical notes based on the bass-line from earlier . A pad/string plays an accompaniment in the background. The pair of synths continue to the two minute forty six seconds play position before the bass drum is brought back into the mix in such a way it seems to introduce itself without sounding abrupt.

After the bass drum Some clever changes between major and minor scales takes place as the two instruments jointly lead with a strong series of hook lines. Sound effects all around the stereo-field and drum rolls are used to assist teh return of the two bar end cymbal accent.

As the mix progresses to the two minute position the concept is steadily becoming more danceable, a 90s rave style synth riff is heard and the synth hook lines are becoming catchier and happy again.

The mix continues until the two minute twenty one seconds position at which point a second bridge is indicated with the departure of the drum pattern, this time its use is not for simply bringing in a new musical idea but more to apply a technique typical of dance music, "readying the the floor".

The previous musical hook theme is repeated initially without drums and then with an intermittent bass drum to tease the listener whom is anticipating the return of the "four on the floor". A drum roll then fulfils expectations, this time the main groove when it returns though brings with it a regular half beat open and closed hi hat, and an array of harmonising synthesisers, bass-line and a mellow string. The overall mix has a much fuller more professional sound at this point.

The melody hook becomes more sophisticated as the percussive accompaniment synth ceases to be joint lead and instead becomes master of the arrangement. If that is not enough the use of major and minor scales take place again, this time resulting in a complex chord progression over different emotions, finally deciding to stay happy. The happy theme is emphasised with the string/pad playing a joyous answering melody for the rest of the arrangement.

it is a lovely finale but I was wondering why this string/pad melody idea was not used earlier in the mix because if this theme is used in the right way in my opinion it will result in a hit club record. This super melody line could have been played on the first bridge without the drum pattern to get an "arm waving" moment.

The joyous finale resumes to the three minute twenty seconds position at which point all drums leave the mix and the other instruments cleanly leave the mix, aided with suitable sound effects.

By the three minute twenty seven seconds position only the pad/synth (by which time is playing a more urgent discordant idea) and the percussive synth. They play a discord together to simulate an orchestral crash to join a cymbal, and an addition delay/reverb treated left-of-stereo sound effect to finish the mix. The reflections of the delay/reverb tail of the sound effect smoothly fade out at three minute forty one seconds.

My final evaluation of this mix is derived from the following factors wide audience appeal (7/10), structure (8/10), addictive dance floor qualities (7/10), demonstration of general musical skill (10/10), use of equalisation, reverb, stereo-positioning, delay and other studio production techniques (9/10), use of sound effects and drum rolls to add interest or announce changes (10/10), variation in melody or instrumental arrangement (10/10). My final overall score for this mix is 8 out of 10. Although the beginning maybe less danceable I would highly suggest that fans of danceable forms of techno and trance music would enjoy this mix most, and the conclusion is extremely dj friendly. The mix may seem a little unusual for the genre after the initial introduction but I suggest perseverance because it took me three listens before I fully appreciated it.

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Mix Info:Imperial Fighter 4:25mins @141BPM Tech Trance/ Sci Fi Film Score

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3 cheers to the new year! and 3 tracks to go with them , more on the way Nige!!.

US2K Review: This mix introduction is formed with an immediate with a seriously commercial "happy" lead trance synth hook, a high frequency "whoosh" effect and a four on floor the bass drum, second hit accent snare pattern. A bass drum roll and another whoosh is used to introduce a center-of-the mix bass line, and around the ten seconds position the lead is "ducked" with adjustment of the frequency of a filter and possibly a reduction of volume for that instrument too.

Around the thirteen seconds position a similar technique in reverse is used to bring the lead synth back to full strength. Because the synth was "ducked" when it gains control of the mix again it sounds "fresh" to the ear keeping the mix interesting.

The lead trance synth hook plays the same theme up to the twenty four seconds position, after the lead synth is "ducked" again, a major change begins with an additional synth playing some slower/longer notes before a variation of the original hook returns. There is something else happening though, preparation for a key change is taking place. Up to the forty two seconds position the two synths take it in turns at leading, the note changing subtlety on repeats of their note sequences beautifully edging the scale towards a more menacing set of chords. A new lower frequency lead synth is introduced to make emphasis of the full key change, the original synths are demoted to playing rhythm and accompaniment. The new musical theme has got to be my "fav hook" in the mix although not "happy" like the introduction is still extremely catchy. This theme continues to the fifty five seconds position before a bass drum roll introduces the first bridge.

