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There are currently 261 mixes on this page, the last was uploaded on 01/11/2017 02:59:18

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Mix Info:Final Destination 5:18mins @140BPM Tech/Trance with progressive and atmospheric film score elements to it

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US2K Review: This mix begins immediately with a rhythmic percussive marimba or (xylophone) synth riff ("Crockets Theme" comes to mind) and pulsing bass line. After about a second a hi-hat and an atmospheric string/pad are faded in behind the existing arrangements. As the pad gets louder it adds intensity to the mix and gives a feeling of moving forwards. Thirteen seconds into the mix and a squelchy effect, left of stereo-field and click sound announce the removal of the hi-hat and a four on the floor bass drum pattern enters to drive the mix nicely. The bass drum continues whilst a second higher pitched bass line is faded in right of the stereo-field. This bass plays the same notes as the first bass but with a note speed and pattern more expected from a hi hat, which I will refer to as the "Robert Miles" bass line because it is very similar to that used in the bridge of Robert Mile' s "Children", and gives a similar sense of excitement. This arrangement I will also refer to as the main theme for this mix.

At the 34 second position the click sound from earlier announces the departure of the “Robert Miles” bass line, the reduction in volume of the atmospheric pad, and the arrival of a sweeping acid synth sound left of the stereo-field. The click is then used to assist the slow fade in return of the pad, which as before adds intensity to the mix as it gets louder. Progressing further to the forty eight seconds position the click is used to announce the departure of the bass drum and the return of the "Robert Miles" bass line.

This results in the start of a series of bridge sections. The acid sweep that has been subtle up to now morphs into a more "Josh Wink" style burbling acid riff. The mix progresses to the one minute position and the deeper bass line temporarily leaves the arrangement whilst distorted guitars twang enters and other percussive synth sounds some with characteristics of a wooden block strike and others more a car horn-like (second bridge).

The sound collage of distorted guitar twangs, wooden blocks, deeper bass line and horn progress to the one minute five second position at which point the marimba/xylophone is faded quieter and its note pattern changed to be simpler and more rhythmic.

Shortly after the one minute five seconds position an orchestral crash and another synth sound that seems to behave like a drum roll joins the percussive sounds and distorted guitar to create a sense of imminent change. This continues to the one minute fourteen seconds position after a sweepy/whoosh sound which ends the pair of bridges by re-introducing the return of the full arrangement from earlier including the bass drum but with the atmospheric pad at full strength seeming to joint lead with the "crockets Theme" synth line accompanied by the orchestral crash that now accents every four beats to drive the mix intensely towards the next major change.

After the one minute forty two position a series of squelchy acid sounds are used to announce another change which the start of a subtle fade out of the pad/string s and the immediate departure of at least one other instrument . This arrangement reduction continues to the two minute seventeen seconds position at which point the end of a note played on of the synths is used to announce (I wonder if a crash or effect could have been used) a central mix bridge section.

The central bridge section for the mix begins with the immediate removal of all drums leaving behind a panning left-to-right raspy synth playing on every beat in the bar, whilst a new lead sound is introduced which has characteristics of both an acid synth and a harpsichord which I will refer to as the "Acid Harpsichord". The new lead plays slow melody which seems to fit well with the rest of the musical arrangement and musical themes. The result is very sci-fi and reminiscent of Vangelis, giving the listener a sense of intense waiting

Half way through the central mix bridge the pad/guitar twang makes a re-emergence initiating a build of energy which continues through the two minute forty two seconds position with the addition of ticking percussion, and then another well timed rising resonant acid sweep synth riff. The peak of the acid sweep is used as a snare roll to introduce the beginning of the mix conclusion. The new theme involved the initial removal of the lead and the bass drum and the deep bass line from the very beginning of the mix returning accompanied by the atmospheric pads/strings and the "Crockets Theme" percussive melody. After a few seconds the faster Robert Miles style bass line is faded in slowly to build intensity over time shortly followed by the "Acid Harpsichord" lead. The result is once again a full sci-fi Vangelis techno outing. Interestingly enough what follows seems to be a variation of the mix start (including the two small bridges) but with the slow "Acid Harpsichord" lead melody line and the result seems to work well.

