Fruity Loops 7,8,9 and 10 Mixes.   Go to Music Search

The mixes on this page are created with the Image Line Fruity Loops programmes. The mixes are all zipped, because they are faster for you to download. If a mix has any "imported" or "tweeked" samples, they are normally saved into the mix, but it makes the file size much larger. Any message or text that you want to send with your mix will be added as well, unless stated otherwise..

Please note right mouse clicking the download buttons on this page and choosing save as will not work as they are only links to the actual download page in order for downloads to be counted.
There are currently 321 mixes on this page, the last was uploaded on 23/07/2017 20:32:11

All mp3 full downloads have been granted permission for free distribution
by the artist or current licence holder (eg. Dance Industries)

You can submit your Fruity Loops  7,8,9 and 10 mix or mp3 via the new Uploader

Go to top of page.
Mix Info:Breath of Ariana 4:30mins @136BPM Club Tech Trance

Overall Rating
Artist:Max_Motion



Go to download page for Breath of Ariana mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
Sorry Nige for pounding you with tracks , but i thought i would send you the latest track i have made for a change , fresh off the Laptop!!!.

US2K Review: This mix begins with a powerful reversed sweep sound accompanied by some bleepy notes and a long stab on a brass horn like trance lead (trance stab) sound. This sequence is quickly answered by a brilliant happy club style trance hook, and a main four on the floor groove bass drum pattern. The mix only as two synths, one playing a trance lead ping pong delayed left-right of the stereo field whilst the other plays an occasional bleepy bass line left of centre, but the outcome combined with the powerful four on floor is already so danceable.

A super hook continues to the 25 seconds position before an occasional four or eight bar accenting hi hat enters the mix, 13 seconds later, a bass drum roll announces a happy answering happy higher octave lead line to the existing hook, and a snare to accent every second beat of the bass drum. This concept continues up to the forty six seconds position at which point a powerful backwards sweep and a trance stab like that which began the mix and temporary drop of the drums forming a nice bridge.

After bridge the higher octave synth takes the lead forming a fresh variation for the mix which continues with some subtle changes up to the one minute eighteen seconds position before the club trance synth form the introduction of the mix returns to its rightful role of keeping the mix addictively danceable, with the higher octave synth answering it when need be to add to the energy to the mix. This continues to be the case up to the one minute fifty eight seconds position after which the higher octave synth returns to lead again this time but backed up with at least one extra synth (a raspy bass sound to drive) and some powerful hi hats and percussion.

All in all the sound of the mix progressively becomes fuller and fuller similar to the sound that is heard is in records produced by top signed Ibiza or Ministry of Sound club music. From then on the records continue to get better and better with faster and more powerful variations of the hooks heard earlier, with the trance stab, drum rolls or other musical tricks (including snare hit samples being reversed) to add interest to the arrangement.

The conclusion beings at around the three minute forty two position where a good bye theme is created initially with some "free style decorations" and repeats of some of the dominant notes within the hook, before an extra snare hit is used to initiate the thinning of the musical arrangement, before the bass synth gets a chance to play the lead hook, answered by an intermittent play of the club trance synth sound. The mix finally finishes neatly on a drum roll from a bass drum at a higher pitch than that used for the four on the floor and the reverb trail from the club trance synth.

So my final score consists of the following factors, variation=10, catchiness=10, arrangement=10, mastering, delay etc. and instrument positioning=10, Use of drum rolls or sound effects to announce changes=10, musical structure=10, general musical skill=10. The overall result is 10 out of 10 for a mix which I am sure if it was played in Ibiza, London’s Ministry of Sound or Slinky it would be indistinguishable from the quality records by signed artists and djs. This is definitely one of Max' s best mixes on this site, one tip though would be to maybe retitle the track to something a bit more trendy in order to get A & R interest but shame on the djs that do not have a copy of such a massively uplifting club trance production.


