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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:Planet_X 6:26mins @128BPM Progressive House

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Artist:Julian_R



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More music on sound cloud

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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Artist:Julian_R



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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

Overall Rating
Artist:B.Stockwell



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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

Overall Rating
Artist:Dj_Mood



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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

Overall Rating
Artist:Julian_R



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Music Blast. More music at soundcloud

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.


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Mix Info:Dj Set Jamie-For Amy pt4 4:19mins @130BPM Jazz Funk

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Artist:Jay_Sissimo



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Some Jazz Funk, Happy New Year

US2K Review: This mix begins instantly with a funky full drum kit swinging four on the four rhythm, bass instrument of some type and "twiddly" up and down scales on an electronic piano (something like a rhodes) followed by lower octave piano chords. At this point the mix has reached its first main groove and hook (main groove 1/hook 1) and is really foot tapping, funky and addictive to listen to. Thirty five seconds into the mix some brass licks and stabs enter the mix, first on the right-hand side of the stereo-field and then on the left, whilst some happy sounding strings, and ethnic drums (played live maybe) are sneaked into the arrangement. Interesting variations on these musical ideas, with an occasional drum fill continue up to the one minute, five seconds position.

After this point a bridge section is encountered. This consists of a bass drum and electronic piano section. After a few thumps the drum playing is switched to a snare with some delay applied to it, before all drums leave the mix to allow the piano to solo another "twiddly" scale (littered with decorations and accidentals) for a short moment creating a super jazz feel. The last note of the down scale is used in the role of a a crash/cymbal to re-introduce main groove 1 at the one twenty two seconds position. The groove is not identical though partly because the piano melody is different from earlier, more rhythmic and lead-like in nature.

After a drum roll and a cymbal crash the brass returns to answer the piano sections for a short moment. There is first a higher pitched trombone (sounding like a squeaky door) like slide sound on the left stereo side before a punchy/funky saxophone melody on the right sound really gives the listener a treat. Progressing further, after a crash the chord part of the piano and bass instrument leaves the arrangement and the lead parts of the piano and some further funky saxophone melodies take it in turns to solo.

At the two minute seven seconds mix position, one last repeat of this idea, the left hand side trombone and a cymbal announce the removal of all rhythmic elements except the ethnic drums. At this point the piano is first used to play some decorative scales, before its role is changed to rhythm chords. At the same time the brass on the right side has its note sequence changed to something which resembles a trill often heard in classical music and of course coming from song birds. Around the two minute thirty two seconds position the instruments are played with more energy and intensity, giving the listener expectation of something very exciting. The listener is not disappointed either, all instruments leave the mix except the piano before an atmosphere spoken vocal and the brass is used as a drum roll to announce a "totally danceable" latin groove.

The latin theme consists of seriously catchy melody line on the piano which is now leading, and the previously heard brass instruments are used to simply accent this instrument. The bass drum does not join the arrangement immediately to allow the listener more time to appreciate the new musical theme.

A slow whoosh sound, drum roll and the left hand side trombone with its pitch altered is used to re-introduce the bass drum. The bass drum does not return on its own though, there is a subtle vox added at the time, which seems to drive the mix and add further excitement.

The latin theme continues for a further thirty seconds with added brass sections and crashes to accent or add freshness to the mix. Then there is a finale "goodbye" scale played on the piano before the mix is faded out via a different drum pattern. The last “outro” groove is less funky and more electro sounding with metallic and synthetic percussion sounds. The mix finally reaches silence after four minutes nineteen seconds of play.

My final evaluation of this mix comprises the following: catchiness 9/10 , wide audience appeal (9/10), demonstration of general musical skill (10/10), use of drum rolls, crashes and sound effects to announce changes or add interest (9/10), Sound engineering, mastering and fx including equalisation, delay, reverb panning etc. (9/10), Overall final score (9/10). I think had there been more use of the latin theme this mix would score 10/10, but this mix is still an excellent jazz funk record taht is well worth a listen.