The next section, four minute eight seconds to the four minute fifty six seconds position is very similar (with additional lead of course) to the one minute eight seconds to the one minute fifty six seconds position of the mix but instead of reducing in intensity continues to climb (crescendo) right up to the final section of the mix at the four minute fifty six seconds position.

The mix’ s final moments begin with the sudden departure of the bass drum and lower octave bass instruments. The "Acid Harpsichord", "crockets Theme", orchestral crashes, atmospheric pads/strings, and hi-hat or tambourine percussion create a musical idea which successfully restates the main musical themes for the mix and suitably conclude the composition. After a few "guitar twang" sounds the mix is cleanly faded to silence at the five minute seventeen seconds position.

My final analysis of this mix is musical structure (9/10), catchiness/addictiveness of melody line(10/10), use of drum fills or sound effects to introduce changes (9/10) , sound engineering and mastering including equalisation, panning and use of effects such as delay and reverb (10/10), Arrangement and melody variation (9/10), demonstration of general musical skill (9/10). The final overall score is 9 out of 10 and I highly recommend this excellent tech trance production to anyone who loves music by Vangelis or those who prefer to listen to atmospheric techno or trance rather than dance to it, although there are parts which could be mixed into a more danceable set by a very skilled club dj.

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Mix Info:Planet_X 6:26mins @128BPM Progressive House

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US2K Review: More excellent Progressive House from Julian. No review required, artist just asked for promotion, score is 10 out of 10. This is commercial, how come this guy is not signed I do not know! Download now fixed on this mix.

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Mix Info:Pinochio 6:01mins @128BPM Progressive House

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US2K Review: This is not going to be reviewed afterall because Julian just required promotion. I am glad to have Julian on the site.Mobile phone version and bpm available now..

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Mix Info:Adagio ( Stereo Version ) 10:19mins @58BPM Classical

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Some classical music for your collection. Happy New Year everyone.

US2K Review: I am listening to this after some time, and keen to understand why this had so much criticism. It begins with a horn and soon a harmony is formed by a low octave organ and a mid octave choir sound. As it comes up to he 49 second position the notes played are interesting enough but do sound a bit typical of the average movie-score background music or even my favourite role playing game "Pool of Radiance" when I was younger so perhaps that is why accusations of plagiarism were made against Stockwell by some. Continuing on to the fifty-four position there is short section of solely organ and cello. A little later there is a repeat of the introduction and that choir pattern does sound a bit corny second time round. The choir ends one minute 18 seconds position and there is a more atmospheric musical arrangement consisting of cellos and other strings playing a more sophisticated lead ,melody.

Atmosphere is added by some reverb treated percussion in the background, probably a xylophone but could be musical bottle patches. This theme continues to the two minute twenty second position at which a harp and a harpsichord and or piano join enter to make more things more interesting.

The composition proceeds to the two minute forty four seconds position where some nice classical ornamentations, what I like to call scale decorations are played ( I am certain these are little trills because there is definitely a natural/sharp/natural sequence taking place) for a short whilst.

After the piano leaves the arrangement, instruments with the characteristics of cellos or bassoons take the lead. This them are intermittently answered by a scale on a harp (could be arpeggio chords but difficult to tell without seeing the notation). Around the three minute twenty seconds position the cello/harpoon/harp section ends with a succession of downward scales, first on brass instruments of some type, then a flute, ending with a pluck of the harp.

At the three minute forty one seconds position a new more sombre (sadness/grief/regret) theme beginning on cello which is soon joined by a violin. This violin eventually finishes this section by playing a happier scale that indicates hope. Soon after a number of instruments play a discord to create listener anticipation of a change, before another emotion, melancholy reflection, is simulated by a piano supported by a slow playing string arrangement of some type, once again finishing with optimism, and those lovely scale decorations again from earlier.

