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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:Good times 4:49mins @140BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Another tune for you m8ey:).

US2K Review: This mix begins with some orchestral stabs, and horn toots and some vox saying 'Is She Ready' reminiscent of the acid rave warehouse sound. A bass drum roll introduces a duet of synthesisers playing an acid style melody that I will refer to as main theme 1. One of the sounds in the arrangement is a modern trance patch playing variations of a complex melody line. The other a more raspier sounding warehouse patch is playing a simpler but catchy repeating series of notes that is answering the melody of the other at a lower octave, whilst also playing a rhythmic hook in its own right. This arrangement is accompanied by a 4 on the floor drum pattern, including bass drum, hi hats, and snare accenting every second beat. There are some sound effects, a sweep and it may be early in the mix but I already have my foot tapping. The musical theme continues this way 37 seconds into the mix but retains interest well, before a whoosh sound, a drop of the drums and a series of musical notes, possibly a rising scale announces a change which is the return of main theme 1 with a mid octave bass instrument in the arrangement this time. This bass instrument initially only plays an occasional 3-note scale, which I think is accenting every 4th beat in the bar. The new instrument drives the mix nicely onwards to the one minute 7 seconds position in the mix, whilst the listener has some nice surprises as a result of the drum pattern having some variations and fills in it. Shortly after that point a delay and reverb treated crash right of the stereo field accompanied by a very subtle snare drum roll to the left of it whilst the drum groove has left mix indicates the next change which is the modern trance synth playing a faster more rhythmic melody and the bass line taking the role of lead with a new punchy riff line of its own. This new musical theme is only heard for about 14 seconds and is never repeated anywhere else in the mix so must be the start of an unusually early bridge section but is interesting enough to have been used as a longer lasting and repeated verse section had that been the intended structure. Towards the end of the 14 seconds a mysterious sounding musical saw playing a simple scale enters the mix acting as a pad, the drum pattern leaves the mix again, and then a 'power down' sound effect is used to too things, 1 to act as a break and two to announce the fact another change in musical theme is imminent. There is a further fill on some stabs of one of the leads and an orchestral right of the stereo field followed by a laugh. Then the change takes place which is the warehouse synth lead reassuming its lead role. Once again we have main theme 1 or a variation of it. This time although the theme continues until the two minute 30 position point in the mix it is kept interesting with variations. Interestingly Max has kept closer to the hook with his variations by playing notes simply at the higher octave, I wonder if he has been influenced by me at all? There is another break from the drum pattern a second later to keep things interesting, and the trance synth and the bass play a rising scale to announce the return of main theme again sounding different this time. I am not sure what the difference is, although it could be another 'octave game' but it works well. This variation of main theme 1 continues until the 2 minute 38 point in the mix, after which time the drums are faded quieter instead of being dropped, and a musical saw plus the vox 'Is She Ready' announces the final major change in the mix. This is the conclusion with the bass line leading again but playing a different melody line, to the one during the bridge. The melody this time reminds me more of 80s pop music, and I could imagine a string working lovely with it. Anyway back to reality, the bass line melody is accompanied occasionally by a trance synth on the right of the stereo field. This synth plays an occasional few bass line answering notes at a higher octave. The drum pattern is faded back in to drive the mix very well and vox, sound effects etc. and note variations keep the last musical theme interesting until the musical instruments are faded out after a whoosh sound effect acting as a crash. The mix finally at 4 minutes 50 seconds after the final instrument, the lead bass line is faded out. My final evaluation of this mix is that it is very well structured and musical arrangements are intelligent. The use of drum rolls, crashes, vox and other sound effects is excellent in keeping the mix interesting and announcing changes. Also the production and use of mastering effects such as equalisation, panning (the bass moves around the stereo field right?), delay, reverb etc. is of professional standard. I really enjoyed all the catchy hook melodies with in the mix and the variations, breaks and fills ensure that this production retains listener interest. My only reservation of this mix is that I am not over keen on the musical saw, and think the good times and warehouse theme could have been exploited with some more vox or more ravey sounds instead, but my final score is 10 out of 10. This acid house and 80s influenced tech trance/rave mix is definitely a very enjoyable listen, to those who enjoy the genre, and danceable in the right circumstances, so I recommend it very much to tech trance lovers and ravers.


