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There are currently 316 mixes on this page, the last was uploaded on 25/02/2017 19:08:03

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Mix Info:Raise The Field ( Max Motion Remix) 4:46mins @135BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Hi Nige , hope you like this remix , done alot of work on it.

US2K Review: This mix begins with a "broken" (gaps in the repeats) bass drum pattern with fills and a pad hook from the original version of "Raise The Field" but with a different pad/string instrument, which sounds a little like a musical saw or thermion. A swept version of the pad and a bass drum fill/roll 25 seconds into the mix announces a change in the bass drum pattern to a four on the floor, and the introduction of a succession of instruments. These are first a mid octave "slightly acid" bass line and then a lead synth playing a faster catchy rhythmic hook riff. Of course the hook had to change with the key of the pad in the background. I am unsure without the mix file but it is possible the lead line was based on one of the original ones but regardless it does indeed change very well to match the underlying chords of the pads. There are some nice variations in the lead line too, which are subtle enough so as not to deviate too far from the hook riff. At the 1 minute 22 second mark, the bass drum groove leaves the mix, and a rhythmic version of one of the melody lines that were played on a pad in the original mix enters as lead. This instrument has a subtly reverb/delay applied that produces additional harmonics, giving an allusion of another instrument being in the background. This is a very bouncy break, and the bass drum returns shortly afterwards, this time it seems at a somehow higher tempo, although I was unaware of Fruity Loops enabling such mid-mix bpm change, so could be a sample loop. A new synth is introduced right of the stereo-field and the instrument previously leading slowly changes its role up to the two minute mix position. After that point a new higher octave instrument on the right playing a succession of trancey 16th notes takes over as lead (driving synth) to drive the mix, the original lead now playing a supplementary melody. By the two minute 14 second mark the mix is becoming very danceable. After a few intentional discords Max Motion' s personality surfaces in the form of a more prominent lead line although based on a melody played by the pads in the original mix this, his acid interpretation has a few more "twists and turns" in it. This clever balance of keeping common ground to the original but having subtle re-interpretations ceases around the three minute 9 second mark. Onwards from this position Max has kept the best notes from the hook but created entirely new fascinating answering melodies and arrangements. There are even high octave orchestral string/pad stabs to add intensity to the mix, but around the 3 minute 33 second mark the hook and theme of the composition is re-stated at on a lower octave instrument that could be considered a bass synth. It adds detail and interest to th mix while giving the high octave leads patterns of notes to answer. The bass synth changes between low and high octave notes every 4 to 8 bars, possibly via a filter sweep adjustment, until four minute 14 second mix position. At this point an atmospheric organ enters the arrangement on the left hand side of the stereo mix, and the listener is being led to a finale which includes the return of the upper octave trance 16th notes and another delay/reverb treated synth (final lead synth) playing a pattern of notes that alternates between either a 16th note riff or jazz like discords and stabs to answer. Interestingly enough the driving trance 16th note lead synth slows to play 8th or longer notes when the final lead synth is playing 16ths. During the jazz/stab section at the end of the mix the driving synth is playing 16ths again. The composer has very cleverly creates a feel of the two synths taking it in turns to either play rhythm or lead. This concept is used to create a very affective conclusion to the mix, and the actual finish after four minute thirty eight seconds of play, is achieved at with a sudden stop on a discord formed notes played from all instruments at the same time creating what is commonly known as an orchestral crash. The ending is improved further with the use of a delay on the final lead that fulfils the role of a smooth fade out. My evaluation of this mix is that it is very well produced, and structured, catchy in places. There is sophistication, and imagination use of variation, fills, sound effects etc. to maintain interest and announce the changes. Also the orchestral crash was a very nice touch. On reviewing my score for this mix has risen from 7, to 8 out of 10. I recommend everyone who enjoys progressive, tech trance, or techno has a listen to this very good mix.


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Mix Info:Lost In The WIlderness ( In the Dark Forest of Life ) 4:57mins @130BPM Ambient

Overall Rating
Artist:US2K



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Message sent with this Mix:
This mix is one of my obscure ones that I produce at times. If you use you imagination you will hear bubbling brooks, frogs, splashing streams, and/or leaves being walked on. I produced it during them very bad weeks of my life. The end is more upbeat because it reflects how things had improved by the time of completion.

US2K Review:


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Mix Info: Insane Life 1.30mins @135BPM Tech Trance

Overall Rating
Artist:Sasa_Clubber_&_US2K



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Message sent with this Mix:
Waiting a week or two to add this Sasa Clubber Track

US2K Review: This is an excellent Tech Trance track that I am yet to review but have already scored it with 10 out of10.


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Mix Info:OpTiMa - EuPhO PrOjEcT ( MoTioNMiX ) 3:34mins @142BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Here's my remix of EuPhO PrOjEcTs track , happy new year!!