At this point I am thinking that the piece seems lack wide audience appeal and is only suitable for computer game or movie background because it has no strong direction or catchy element whatsoever but also think it has been a little underrated because their is some great compositional skill and wonderful piano playing in places, and never seems to go out of key so Stockwell certainly has an ear for and knows what he is doing there.

At around the five minute fifty six seconds the interesting piano section finishes on one low octave sustained note. Then as theat note is nearing silence another piano section this time supported by what definitely sounds like violin or viola begins. The instrument plays a simply slow accompaniment until the piano departs four seconds later. The stringed instrument doubled with a bassoon or cello is used to lead the listener to short bridge which begins with a split second of silence before the piano returns to conclude this section

. After another section of more silence the choir returns from the introduction this time accompanied by orchestral timpani drums playing single hits and rolls to add a sense of strength or defiance to the composition at the seven minute thirty-nine seconds position. The timpani leaves the arrangement about 30 seconds later allowing the choir sound to solo for a short whilst.

At the eight minute forty seconds position, the choir "sings" a final note at the eight minute forty seconds and there is silence again before it returns with the timpani for an intentional louder discord in order take on the role of an orchestral crash. After the crash there is a calming theme played with an arrangement of strings. Shortly afterwards the piano returns to play one last restatement of the scales from previous themes including the lovely ornamentation which I am certain is a trill, before it finishes the composition on one low octave final note (the note that resolves or cadences the scale) .

Revisiting this piece, I had not been looking forward to reviewing this because descriptive classical music of this particular niche are more difficult to assess but I think the 5 out of 10 is definitely harsh, although the structure is a little bit too loose for me and too many unnecessary silent moments which I am sure will make some listeners think it is finished, however Stockwell is mostly influenced by film music and putting Adagio in that context if there was some type of moving imagery fitted appropriately to each part of the composition I am certain it would work better, and although uninteresting as a whole to many contains some moments that demonstrate great musical skill.

My final evaluation of this composition is general composition and musical skill (9/10), catchiness (5/10) (there are some good harmonies at times), wide audience appeal (5/10), structure (7/10) (the introduction has two annoyingly similar repeats which results in sounding a little corny and amateur for this type of music there is too much silence for my personal tastes even in context), use of crashes, drum fills or sound effects to add interest or announce changes (8/10) (there are some well executed orchestral crashes achieved without a preset or sample sound of any type which deserves credit and the timpani sections are really intelligent), use of arrangement, instrument and melody variations to add further interest (10/10), sound engineering (including equalisation, stereo-positioning and fx such reverb, delay and general mastering (5/10). My final overall score for Adagio is 6 out of 10; perhaps some silent sections could be replaced with some type of string, percussion or maybe if a modern twist is not out of the question to the artist an atmospheric harmonic pad in places would widen audience appeal and certanly make Adagio sound less dated and more original. Despite my mixed review, visitors keen on descriptive classical music may find parts of this composition interesting, especially the ornamental trill on the piano that is heard a number of times.

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Mix Info:Set 2011_09_03_pt5 (Funky Electro House) 3.46mins @126BPM Funky Electro House

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Happy New Year, Some Funky Electro

US2K Review: This mix begins immediately with a funky variation on the four on the floor drum pattern. There is a bass drum, accent snare and closed hat but what makes the arrangement particularly interesting is an instrument in the lower range playing a syncopated bass-line melody, which is difficult to identify. It could easily be tuned low toms or a percussive sub-bass instrument of some type. This groove continues for four seconds with an occasional "Get It" vox to add some foot tapping excitement to the mix.

Around the four seconds position, there is short bridge where the bass drum is dropped from the mix for a split second before a new brassy sounding vox "One Up is added to every fourth beat and a backwards orchestral crash to double the accent clap is slowly fading in, to drive things even harder in a "disco electro funk kind of way", making the mix possibly danceable to a house fan.

