Other  Mixes.

  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:Electro for Christmas ( Dj Mood Set Part 4 ) 2:26mins @124BPM Old Skool/ Techno / Electro House Hybrid

Overall Rating

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Message sent with this Mix:
Merry Christmas

US2K Review: This minimal techno/electro mix begins with percussive sounds in the form of chimes, a deep ticking, and electronic beeps. Using this theme an atmospheric collage of sound is build up. A sound which could be a release of steam or a reverse cymbal is used to introduce some more usual instrument sounds around the 29 seconds position. At this point the ticking sound gives way to a clap/snare and a cymbal; however this is not the end of the custom percussion.

Around the 32 seconds mark a pitched metal strike sound is used in preference to a crash to announce the start of the main groove and musical idea. First there are some short beeps and some squelchy acid noises used introduce the drum pattern, and bass line. Buy wait on analysis the bass drum may be a low tom, plastic tub, or something else being hit, I will never know. Anyway the "bass drum" aided by some conventional clap/snares and hi hats (I am confident they are standard) drives another soundscape of bleeps, car horns, metal chings and other sound effects positioned within the drum pattern and around the stereo-field so they syncopate in an addictive manner. The result is a hook with no melody but never the less catchy and fascinating. This theme is kept interesting with the help of some intelligent percussion fills right up to the first major bridge at the one minute five seconds position, which is announced by yet another unexpected sound a whistley sound.

At the start of the bridge the bass drums, snares and some of the percussion depart, and the bass line is turned down.

The end result for the bridge section is sound effects, and an alternative synth line right of the stereo-field to replace the horns heard earlier. The bass line is faded back in towards the end of the bridge and a sound effect (maybe a reverse snare) is used to announce the return of the main drum groove to work the listener towards the conclusion. This time there are some subtle vox or animal sounds added to the soundscape to create another addictive, atmospheric and fascinating theme. Listener interest is maintained right up to the one minute fifty three seconds position with the use of percussive fills and other subtle variations.

After one fifty three seconds, the conclusion begins with a bell sound playing a looped melody line, then some heavily fx treated speech and a laugh is used to announce the departure of the main groove. The bell synth line resumes whilst first the bass drum leaves the mix, and then the rest of the percussion is flanged, changing its pitch before it is also faded out to silence along with the synth bell line, but not before the two themes have formed a new catchy hook as a resulting of answering each other.

My final evaluation is formed from the following factors, Musical structure 8 /10, General musical skill 10/10, wide audience appeal 7/10, catchiness 9/10, Use of fills and variation 10/10, Use of mastering such as equalisation, reverb, delay, compression, and stereo-positioning 8/10 , originality bonus 10/10. My final score is now 8 out of 10 after listening to this mix after all this time, I am not sure how this would go down in a club but it is well worth a listen to all types of techno and old skool electro fans , and djs could mix it in somewhere too if they use their imagination.

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Mix Info:Parallel World 4:19mins @146BPM Techno

Overall Rating

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Message sent with this Mix:
hi nigel, jump dance just move on this one!!!

Bass Mom & Dj CrusadeReview: Um WOW!!!!! is all I can say about this mix!!! My vibe meter has left the planet with this mix!! The use of the vocals are a wonderful addition to this mix and I score this mix a solid 10 for creativity and originality and production just as the outro is also fantastic!! A great mix overall!

US2K Review: No review yet but I have given John the respect he deserves and had another listen to this mix. Very intelligent indeed, I cannot be sure but it was not just the lap top speakers for the tinnyness, and would explain Max' s comments of dis-jointed. John has possibly got some of my poorer material from the past and remixed it, hence the title 'Parellel World'. If that is the case where he got it I am very puzzled about, I wonder if another John L is winding me up lol It has been a long windup and also how come the realistic international email address? The mix is very good but the provisional score stays for now.

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Mix Info:Dj Set Jamie-For Amy pt3 (I`ve Got The Creeps) IDEAL FOR HALLOWEEN 4:30mins @130BPM Funky Electro Vocal House

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US2K Review: This is excellent funky electro house. I love the stalker in the house concept. I think that this a must for Halloween dj sets! In 2013 I will be making a video for Halloween of that year. This is a quality record and Jay knows it is so no review is requested.

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Mix Info:Dj Mood Set 2011_09_03 part3 (Baby Keep It Up) 4:34mins @126BPM Funky Old Skool Electro Vocal House

Overall Rating

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More to come, but full set is on Sound Cloud.

