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  The mixes on this page are used with packages such as Pro Logic for the Apple Mac, Audigy and a host of other music mixing or sequencing packages. If any of the mixes contain any samples from the other programmes then you will not be able to hear the full mix unless you have these programmes as well... 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.

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There are currently 224 mixes on this page, the last was uploaded on 22/03/2017 02:00:48.

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Mix Info:Dj Mood Set 2011_09_03 Part 6 2:28mins @126BPM Minimal Techno (Vocal Intro)

Overall Rating
Artist:Dj_Mood



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US2K Review: This minimal mix begins with some mellow vintage sample of a woman singing in a crowded ballroom or dining hall, of some type. Almost as soon as it has started a stutter effect is applied to it, giving it a rhythmic affect which is used to introduce an electronic accent snare, the start of a full minimalistic techno groove.

Towards the twenty second play position, after a 808 style snare roll, a fuller drum arrangement is obtained with the addition of a bass drum, tom (or bass instrument of some type) and high frequency percussion including at least one hi hat or shaker joins the pattern to create a seriously mechanical sounding pattern. To keep the mix interesting a slice of the introduction sample or cleverly chosen sound which matches has been use to accent every second bass drum hit, an original alternative to a snare or clap.

The mix remains compelling up to the forty seconds position at which point a high frequency flanged sound effect is heard to add further listener interest before the groove continues onto the first bridge of this mix around the fifty seconds position. This bridge is achieved by switching the continuous groove temporarily to an intermittent one, and the unexpected use of a deep raspy bass effect and a jazz drum brush to add some original percussive interest and build tension whilst a new syncopated bass rhythm is stealthily introduced.

The first bridge finishes at the fifty nine seconds position, with the mechanical techno groove returning with the new bass line allowing the mix to sound fresh again, although some intelligent occasional double repeats of the earlier sample, and more flanged sound effects prevent the listener from taking the musical theme for granted.

The mix continues to the one minute thirteen seconds position and just at the point listener interest is about to be lost the bass is dropped down in the musical arrangement, allowing the tom drum to have more presence, and the vocal sound slowly faded louder giving a chanting effect. Although the music ends up sounding temporarily more tinny it has the effect of adding excitement and intensity to the mix. The vox gets more and more intense becoming almost like the listener is being reminded of or demanded to do something, the entire musical theme is beginning to enter the realm of horror movie sound track.

Around the one minute thirty second position the vox and most of the drum pattern except a now more prominent cymbal is faded out leading to the second bridge in the mix. After this point the bass line is faded in slowly. Where earlier in its earlier role only the underlying driving qualities’ of the bass could be heard the instrument has now taken lead and is heard to have a powerful hook of its own, yet again very influenced by horror or action film score music but also maybe sounding a little ethnic at this point.

This hook continues to fade in, each repeat adding further intensity before a low tom roll around the one minute forty one seconds position brings back the main groove but this time it definitely sounds influenced by Indian Bangra. . The new more ethnic musical idea continues to the one minute fifty two seconds position when the mix is starting to get a little monotonous the artist shows he has a real sense of humour because it became clear to me that the percussion is based on a subtle vocoded speech sample "This Clappy Beat" (or Crappy I am not certain). I would not have noticed that particular sample either had it not been for another subtle change, some “plinky” digital sounding percussion which adds further interest to the mix and seems to pinpoint some of the syllables of the synthetic speech, which I had initially thought was occasionally another ethnic drum of some type. The question is at what point did the sound sample change or was it always there and some very clever musical trickery was in use?

At the one fifty six seconds position there one short last bridge where the bass line solos for a short moment before the rest of the percussion returns and to create a finale part for the composition the original vocal from the introduction is used again for some further dynamic chant effects, enhanced with cymbal crashes. After this point the mix is faded out smoothly ending in silence around the two minute thirty position, just in time, because despite being a very clever minimal techno mix I was beginning to lose interest simply due to personal tastes.