Go to top of page.
Mix Info:Voyager 3:42mins @136BPM Tech Trance

Overall Rating
Artist:Max_Motion



Go to download page for Voyager mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
i absolutely love this track m8 , i did in tribute to the famous space rover , tried to emulate it's travels through our solar system and beyond , maybe i succeeded?


Bass Mom & Dj CrusadeReview: This is this reviewers first review for this artist known as MAX MOTION and so far I really like what I hear this is a mix that is well organized and well produced at that this definately one track I could not stop dancing too!!! this gets a solid 10 from me!!!
10

US2K Review: This brilliant tech trance mix I am provisionally scoring with 10 out of 10 until I can review it. It very exciting and well worth a listen.


Go to top of page.
Mix Info:Anihilator 3:38mins @144BPM Listening/Intelligent Techno

Overall Rating
Artist:Max_Motion



Go to download page for Anihilator mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
Nige this is a mix i did a while ago on FL9, enjoy!.

US2K Review: This begins with a lead synthesiser playing a happy possibly danceable techno hook (hook 1), which after a whoosh sound, is soon joined by a four on the floor (with periodic fill variations) consisting of bass drum and snare, and two (could be one morphing or sweeping not certain) new synthesisers. The purpose of the new synthesisers is to answer the existing hook melody in turn, all round the stereo-field, which seems to have very interesting results.

The introduction theme continues until the thirty seven seconds position where a whoosh sound announces a change. The mentioned change is a short bridge where the snare leaves the mix, bass drum becomes more intermittent and an acid melody line plays a more descriptive, less catchy interpretation of the notes used in the hook. This bridge finishes with a 'power down' whistle announcing the return of the four on the floor including at least one hi hat this time. The acid line is joined by a pulsing techno bass and the synths that answered the introduction hook, this time they answer the acid line, and what was a descriptive musical section progressively (very clever) becomes more catchy and danceable. By the one minute twenty seven second position the foot is once again tapping. This musical idea continues until the one minute forty seven seconds position at which point hook the acid lead scale final note and a drum fill intelligently announces the return of hook 1 to the arrangement. The result is very exciting. This concept is kept interesting with subtle synth melody or drum variations up to the three minute position.

Around the three minute four position there is a 'power down' whistle sound and a long brassy stab that moves from the left to the right of the stereo field announces a major change for the conclusion. The change is the addition of an atmospheric sounding string or pad sound to the arrangement, and the other synths seem to change their melody lines too, although it could be an illusion as a result of the harmony achieved with the pad. From this point the other synths slowly have their role in the arrangement changed (announced by drum fills), leave the mix or play less regularly.

By the three minute position there is only two lead synths, bass line, pad and drums remaining. One of the synths, the one with the acid timbre, at this point has changed from playing a catchy answering melody line to a slower more basic note sequence. This successfully creates a feeling that the mix is going to end any moment. This is true too because only twenty nine seconds later a drum roll and the 'power down' sound is used to announce the clean finish of the mix on a last stab of the right hand synth, a final scale of the left hand synth and fading out delay trails from the pair.

So my final score consists of the following factors, variation=8, catchiness=7, arrangement=8, mastering, delay etc. and instrument positioning=9, Use of drum rolls or sound effects to announce changes=10, musical structure=8, general musical skill=8. My overall score for another very good techno record is 8 out of 10.


Go to top of page.
Mix Info:March of the Drones 4:18mins @140BPM Techno

Overall Rating
Artist:Max_Motion



Go to download page for March of the Drones mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
Another FL10 track for ya Nige.

US2K Review: The mix begins with a whoosh and some notes on a raspy techno synth. A split second later and a four on the floor bass drum pattern enters the mix to drive it, and the raspy techo synth is joined by a bass synth right of the stereo-field. The notes that bass synth vary from low octave to mid octave. This arrangement is affective in creating a reasonably interesting hook line. This arrangement is joined by a snare playing accents and fills to form a main groove to accompany the hook line. This theme continues until the one minute seven seconds position at which an additional gliding and sweeping bass synth sound enters the mix playing accents at either the start or end of every bar. It sounds almost like an alert sound from a James bond film and seriously adds some excitement to the mix, and is my favourite part.