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Mix Info:Cheerleading Music (Arena) 3:44mins @94BPM Ambient Electro Chill

Overall Rating
Artist:Greek_God
&
Goddesses'_Baby



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US2K Review: This mix begins immediately a dramatic groove and hook which I will refer to as the main theme. This is formed from a musical arrangement consisting of pad/string stacked with an organ as lead, tuned tom drums playing a lower bass line section, another occasional guitar bass pluck and a funky drum pattern sounding partly human part mechanical. The human part consists of bass drum, snares, a shaker or hi hat with occasional fills. The more sequenced components are an atmospheric effect that sounds like a 'gush' or 'whoosh' percussion, and a güiro right of the stereo field. The main theme continues until 45 seconds into the mix at which point a reverb/delay treated acid sweep enters the mix moving from the left of the stereo field and to the right and back again, acting as a pad sound, adding well to the atmosphere and interest of the mix. The sound morphs into or is layered with what sounds like a wind pad instrument of some time. The amazing sound finishes at the 1 minute 12 second mark, and another series of atmospheric sounds right of the stereo field including some wind and cymbals with there top frequencies equalised out. This leads to a drop of the drums, a snare roll, and then a bridge or middle 8 section, This begins with an alternative drum arrangement the guitar bass playing a lead line, surrounded by some really pads and sound effects, before all instruments leave for an intense 'break down' where a massively atmospheric pad and effect collage for 5 seconds reminiscent of the rock band Pink Floyd takes place. This intense moment leaves the listener in awe of what happen is going to happen next. The bridge ends with a fill on a closed hi hat, an alternative drum pattern, and the bass guitar melody lead line again, and a tom roll before the main theme returns. This main section including its amazing pads and sound effects plays again until the conclusion begins 3 minutes ten seconds into the mix. The conclusion is of course the break down again from the bridge section. Unfortunately it is far too predictable, it sounds identical to the bridge section, and there are no little surprises or variations. It sounds like it has been copied directly without change. David Stolk has mentioned this will deter record label interest, and I am inclined to agree. What makes things worse is the mix finishes abruptly and incomplete. It has been known for famous bands such as the Beatles to intentionally not play the last note to leave the listener hanging but in this case the ending is almost definitely a mistake or if not is intentional to prevent music theft. If that were the case though a music artist or producer would have little difficulty appending something to the end to address the abrupt finish. Other than the issues mentioned, this mix is generally intelligent in structure and variation. The composition, arrangement (including stereo placement of instruments), mastering and studio engineering is superb. The drum sequences, lead and bass lines are very catchy. The atmospheric pads and effects are amazing. The type of music in a more polished state would be ideal listening or film music score that I would score with 10 out of 10 but unfortunately the problems I have already outlined mean that I have no alternative but to score this mix with 7 out of 10. It is my desire to collaboration with the artist that produced this mix at some point in the future and despite any negative points I have mentioned about this mix, I recommend everyone has a listen to it as they will enjoy the chilled atmospheric experience.


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Mix Info:The Harlequin 5mins @140BPM Tech Trance

Overall Rating
Artist:Max_Motion



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This track i want to enter the comp with if it is still on

US2K Review: This is my detailed analysis of "The Harlequin" by Max Motion. As it is almost a custom since the X factor for judges to argue, David Stolkes did not realise:-
The mix Begins in A# Minor Key scale
Bars 1-2 c# f g# - c# major chord
Bars 3-4 c# f g# a# - a# minor 7th chord
Bars 5-6 c# f g# a# - a# minor 7th chord
Bars 7-11 c# f g# a# - a# minor 7th chord

From bars 11-12
f g# a# d# - g# minor or major 9th
bars 13-15
g# a# c# (f not played but implied ) - g# minor or major 9th

Bars 33-37 Key Change G# Minor
33 E G# B - E Major
34 F# A# C# - F# Major
35 F# A# C# - F# Major
36 c# (E is not played but implied) G# - C# Minor with passing note of C natural from A# minor which of course has a relationship of being 1 whole semitone up in the scale from G# minor

Bars 37-42
37 F G# B - F Diminished
38 E G# B - E Major
39 F# A# C# - F # Major
40 G# C D# - G# Minor of course from the A# minor scale
41 C# F G# - C# Minor from the A# minor scale
42 E G# B - E Major From G # minor again, one comment the fact this works is surprising and must be due to spacing of notes as neither the G# or A# minor keys contain both E and F natural.