US2K Review: This is an excellent remix of Eupho Project' s Optima. The remix begins with a variation of the original electro melody with subtle delay and a 4 on the floor bass drum pattern with short fills every 8 bars. This theme continues for 22 seconds. The fills used to keep variation are assisted in their role by occasional powerful crashes. Shortly after that point a whoosh introduces a second acid-like synthesiser playing a melody line that answers the previous melody line. The mix is slowly becoming catchy and danceable, with the arrangement forming a hook. The mix continues this way until the 56 second mark where an intentional variation of the arrangement and even some repeated notes to simulate what a real musician would do to indicate a change, and a well timed whoosh effect for a cymbal crash, introduce a trance instrument sound playing faster rhythmic 16th note riff, and a stronger drum pattern partly due to a new powerful accent snare on every second beat. At last their is a fun danceable trance feel which continues until a new whoosh, at the 1 minute 24 second mark, and series of musical arrangement and subtle melody variations lead to the dropping of the 16th note trance riff, and snare whilst introducing a percussive synthesiser sound reminiscent of record scratching. Also one of the existing synthesisers at this point has the octave changed cleverly to "answer" itself. When the snare returns to the arrangement, the mix has achieved trance anthem status. The "record scratch" sound nicely drives the drum arrangement. The swapping of octaves of the lead synthesiser and "record scratch" 8 seconds into the mix so that the lead then plays low notes and the "scratch" high ones is a nice touch to the mix as it creates a moment of reflection to the listener of earlier musical themes and a clever bridge before the return of the rhythmic 16th note trance melody this time accompanied by occasional synth orchestral crashes to add impact. From this position in the mix there is a feel of building to a crescendo to finish the mix. Interestingly enough this has all been an ingenious deception because the actual conclusion is a "winding down" passage of music. The mix continues to have a nice dance beat and rhythmic 16th note riffs but the feel is definitely an ending. This "good bye" is accomplished in style though because the numerous synths playing variations on the original hook restate the original theme of this mix very affectively whilst bringing their own interesting original elements in too. The synth melody line at approximately the 3 minute 3 minute 28 seconds position works very well to finish things instantly but affectively without abruptness when the rest of the instruments including drums leave the mix 5 seconds later. My conclusions on this excellent Tech Trance remix of Optima is that it is very well arranged and structured, and the use of drum fills and other sound effects to maintain interest is very well done. The production, mixing use of delay, reverb, equalisation, stereo-position, and choice of instruments demonstrates high levels of skill. Although this is a remix Max Motion has injected his own imagination, creativity, originality and his own personality into the mix. I love the completely different twists and turns Max has given the original musical themes particularly towards the conclusion of the mix. My final score for this very polished tech trance remix of the already excellent production by ThE EuPhO PrOjEcT is 10 out of 10, and it is definitely worth listening to by everyone who likes this genre.


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Mix Info:Cruise Control ( Intense Vocal Edit ) 3.34mins @140BPM Techno/Dance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Nige , here's another dance number for you , Merry Christmas Everyone!!!,

US2K Review: This mix begins with the clever vocal "I'll make you understand". Directly afterwards, a wonderful trancey mid-octave delayed treated bass synth hook then forms the roots of the main introduction. This is shortly followed by a 4 on the floor bass drum with fill on 4. The listener already knows at this point they are in a for a treat, my foot was tapping only 10 seconds into the mix. A series of abstract vox/animal shriek sounds introduce a delayed panning accompaniment synthesiser lead line at the twenty-eight second mark (synth 2). This complements the existing arrangement, forming an improved hook and addictive dance groove which would go down a storm at an event such as the sadly lost Berlin 'Love Parade' festival. The mix continues this way until the 56 second mark after which there is a the animal shriek sound and subtle changes in the hook to announce an impending large change. This is the temporary addition of a high octave synthesiser playing a 16th note rhythm, then a drop of two instruments, the bass drum and the synthesizer that introduced the mix. The bass drum returns with a variation of synth 2 with a shriek and the "I'll make you understand". Shortly after this vocal there is cymbal hinting at a hi-hat pattern later, then broken accent snare episodes, and the high octave synthesiser playing a 16th note rhythm again. This is a moment of deciding in the mix and after a split second pause and bass drum roll longer than previously heard before the decision is made at the one minute 53 second mark. This is a full drum pattern including accent drum and hi hat pattern driving a new sophisticated techno theme including synth 2 and a left right panning acid synth. There are occasional shrieks and other sound effects to keep the mix exciting until the beginnings of the conclusion at the 3 minute 44 second position. This conclusion introduced with the "I'll make you understand" sample is the addictive hooks and variations from the introduction. The final end after a short drop of the bass drum is on synth 2, a shriek and a melodic synth stab. My conclusions of "Cruise Control" mix that the structure is intelligent, the use of variation and arrangement is skilful. The well chosen fills, sound effects, and mastering patches such as delay, and of course the vocal sample polish this production to a professionals standard. There are some serious moments of addictive dancing too. My provisional score was 7 but it is 10 out of 10 now. Ravers have to give this a listen!