The hi hat is removed briefly from the mix at the beginning of the bridge to allow some beat changing "trickery" to take place with between the bass drum and snare. The snare becomes beat one for a short moment whilst the mix switches to alternative musical idea which is more rhythmic/descriptive/discordant than the earlier musical ideas. I had my doubts on it but it seems to work. The lead from the introduction is initially “ducked” again but raises in intensity whilst playing discordant note sequences reminiscent of 90s acid house, shortly after this, the bridge transforms into a a more substantial part of the composition when a second synth is introduced (possibly a echno bass playing a higher octave) right of the stereo-field playing a syncopated rhythm which compliments the rest of the mix extremely well.

After two minutes of play one of the synths is "ducked" again before it has its musical sequence gradually changed to the hint of the return of the "happy" scale used in the introduction. One of the introduction hooks makes a brief return before at the twelve minute , ten seconds position another bridge is introduced by a crash and a long bass drum fill. The bridge begins with all drums and the bass line leaving the mix with the synths left to begin a new theme based on the less harmonic bridge from earlier.

At the two minute fifteen seconds position another drum fill and a whoosh sound re-introduces the return of the full drum pattern. The lead synth is "ducked" again temporarily to allow another delay treated techno bass sequence right of the mix to take control briefly. The trance synth rises back to full strength playing a new melody line suitable for answering the earlier musical ideas and beginning a coda for the conclusion. The trance synth goes through a series of "ducks" and "un-ducks" towards the two minute forty seconds position before a drum fill is used to announce a reverb treated mid octave square wave synth, adding a "choir-like" atmosphere to the mix. Also from this point the trance synth is played a higher velocity (strength) and a series of other synths are used intermittently to play yet more answering melodies to the main earlier hooks.

The mix continues to the three minute position after which a drum fill and a whoosh re-introduce my "fav hook" from earlier but this time the other trance synth instead of being for rhythm and accompaniment, plays an imitation of the new lead line on shorter/faster notes increasing mix energy.

The energy of the mix continues to go up and up towards the three minute forty nine seconds positions, then the lead synth "ducks" and returns playing its previous note sequence transposed up a few semitones forming what sounds like discords but with the rest of the mix remaining harmonic, how do you do it Steve? quite fascinating. The urgency in the music created by this technique hints at the fact the composition is coming to an end soon. After this point I am certain the pitch of every instrument is slowly adjusted to continue the idea of the mix rising up, although it could be a "musical illusion".

The mix continues four minute six position after which a drum fill and a single synth stab is used to announce the final ending to the mix. The ending is performed on a thinned out arrangement of synths and right hand techno bass, playing a suitable "good bye" melody based on the musical themes of the mix. A final bass drum fill and a low frequency whoosh announces the end of the mix on the techno bass which by which time has moved to the centre pan position of the mix. The mix fades out cleanly on the delay tail of the bass and the end of the whoosh sound.

My final evaluation of the mix consists of the following scores, demonstration of general musical skill (10/10), catchiness level (10/10), use of equalisation, studio effects such as delay/reverb and general mastering (9/10), originality (10/10) , use of fills sound effects to add interest or announce changes (10/10), musical structure (10+/10) , use of arrangement changes and other variations to maintain interest (10/10) .This mix is well worth a listen and it fits the title well, I could imagine speeding t-fighters from star wars flying to a death star, and in battle. It is a danceable sci-fi film score.

The final score has risen from 9 out of 10 to 10+ because listening to it again revealed to me some fascinating scale and key changes which create a a structure consisting of “morphed” sections, resulting in an excellent listen to any trance or techno fan. There are also sections that I am sure a skilled dj could put into a dance floor friendly mix, although they would have a challenge because there are subtle key and scale changes throughout.

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Mix Info:At the Costa Del Sol Crossing (Maxed Up Mix) 5:16mins @136BPM Progressive Trance

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I spent a few days playin' around with your remix , let me know if you recognize

US2K Review: The mix begins a crash, and whoosh sound before the drum pattern from the original of "The Costa Del Sol Crossing" (In future references the acronym CDSC will be used) enters with a far improved snare, and a catchy frequency sweeping bass line. The original drum loop soon gives way to an interesting variation of a four on the floor theme with little rolls and syncopations. This theme continues to the thirteen seconds position, before a short crash announces a change.