43 F# A# C# - F# Major
44 - Chords G# C D# - G# Major to C# F G# - C# Minor both from the A# minor scale
The rest of the mix contains no other notes other than those heard before. The notes are far from random it is a musical game based on the G# and A# minor scales using the note of G# as a pivot point . No wonder David Stolkes thought they were though as I expect he does not know what a diminished chord is as they are seldom used in modern music and I try to avoid them like the augmented chords myself. I admired the minor 9th jazz chord, and loved that passing note of C natural from an academic point of view. Musically it is well structured, produced and arranged including percussion and drums. Despite David Stolkes innacuracy (lol no wonder I am not signed) on this occasion although a brilliant tech trance production it is not my my favourite mix by Max Motion, it lacks some of his usual sparkle. It is more enjoyable to analyse than to listen to, perhaps the diminished chord (or should I say intentional dischord makes it unsettling). I score it with 8 out of 10 (about 85 out of 100 had it been still in the competition).


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Mix Info:Return to the Bass Oddity 4:05mins @137BPM Progressive Trance

Overall Rating
Artist:US2K



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I think maybe the bass drum could have been more powerful. It is one of mine so no review or score unless someone else volunteers one.


Max MotionReview: Nige as usual knocks out some lovely htrance lines in this mix , it has a real nice flowing sound to it at times but is also a little dis-jointed at times aswell. It starts off really nice apart from the drums which i don`t like , there is also the usual amount of heavy mastering going on as the track saunters along. It is really nice mainly until the breakdown around the 1 min 50 sec mark , the drums here are a little annoying though and off we go again until the 2 min 20 sec mark and a saw synth cuts in , i don`t like this sound as it affects the tempo and the smoothness of the track and makes it sound a little dis-jointed , although the drums sound alot nicer here with a snare making it sound crisper. At the 2 min 45 sec mark unfotunately the snare changes and ruins the feel and flow, synths sound nice and at the 3 min 30 sec the track breaks for the conclusion , we are left with a saw synth finishing off for the last 30 sec`s or so , too long for me, Overall some nice stuff in there as you would expect but could be so much better with a little work.6.5/10
6

US2K Review: Thank you Max Motion for your great work in creating a constructive review. The Global Music Community Spirit Lives On!


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Mix Info:Tranceylvania 3:19mins @143BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Nige another track for you to mull over


DBAReview: the mixing skills in this song are good and the structure of the song also but the sound(design) you have made/used is not my taste and sounds for me 2 dated. Good song, but for a more modern techno sound you should check some other soundbanks or give a listen 2 some techno producers like redhead, marco bailey, DJ Rush and many others.. You will hear the diffrence of a modern techno sound and yours now. Score: 7/10
7

US2K Review: This mix begins immediately with a 4 four on the floor bass drum, "weird science" or oingo boingo or Yellow type sound effects and some descriptive melody notes played by the introduction lead instrument. After 8 second there is a short drop of the drums, and when they return the notes playing slowly become catchier in nature. This is achieved with a second synth playing shorter notes from scales that answer the introduction lead melody. Together this forms a more addictive hook but there are occasional notes, which are deliberately, and correctly "out of tune" forming occasional discords that add a slight edge or 'darkness' to the musical theme that continues until twenty seconds into the mix after which a soon to come change is indicated by some notes being repeated a few extra times assuming the role of a fill, and seconds later an unexpected temporary drop of the bass drum and some other "out of place" note variations. When the change does take place 28 seconds into the mix, it is in the form of a melody that sounds less hook like and more descriptive in nature. Some would think the notes are random without reason at this point but the theme playing at this point is very classical is nature and depicts "uncertainty or decisions to be made, maybe searching for something". This sense of decision-making gets more frantic towards the 1-minute mark, with sound fx and musical notes coming at the listener at "a rate of notts".

When the decision making piece has finished a different structured melody begins to form within an arrangement of atmospheric instrument sounds and fx. The amount of echo makes me think of being in a catacomb of some type, the bottle tinkle sound is intended to be an abstraction of a dripping sound. All in all to me there is a sense of claustrophobia. Around the one minute 12 second, the bass drum leaves the arrangement temporarily and there is a cheeky bit of Prodigy influence, where a bleepy delayed riff at the higher octave is introduced. Although where the prodigy would have used to drive the mix it is used more like an alarm in this context followed by a scraping or laughing sound effect. The theme continues until a bridge is reached where the drum pattern leaves the mix and the melody changes to form a happier harmonic hook out of two or three synth sounds. A bass drum pattern with occasional fills returns to the arrangement. One such fill and a whoosh/power down sound effect around the one minute 40 seconds mark introduces an accent snare and a hit hat. At this point the mix gets better, becoming more and catchy as it progresses, with plenty of variations in the melody and drum patterns including intentional unexpected drops of the bass drum to keep the listener interested.