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Mix Info:Sasa Clubber - Get Crazy (Original Mix) 6:05mins @135BPM Tech Trance

Overall Rating
Artist:Sasa_Clubber
(Now_Signed)



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Message sent with this Mix:
This is to be run by Andy de Beaugh and MAx Motion.


DBAReview: Hi i feel that the part before the break does not fit the break and mainlead. the break you have used is from a melody i did with nigel, so i feel a bit weird about this? Anyway, i did liked the first part(before break) of this song but than it sounds not right anymore for me. I feel you have skills, but u have 2 use ur ears more. mixing/mastering needs more work. I know u are signed now, so i do not now how old this song is, but i expect more from a signed artist than this.. 5,5/10
5

US2K Review: The mix begins with an atmospheric whoosh sound then almost immediately afterwards a bass drum enters the mix, with a ride or hat cymbal every fourth beat. A possibly reverb or delay treated, mid-octave trance bass-line is faded in and and at the 16 seconds track position, a hi-hat and an accent clap on very second beat joins the drum arrangement. This has completed the introduction arrangement and formed a main groove, which makes the foot tap already. The mix continues in this way until a short drop of the bass drum at the 28 seconds mark. This drop means that on its return to re-create the main groove the mix continues to be exciting for a further 8 seconds without any change.

A variation does take place after 52 seconds into the mix. The bass drum leaves the mix and A whoosh and single bass drum hit acting as a cymbal crash, introduces a synth lead playing a catchy delayed trance melody line. A further whoosh announces the return of the bass drum at which point the main groove with the trance lead form a very danceable hook that would make ravers go wild. At the one minute 18 second mark there is another short relief from the bass drum, and when it returns the lead and baseline have been cleverly mixed and affect/filter treated to have increased presence. At the one 48 second mark a very powerful combination of reverse cymbal then explosion/crash sound and bass hit assist the departure of the main groove and the fading out of the lead synth line. It is a nice touch to the mix that the lead line has echo reflections of from the crash fading out with it.

Now at the 2 minute 12 seconds mix position is where I agree with Max Motion, everything is ruined. For five whole seconds there is silence, it may well have been intentional but I can imagine the looks the poor dj would have got. I will add that Sassa never makes a repeat of this mistake in his more recent productions so this was part of his learning curve that helped him get signed. Two minutes twenty-one seconds into the mix a echo treated reverse cymbal introduces a delayed piano playing a mellow sounding bridge melody, accompanied later by a powerful harmonising filter swept pad. There is a possible problem with this but maybe the five seconds of silence made this seem worse. The mix is intended for the dance floor and we have a section that goes on too long without any rhythmic elements, not even a hi hat half way through to hint at a return of the groove and ready the feet, and a laser pulse to end the section followed with one or two seconds of silence again. Three minutes fifty two seconds into the mix and an echo treated reverse cymbal and single bass drum hit introduces a the return of the danceable elements a little too late, but the delayed/filter riff trance hook which is faded in for the conclusion, is nevertheless brilliant as is the bass drum roll which increases in power and speed from the four minute 3 seconds mix position. A jet whoosh sound brings the main groove back minus the baseline. Instead there is a crowd cheer/whistle sound low down in the mix. At this point the trance hook lead has had its resonant filter fully opened as I can hear it is higher pitched. Interestingly enough the absence of a baseline does not create a feel of missing instruments. This catchy hook continues, driven by main groove drum pattern for about a minute with a drop of the bass drum in the middle to provide variation.

At the 5 minute 11 seconds position of the mix a whoosh sound announces the concluding musical theme, which is a pulsing trance baseline with full drum arrangement for a foot-tapping 254 seconds. This section like that earlier has a drop of the bass drum in the middle to keep the mix interesting.

The final finish from the five minute 44 second position is on drums only with a final reverse cymbal and explosive bang. My opinion of this mix which is one of Sassa' s early ones before he "got his act together" is that musical arrangement, and melody lines etc. are brilliant demonstrating great musical skill. The use of sound effects crashes, drum rolls and other fills was already professional at this stage too. The mixing and inclusion of reverb delay etc was polished. The fault with this potentially superb progressive trance mix was the gaps and long periods in the middle without any rhythmic elements. It meant that the mix sounded like three tracks stuck together and had a generally spoilt structure. A potential score of 10 out of 10 was dragged down to a 6 as a result.It is interesting to hear how Sassa improved from this to to the quality that secured his signing.




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