The mix continues to the nineteen seconds position at which point the listener is given a real surprise with a drum fill on snares then toms accompanied by a brass stab like you would hear during an intense scene in the 80s series Magnum PI (subsequent mentions will be referred to as "Magnum PI moment"), and some bells. This is a very original twist to the mix and works surprisingly well. Immediately afterwards the main groove returns for a short whilst before yet another short break/bridge takes place at the thirty five seconds position, after which a new bass instrument playing a single note on alternate beats to the accent clap is faded in along with some higher tom drums (main groove and theme for the mix).

The mix progresses to the first major section in this mix after 50 seconds of play. This bridge begins with the departure of the bass drum, which is abrupt but seems to work, after which point a new female "Groover" vocal is faded in. This particular fade adds some serious intensity and anticipation for the listener. Something else subtle change during this bridge is the fact the fairly new bass line changes its pattern every four beats to play a different note, implying a more sophisticated chord progression than earlier in the mix.

Around the one minute seventeen seconds play position the bridge comes to an end with a "whoosh" sound, some bells and a snare roll. The bass line playing chord roots leaves the mix along with the "Groover" vocal and an arrangement more like the introduction remains, but with one major difference a syncopated hi tom drum pattern right of the stereo-field and a new vocal "Yeah" which heard for every four "One Up" vox. The outcome is fairly catchy despite the lack of a tuneful melody, relying purely on an intelligent rhythm. The mix continues to a short bridge at the one minute thirty-seven seconds position, which is announced by a sudden drop of the bass drum and ends with a very low down in the mix effect that almost sounds like a clucking chicken.

After the end of the major bridge the main groove/theme returns, this time with the sound effect mentioned used to periodically add interest up to the one fifty seconds position. Half a second later there is another "Magnum PI moment", then a different "thinned down" version of the main groove returns. The main differences are the accent snare has been changed for a softer one which is less clap-like in nature, no reversed orchestral crash or bass, only one vocal remaining "Get it", removal of the hi toms and some hi-hats plus the addition of a low octave left right panning electro acid click. The new theme continues to the two minute five seconds position before the last break/bridge in the mix takes place. The bass drum leaves the arrangement for a short moment, there is a breathy "Yes" vox and then what sounds like either hot steam or frying bacon (if the later is the case that is seriously innovative and in good humour especially if that is a chicken earlier in the mix) is used to add intensity and to ready the listener for the mix concluding finale.

The finale begins a succession of vox and instruments being faded back in, first the reverse orchestral crash, then the female "Groover" vocal, and lastly the bass line. Despite the fact instruments are faded in, to enhance addition to the mix the bass drum is removed for a split second before each arrives. Once a new conclusion arrangement and theme has been established the mix continues to progress to the two minute fifty three seconds position where the "Yes" vocal returns and successive layers of tribal percussion are added to work the mix into a very catchy finale frenzy.

Around the three minute 18 seconds position the end to the mix begins with the bass line being changed to sound more mechanical, synthetic and electronic in nature before a flanged star trek teleporter sound is faded in as the rest of the mix is faded out.

At the very end of the mix, around the three minute forty-one seconds position, for a very brief moment the sound of a crowded restaurant or dining room are heard, and all in all the ending is smooth, sophisticated and original.

My final evaluation of this mix consists of the following scores, general musical skill (9/10), catchiness (8/10), wide audience appeal (7/10), use of arrangement and melody changes to add interest (8/10), use of sound effects and drum fills to add interest or announce changes (10/10), studio engineering including reverb, equalisation, delay, stereo panning mixing and general mastering (9/10). My final overall score for this mix is 8 out of 10, although it has narrower audience appeal, funky house and retro electro fans will love it( may even dance) , and listening to it again has made me like it more, and I am sure a skilled dj could put this very good funky mix it into a house/dance/electro set.

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Mix Info:Spider 6:52mins @128BPM Dutch Trance/Electro/Dubstep hybrid

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US2K Review: This seems to be some sort of trance/electro/dubstep hybrid of which there are many now. It is of a standard that is 10 out of 10 like many new mixes submitted to this site now. No further review is required for this mix, as the artist just requires promotion.