The alert concept continues without losing listener interest up to the two minute eight seconds position, after which a series of flanged whooshes, gushes and other sound effects introduce a bridge section. The bridge consists of some intermittent bass drum hits, a previously unheard acid bass line, the alert sound synth and some synth sweeps. The mentioned bridge ends at the two minute thirty two seconds position, which after some false starts by the four on the floor bass drum pattern, it finally resumes the role of driving the mix whilst a synth from the beginning of the mix returns playing a faster variation and answer to the earlier theme. This theme continues to the four minutes, one second position after which a flanged whoosh and some bass drum/snare variations, announce the ending to the mix.

The final moments of the mix are a series of slower intermittent descriptive melodies based around musical ideas from earlier. These are played by two synths left and right of the stereo-field. The mix finally ends cleanly on some echo from the right-hand synth and a flanged whoosh sound.

So my final score consists of the following factors, variation=7, catchiness=7, arrangement=9, mastering, delay etc. and instrument positioning=9, Use of drum rolls or sound effects to announce changes=10, musical structure=7, general musical skill=8. My overall score for a reasonably good techno record is 8 out of 10.


Go to top of page.
Mix Info:Hyperion (Solar Remix) 4:35mins @136BPM Tech Trance

Overall Rating
Artist:Max_Motion



Go to download page for Hyperion (Solar Remix) mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
Ok Nige here's the alternate mix i did.

US2K Review: A hook is built from the beginning, first with two synth lead instruments, one sounding like a 'Josh Wink' acid bass line which are later complimented with a third brassier instrument playing a catchy higher octave harmonic answering melody line, and a rising siren to drive the mix and add some excitement and a four on the floor drum pattern. The drum layers are skilfully built up, beginning with a kick and is later joined by a hard accent snare after siren finishes, and bridge/fill section the first.

The mentioned theme continues to be interesting until the first major bridge section in this mix. It begins with a drop of the drum pattern and the use of the rising siren again. The instruments from the hook play in turn to answer each other. Some intermittent bass drum beats are used to announce the return of the full four on the floor groove. One of the synths from earlier takes lead (probably accompanied by at least one other instrument) and plays a variation from earlier, before the higher pitched synth from early resumes its role in answering the rest of the arrangements. This theme continues until the one minute 55 second position before the mix arrangement changes leaving the 'Josh Wink' bass line and a less catchy more descriptive answering melody line played by a harsher plucked synth sound right of the stereo field forming what seems to be a bridge section. This section is helpful in ‘freshening’ the mix to the listener. A few plays of the brassier lead from earlier playing accent stabs leads to a snare fill which introduces the beginning of the conclusion.

This conclusion consists of a layer build of the instruments from earlier sections playing alternative faster melody lines. I love the part after the short bridge where the brass section plays a finale rhythmic hook line on eight or sixteenth notes. This drives the hook the mix adding energy and preventing the arrangement from becoming repetitive. This hook continues until the four minute nine seconds section at which point a snare roll announces its own imminent departure and the change of the role of the brass instrument to playing more descriptive melody, occasionally with longer stabs. This final theme continues to the four minute twenty eight second position, and ends with a few intermittent bass drum hits and rolls accompanied by an end sequence of notes by the brass lead and the 'Josh Wink' bass synth. When the mix end an echo trail from the mentioned bass synth cleanly finishes the mix.

So my final score consists of the following factors, variation=10, catchiness=10, arrangement=10, mastering, delay etc. and instrument positioning=10, Use of drum rolls or sound effects to announce changes=10, musical structure=10, general musical skill=10. My overall score for another excellent techno trance record, resulting from Max Motion reming Hyperon Sun is 10 out of 10.