US2K Review: This mix begins with a full funky slightly syncopated four on the floor (hi-hats, bongos, snares bass drum etc.) main groove from the start. Some `Yeah` vocals initially add some interest to the mix. After a subtle drum fill at fifteen seconds into the mix is where the mix takes off though, the sub bass line which enters seems endlessly addictive. This not it all though the vocals are changed to keep things interesting and slowly become sexually suggestive but it not purely clichéd gimmick they are catchy and poetically rhyme at times. They are also have been treated with the correct compression and reverb to give them the ideal presence in the mix. Eventually a key vocal `Baby Keep it Up` becomes a chorus hook.

The mix flows beautifully to the one minute twenty nine position, where a drum fill is simulated with a fast filter sweep/cut of the entire mix. The filter is returned rapidly back to a setting that allows the entire mix to return. There is an alternative vocal but it was almost unnecessary because the filter cut successfully “freshens” the mix anyway, although a very subtle drum arrangement change with the addition of a syncopated tom pattern may be a factor too.

The mix although of a fairly repetitive nature remains interesting up to the one minute fifty eight mix position where a bridge section is formed with the departure of almost all the drum pattern and bass line from the mix. The tom drum is retained but there is enough space in the mix for the vocals to dominate in a way that really connects with the listener (almost like the vocalist is talking to them).

After an abstract sound effect left of the stereo field, the hi hat and percussive elements of the drum pattern return, and breath sounds are used to accent. The bridge lasts up to the two minute fifteen seconds position before what sounds like either a very high pitched reverse cymbal or record scratch re-introduces the main groove.

The mix continues with earlier ideas thes using the filter sweep as a drum fill right up to the three minute, thirty three seconds position at which point the imminent conclusion is announced with revelation that the mix theme is a working girl in a brothel. The vocalist who now in the story is obviously in the role of the client makes comments "that she should not be ashamed of what she does" and "whether there are bar facilities", there is a suggestion the vocalist who has been revealed by this time as her client may have known her before she worked in the brothel, maybe an x-girl-friend. What is a really nice touch is the fact the bass line drops but re-gains strength after the vocalist says "Turn that bass up a little". It may have been done before but it works superbly here. For some eerie reason it makes the listener imagine they are in the same room as the vocalist and fictional working girl. I have to point out how clever this mix is because you never hear the female once, it is brilliantly left to the listeners imagination, perhaps she does not even exist. In a way a woman` s voice would have ruined the concept.

The main theme returns with the hook vocal `Baby keep It Up` for a short whilst before the indicated conclusion begins. the bass drum, snare and all bass instruments leave the mix, leaving only hi-hats and percussion to support the key vocals from earlier parts of the mix including the hook `Baby Keep it Up!`.A subtle alternative alert-like bass is faded in to announce the mix is about to finish. There is one final `Baby keep It Up` before the entire mix fades out to silence at the four minute thirty four position.

My final evaluation takes the following scores into consideration, catchiness/addictiveness 10/10 (very clever concept), use of variation 8/10, use of effects or drum fills to announce changes 9/10, general demonstration of musical skill 10/10, user of mastering effects such as equalisation, reverb and delay 10/10, wide audience appeal 9/10, Musical structure 10/10 (suitable for genre).

My final overall score is 10 out of 10. This is far from being minimal "as it said on the tin", it is very funky old skool electro house, not much different to what Steve Jackson played on Kiss FM during his `The House that Jack Built` slot. This mix is a must have listen to funky electro house fans.

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Mix Info:Scherzo 9:25mins @61BPM Classical

Overall Rating

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Message sent with this Mix:
I've attached super-low resolution files of the complete work-in-progress. It actually sounds better in crappy quality. The detail is gone and it turns into at ambient sonic mush. This would sound great if I burned it onto 78 rpm discs! I'll do more work on this thing after I finish my current Big Deal project; a fundraiser on Freddie Mercury's birthday. For the next month, I'm all about Freddie. You probably saw the promo I created for the event.

US2K Review: This is such a large composition and although I appreciate all types of music, this is not foot tapping material so I am doing this review with the aid of a beer (just one to help me relax and listen to such a niche style of music).

The piece begins with brass horns or cello (not always easy to tell) and timpanis/orchestral drums at first, shortly accompanied by violins.

The common theme is variations of a punchy repeated note sequence. This I would say does feel a little bit empty and I would have included a tremolo string to add some body, it’ s still not bad though. Towards the one minute mark when a piano enters the arrangement to harmonise and drive a more interesting theme develops. I sense regret and melancholy in the emotional mood.

Leading up to the two minute mark there is choir sound to add further emotion but shortly afterwards a harp accompanied (pizzicato plucks) by cello (slow long notes) play a slightly happier musical theme, but this is short lived and by the three minute thirteen position a violin introduces a very unhappy melody line.

Progressing to the four minute thirteen mark a few cello plucks or brass stabs and orchestral drums and a more optimistic theme returns. A happy musical melody on brass/chello creates a sense of overcoming the negative emotion from earlier. There is periodically some interesting percussion which sounds more like a typewriter than a cymbal of any type.