The atmospheric flanged sound effect around the 2 minute 32 second mark is one of my favourite moments in the mix, as is the finish on the electric generator power up and down sound accompanied by further variations of the hook for a Grande finale.

Evaluating this mix I can conclude it is a very sophisticated movie, computer game or listening techno score. The beginning is very dark and edgy bringing John Carpenters' s Halloween piano piece to mind. It would be interesting if Max wrote the piece and then gave it its title or the other way round. If he wrote a piece to a title or theme, which by the way is not my forte, hence some of my truly 'crackers examples of art' like 'Unusual for Me' then this mix by Max is on a cleverness of John Carpenter' s Halloween score. That haunting composition scared me even before I saw the film for the first time at the tender age of 9 (Yes I know I should have been in bed not watching late night video nasties lol). Anyway back on topic 'Trancelvania' the melody lines are very interesting with plenty of variation. Musical arrangement and production techniques such as use of delay, reverb, equalisation and stereo position etc. demonstrate great skill and the overall mix quality is definitely worth a score. Now tell me Max am I right in thinking that the mix depicts first Van Helsing searching for Dracula’ s castle, then it is found and so we journey underground, where a few vampires are encountered hence the alarm sounds that Van Helsing dispatches of easily. Van Helsing goes after Count Dracula but after chasing the remaining vampires into the woods, they including Dracula escape as bats? Whether I am right or not this mix, although influenced by techno and trance, is definitely very classical in structure and deserves a 9 out of 10 as a piece of art, and will be a very fun listen to those who choose to have the patience to listen to it.


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Mix Info:ID 7:29mins @BPM Trance

Overall Rating
Artist:Sasa_Clubber
(Now_Signed)



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US2K Review: This begins immediately with a pulsing trance bass line, 4 on the floor drum pattern including hi hat and bass drum. Around the 12 second mark there is a short break before a pad enters temporarily with a sense of urgency in it. The purpose is two-fold, to keep the mix interesting and to act as a crash with respect to announcing an imminent change. This change happens thirteen seconds later after another break from the drum pattern it returns, this time with an accent clap on every second bass drum beat. The velocity or timing/beat position of the clap seems to make it sound laid back. This laid back groove continues until around 37 seconds into the mix, another break and the beat returns but this time the clap is no longer laid back, it' s role now is to drive the mix. Such a subtle variation in the mix is very impressive as it works so well in making the foot want to tap. The mix continues this way up until a break and whoosh/drum roll combination that reintroduces the pad of urgency and then a trance riff is faded in slowly. This riff eventually reaches full strength and is kept initially interesting with short drops of the drums and crashes. Around the two minute 42 second mark, despite the fact the clap and hi hat have already left the arrangement indicating a change the mix becomes temporarily a bit bland. It is possible this introduction section of music has gone on too long.

Around the 2 minute 52 mark interest does start to return though a crash with some rather atmospheric delay or reverb applied to it announces the pad this time sounding like a discord. The piano section, although nicely delayed that follows is a little basic in my opinion so solo for so long though. If it was going to try hold its own it needed some nice accidentals or passing notes like a real pianist uses to give it a dreamier feel, especially due to the nature of the introduction. A reverse crash introduces a well suited pad sound to harmonise the arrangement affectively, at which point the piano does work much better. Towards the three minute 47 second mark the mix is still very dreamy but in my opinion the drum pattern should have returned by now, which it would have done had the piano solo been shortened. A cymbal introduces a really catchy hook line before in my opinion when the drums return the mix assaults the listener with too many different hooks and melody lines to a point of sounding a little disjointed. On listening to this mix again and reviewing it with a more focused mindset this mix has to go down to as it has some really nice elements but seems to flow less and become uncertain in direction.

My conclusion is that this is a very well produced mix and use of effects, mastering, delay, equalisation etc. drum rolls, crashes etc. to indicate changes demonstrate great skill and there is a lot of potential in elements of the mix but the final score of this mix is only 7 out of 10. My suggestions to improve it would be to reduce the length of the introduction and middle 8 sections, don' t solo that piano for so long, and lengthen some of the later melody lines, possibly dropping one completely. The style being progressive trance needed more of a hook towards the end especially after such a long wait at the beginning. This mix has the potential to score 10 out of 10 with some slight rework, and it is still worth a listen.