Go to top of page.
Mix Info:Expo 4:33mins @140BPM Techno

Overall Rating
Artist:Max_Motion



Go to download page for Expo mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
Here's asomething a little different for ya .

US2K Review: This techno begins with a catchy/happy techno riff (main hook) played by two lead synths answering each other, a snare playing every second beat and some bouncy sound fx. Around the 14 second mark a snare fill and some sound atmospheric effects introduce the bass drum (four on the floor results) and subtle closed hat or ride right of the stereo-field and occasional snare fills to keep the mix interesting.

After 30 seconds all drums are dropped leaving the techno synths to solo, with an occasional snare. At the thirty seven seconds position a snare fill introduces some temporary fun vox which successfully add interest to the mix, and the four on the floor bass drum. The main hook is answered by a new higher octave synth right of the stereo-field. This synth sounds like it may be a vocoder, definitely sounds like it has human voice harmonics in it. The result is a big compliment to the mix. Then further variations of the hook melody are played forming what seems a bridge section, up until the one minute eighteens seconds position where is another fun vox and another one at the one minute twenty seven mark to freshen the hook for the listener. Another whoosh type sound effect a few seconds later position announces an imminent change which is confirmed at the one minute forty seconds position with one of the vox from earlier, a finishing scale to the hook, a very short drop of the four on the floor drum pattern and a snare roll.

The new theme begins with the removal of the vocoded lead synth, and part of the original hook melody low down in the mix whilst a number of chanting vox samples take lead, creating a carnival or party atmosphere. An alternative catchy melody played on a more flute like synth sound is slowly faded in, left of the stereo field. This new synth is soon joined by a brassier sounding synth panning left and right whilst playing short answering stabs to add some novelty and excitement to the musical arrangement. I am certain this section would make a festival or rave crowd 'buzz' due to the fact it is so addictive, like 'New World Order' by Wez Bam from the late 90s early naughty’s. This theme continues until the three minute seconds position after which a breathy sounding vox acting as a crash introduces one of the last bridge sections (possibly a coda) for 'Expo'. The four on the floor groove changes to a more intermittent pattern, and a techno bass synth that has been present all this whilst but low in the mix also plays in a similar way, enabling the vox to have a stronger role in the mix than anywhere else before, only competed with by a few occasional sound effects. Whether it is intended or not this bridge restates the musical ideas of the mix superbly, preparing the listener for a conclusion. In a party situation it is highly likely some people would try and copy the chants, especially the encouraging 'again' phrase.

This final bridge ends around the three minute twenty eight seconds position before another high pitched whoosh and a weight lifting or karate 'hooh!' vox sample announces the conclusion. This last theme consists of the carnival shouts, chants and other vox and the new 'hooh!' to drive and encourage the listener on. This accompanied by a variation of the hook from earlier with another series of harmonic answering melody lines, resulting in an extremely happy and danceable finale for the mix. This theme continues until the four minute 12 seconds position, after which the end of the mix ends by restating the mix ideas once again by the drum patterns and various vox and synths used in the mix taking it in turns before a breathy sample, the tail of an 'again', a drum roll and the echo of atmospheric sci-fi sound effect finally finish the mix at four minute thirty three seconds position.

My evaluation of this mix is that is very intelligently structured and it has some very catchy melody lines and hooks. The use of sound effects and drum rolls for adding interest or announcing changes is of this artist’ s usual standard, I especially love the chant vox. The mastering such as equalisation and use of stereo-position, delay reverb etc. also demonstrates a high level of skill. The general use of musical variation in melody and arrangement is very sophisticated too, and the finish is very effective. Overall a very fun techno mix which would work well in a carnival or festival situation. My final score for this superb crazy techno mix is 10 out of 10, well worth a listen.




MP3Unsigned.com - The best new mp3 music from up and coming bands