The final evaluation of this mix includes the following factors, musical structure (9/10), demonstration of general music skill (9/10), addictive/catchy qualities in melody or rhythm (7/10), use of melody, harmony or musical arrangement variation to maintain listener interest(6/10), application of musical resolutions, drum fills or sound effects to announce changes to enhance variation (9/10), wide audience appeal (7/10), studio engineering including reverb, delay, equalisation, and stereo-position compression etc. (9/10). My final overall score is 7 out of 10 and it well worth a listen to enthusiasts of the minimal techno genre. I am confident a skilled dj could put the rhythm of this into a layer of a more harmonic record if they were intending a wide audience appeal set. The introduction is novel, and I think is within copyright boundaries, and humour later on too. There may be other hidden vox other than the one I found too.


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Mix Info:Welcome To Los Angeles (Original Mix) 3:04mins @128BPM Vocal Electro House

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Artist:Julian_R



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US2K Review: This artist only requires promotion so there is no review


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Mix Info:Jamie for Amy Set (Part 5) 3:48mins @130BPM  Funky Electro Vocal House

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Artist:Jay_Sissimo



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US2K Review: This mix begins immediately with a really addictive groove formed from numerous drums, and a high pitched percussive instrument to accent the end of every bar. After six seconds of play a short drop of the drums and a vox is used to introduce a lo fi electronic bass sequence right of the stereo-field, and some additional percussive "ooby eh" vocal bytes. This keeps the mix interesting and helps it flow to the twenty one seconds position where a sound effect which sounds like it was achieved with “cello abuse”, introduces yet another vocal. This new "I" vocal nicely answers the groove every few bars. Ten seconds later yet more vocals are introduced with an aircraft sound and a clap fill. The new vocals include "My telephone" and some other less distinguishable but upbeat sounding vox. More “cello abuse” is used to create a sound effect at the fifty nine seconds position that announces a funky bass-line.

From the minute position the mix progresses the groove just gets funkier, and seriously danceable. At the one minute twenty one seconds position some vox and a clap roll are used to introduce another serious hook vocal. It sounds like "Your Gonna Funking Dance" (or something more offensive). The thing I always love records of this nature is the humour. The record progressive remains really addictive up to the only bridge in this mix at the two minutes five seconds position.

The bridge is announced with a clap roll and a "whoosh" sound, and the departure of all the drums and "Your Gonna Funking Dance". A new riff formed from a brass sounding instrument and yet more vocals enter the mix to add energy whilst the listener waits for the return of the drum groove. A "Yeah" announces the return of the drum groove without "Your Gonna Funking Dance" but a syncopation between the brass and the drums keeps things funky and danceable regardless.

At the two minute thirty five seconds position a clap roll re-introduces the "Your Gonna Funking Dance" hook vocal and takes lead twenty seconds later. This theme continues up to the three minute position after which a more random collage of various vocals and sound effects forms an interesting conclusion for the mix. The arrangement remains funky due to the bass line, brass and house drum groove remaining present.

Around the three minute forty eight seconds position the mix finishes on a loud "Its Crazy Like" vocal and a last short stab of the brass instrument. This is a little abrupt but probably suitable for house music which tends to mixed or played end-to-end with other records most of the time anyway.

My final analysis of this mix takes the following factors into consideration, demonstration of general musical skill (9/10), addictiveness and dance-floor friendliness (9/10), use of variation and changes in melody, arrangement or instrument to maintain listener interest (9/10), Use of vocals, sound effects or drum rolls to add interest or announce changes (10/10), musical structure (7/10), wide audience appeal (9/10), use of studio engineering techniques such as equalisation, delay reverb, stereo-positioning etc. (8/10) . My final overall score is 8 out of 10. I highly recommend this mix to those who love house music, electro or funk music of any type. It is ideal for inclusion in any funky elctro dj' s early evening set too.


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Mix Info:Candy Man 4:36mins @117BPM Electronic House

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Artist:Julian_R



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Mix Info:Glow Sticks 6.10mins @117BPM Vocal Electronic House

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Artist:Julian_R



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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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Artist:John_Samely



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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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