The change after thirteen seconds has no obvious difference in musical arrangement or melody but the listener perceives a bridge, I thought it was a musical illusion of some type but there must be subtle difference because I was so intrigued I performed a fast Fourier analysis on the audio and the wave is definitely different in a way that indicates velocity or volume changes on one or more instruments. The subtle bridge section continues to the twenty one seconds position before another crashes announces a greatly improved version of one of the fairly complex melodies used in the original version of CDSC (hook 1), the lead sound chosen works really well too. This melody continues over the drum pattern with a few crashes before a drum roll announces a faster variation of the melody with a new more powerful accent snare for the bass drum which continues to remain interesting up to the forty seconds position.

After the forty nine seconds position an alternative melody variation based on hook one is briefly is accompanied by some higher pitched stabs every 4 to 8 beats either on the same synth as hook 1 or a different one. This new musical theme only lasts up to the fifty six seconds position after which a whoosh sound introduces the start of a set of two bridge sections. The first of these bridges involves a simpler more repeated and urgent sounding melody line on the synthesiser which seems to be readying the listener for some greater changes to come.

The first bridge comes to an end on a climatic scale and a drum roll. After the drum roll the second part of the second bridge begins with all drums and the lead synth leaving the mix, but the bass line which has been in the mix from the introduction is joined by a more piano like instrument sound right of the stereo-field. This piano plays a series of notes which combined with a crash re-introduce the bass drum and snare along with part of the next main theme (beginning of hook 2) for the mix which I also recognise from the original of CDSC. There is a drum roll and then shortly afterwards a shorter drum fill (two very close bass drum hits) announces an additional synth playing the other answering part of hook 2 from the original of CDSC. Once the arrangement for hook two is completed the bass drum and snare patterns slowly transform into a steadier driving four on the floor.

By the time the two minute thirty seconds position of the mix has been reached a standard four on the floor has been achieved making the mix more catchy and danceable, at the same time it is possible that some vocoded vox has been added to the resonance of the bass-line. From the two minute fifty six seconds position there is totally new material which is based on the earlier musical themes and seems to fit the existing mix very well. A third synthesiser soon joins the arrangement playing a mechanical melody which sounds like an old arcade machine jingle over the existing hook.

At the three minute three seconds position the main instruments from hook 2 leave the mix after a snare roll and a reverse cymbal, and a "moaning" pad is added to the remaining arrangement of bass and arcade jingle. This series of musical idea although very unusual work surprisingly well to lead the listener to the conclusion of the composition which finally begins after a drum fill and a cymbal at the three minute twenty eight seconds position. The conclusion melody and arrangements was not in the original of CDSC at all, it a is less harmonic, more discordant adaption of the introduction, which appears to be full of Max Motions intelligent techno signature style. Every four to eight bars there is an occasional urgent sounding long stab on a second synthesiser. To keep this pattern interesting there is occasional drum fills or various sound effects including a whoosh that pans left to right (or right to left) of the stereo-field. This continues to the four minute fifty one seconds position after which a bass drum roll announces the departure of the main drum pattern in favour of some of Max Motions characteristic "stop-start beats" on the bass drum and the snare performing small rolls.

The mix finishes whilst the stop start beats continue with each lead instrument from earlier in the mix restating its musical theme. The mix finally ends on a drum fill and the delay reflection trail from the last lead.

My final evaluation of this mix is consists of the following scores: demonstration of general musical skill (10/10), catchy interesting melodies (10/10 ), use of drum fills and sound effects to announce changes or add variation (10/10), use of musical variation such as arrangement or melody changes to add interest (10/10), general studio engineering including equalisation, reverb, delay, panning, compression and other mastering effects (8/10) , the overall score is (10/10). My final comments are that I am disappointed that neither Max Motion or I were able to make a “dance floor stormer” out of this mix hence why it was never used in a video, but it is never the less an excellent progressive tech trance production, great for listening to for fans of that genre and I am sure parts of it could be mixed by a skilled dj into a more danceable set. - The best new mp3 music from up and coming bands