The piece Progresses further to rapid 8th or 16th note scales on piano and brass creating a sense of skipping or playing at some times, marching at others, and a generally more jovial theme. A thud of a double bass or a tuned orchestral drum changes this mood around the seven minute ten seconds position.

There seems to be a return of sadness or regret via the musical notes heard from the choir and the bells that later join the accompaniment not for celebration perhaps more for a state of alert. Around this point a church organ is heard for the first time in the arrangement playing an additional accompaniment.

The notes are harmonic but parts of a rather miserable chord progression. As the listener journeys on, the bells cease for a short whilst around the eight minute twenty six minutes returning again at the eight minute thirty seven position. The bells this time round seem to follow the chords of the organ which has been temporarily substituted for a horn or brass instrument of some type.

The bells leave the arrangement at the eight minute fifty six position and the organ returns harmonise the brass which now plays a more optimistic rising scale again. This is interesting because there is a sense of defeat or relief created around the nine minute five seconds position a slow melody on the brass/cello introduces a conclusion on ringing bells, choir and a final series of organ stabs and a last strike of the bell to end the composition at the nine minute seventeen seconds position, but with neutral emotion.

My usual criteria are difficult to apply to such a piece but my final analysis is: Use of variation 10/10, General musical skill 10/10, Interesting themes (instead of catchiness which does not apply in descriptive music) 8/10, Musical arrangement 8/10 (let down by what I term empty parts at the start), Wide audience appeal 5/10, use of instruments to announce changes 8/10, structure 10/10 (three sophisticated themes that flow into each other cleanly).

Letting my imagination wander the music describes the following, a lost battle where the survivors regroup and march on their enemy. Although the battle ends with a defeat of some sort the piece is let down by it is unclear who the victor is because the composition ends in neutral emotion, perhaps that was the point , “not a defeat a draw”, "no one wins" or was it an error of the composers?

My final score is 8 out of 10, and I leave it to other visitors to decide and comment on the goal of this very interesting descriptive classical composition, I am sure others imaginations will create a different scene or theme.

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Mix Info:Calling Love 5:10mins @131BPM Rock

Overall Rating

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Rock version of a "calling love" vocals set. I like especially how the guitar worked out during the verse.

US2K Review: This rock song begins immediate with the vocal 'I'm Calling For Your Love', followed by a bass drum fill which announces a catchy guitar rhythm. The bass drum fill is used once again to introduce a full rock drum pattern including what sounds like a human free style snare pattern. The combination of the drum pattern with the guitar is well catchy (chorus hook I think).

To add further interest to the song there is a guitar feedback screech which is followed by a more delicate acoustic guitar lead section with no drums which reflects and answers the previous musical section nicely. After this point the rhythm guitar and drum section returns with a bass guitar. Vocals based on the title also are heard up to the 33 second song position and are used to introduce along with a snare drum roll , what sounds like a bridge section.

The bridge has an alternative musical arrangement of just drums, bass line and repeats of parts of the vocals. A crash and a snare roll introduces a verse section which has a one chord chugging guitar rhythm This is another vocal which is interesting but then gets confused because the vocal from the chorus section return and in my opinion do now work so well. At the one minute twenty five seconds position this verse finishes and the catchy guitar rhythm hook section returns after a snare roll. After a few repeats the delicate acoustic guitar and hook sections again.

Another snare roll introduces a new fresh vocal accompanied by bass and drums alone again, this would have been better for the first verse in my opinion too, although after a drum fill the theme from the first verse returns but it sounds better this time, maybe because a vocal based on the chorus is fresher this time because of the alternative vocal before.

The chorus returns after the two minute thirty two seconds position, followed a powerful drum fill and a really interesting middle eight bridge (or would have been had the 'Give me All Your Love' vocal not been already over used).

The alternative guitar and bass line for the middle eight bridge section is brilliant, I wonder if it would have worked better as an instrumental. At the three minute eight seconds position an intelligent touch is used which is the dropping of all instruments including drums to allow the echo of the lead vocal to re-introduce variations of the verse and chorus. The song continues and the vocal becomes really grating (put the singer out of their misery, shorter song perhaps). The song finally finishes at the five minute seven seconds position on drums, percussion and what sounds like a whoosh sound.

My evaluation of this song is: Musical structure and arrangement=8 (Middle 8 ruined by vocal), Catchiness=7(excellent guitar hook dragged down by repetitious vocal), Use of variation=5, (vocal again), Use of drum fills and sound effects to announce changes=9, Actual singing=8, Use of mastering effects including reverb, equalisation and stereo position 10, demonstration of musical skill=9.

My final overall score for this mix is 8 out of 10. This song starts off as very competent rock/pop and ends up let down by the overuse of the same vocals.

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