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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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| Mix Info:Weaponsaint (Compo Entry) 4:58mins @140BPM Techno |
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| Mix Info:Dreaming of You Mixed Again (Compo Entry) 7:35mins @127BPM Dance/Techno |
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No extra EJay programmes needed to listen to this mix. Message sent with this Mix: At the two minute 18 second position mix the lead changes to an alternative melody in another chord or even key, and the laser sounds return. Shortly afterwards Shari vocals return and then the bass line and beat but this time it does not feel so tight at first, I agree with Dave Stolk, it could possibly be a little off time or simply does not fit the alternative lead. Later at the 3 minute 56 second mark on the return of the original lead the drum pattern fits better but the listener may be less interested with the groove by then. In my opinion a simpler rhythm pattern was needed to accompany the second lead, so then the very danceable groove would be fresh again to the listener at the 3 minute 54 second position, whilst avoiding any timing issues. Returning to the review though the mix continues after the mentioned groove matching issue and although there are attempts to maintain interest by adding additional percussion and varying or adding instruments the mix becomes a little too repetitive by the 5 minute 16 second mark and the lasers (not meaning to insult or offend but that is probably why David Stolk mentions the use of other effects) are becoming annoying, like a retro disco movie. Progressing to the conclusion, after the bass line finishes, there is a long section consisting solely of the drum and percussion, there is Shari' s lovely vocals and a snare roll. The final end is a crash and the concluding part of Shari' s vocal line. My final evaluation of this mix is that it is reasonably well produced, there is some intelligent thought in arrangement, mix progression etc. There is definite musical talent especially in the vocal department but the glitches in timing and the elements of the mix that are too repetitive spoil the overall result so my final score is 6 out of ten. Interestingly enough during the competition all judges and a scor eof around 60 out of 100 which is equal to 6 out of 10. Please everyone have a listen to this mix it has some very good moments in it despite the overall score. |
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| Mix Info:What 6:45mins @132BPM Old Skool House Jazz Funk Hybrid |
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No extra EJay programmes needed to listen to this mix. Message sent with this Mix: Later into the mix and the bass drum leaves the arrangment allowing the rest of the percussion to have a stronger presence whilst the funky bassline has a resonant filter riff effect applied to it which always works well except of course in that bay watch club track that I never liked. Here it is used to give the bass line an exciting rising sensation. At the one minute 49 position I am uncertain of whether another instrument is added to the mix or it is simply harmonics from the resonant filter. It does not matter which is the case as the impression of another instrument joining the arrangement keeps the mix interesting. Next I am caught out as this filter effect would usually have led to a storming drum section but to my pleasant surprise some mellow, dreamy piano drifts in around the two-minute mark. I am not sure why but it works lovely although it is short-lived as a snare drum roll at 2 minute 17 and a zap sound effect brings the listener back to the main groove, with a return of bass drum. The bass line riff is also occasionally now being answered by a subtle intentional discord on a new instrument which sounds like a harpsichord or piano at a lower octave, The discord is intentional and there is never a risk of the mix going out of key. The discord is functioning nicely in a percussive role in a similar way to an orchestral crash. This continues whilst a similar instrument is faded in playing a more harmonic accompaniment. There is a moment of risk where the discord could have hit the harmony and the results been muddy but either as a result of luck or great skill by John Samely the notes of the two musical layers play at alternate bar positions. After the two minute 46 second mix position the bass drum leaves the mix for another break as the harmony leaves the arrangement, and the discord continues but now on a brass stab. The groove is definitely now funky house, which is kept fun with little variations and unexpected repeats but soon to come are my favourite sections in the mix. Around the three minute 15 second position the bass drum leaves the musical arrangment again momentarily whilst for a further 20 seconds the brass stabs are repeated more and some are joined by crashes to create a sense of excitement and anticipation. The listener is expecting something and I have to respectfully say there is no disappointment either. The funky bass line is treaty with a filter riff once again but with the frequency slowly turned down and then up again instead which creates a brilliant acid house sensation of falling and rising again. After this there is plenty of exciting brass stabs that act as a drum fill before a heavy snare does a proper roll. From then onwards there is funk all the way, especially at the four minute 40 point in the mix where the bass drum leaves the mix to leave some alternative brass to play what sounds like a moment from a 70s detective, for example 'The Shaft', alleyway chase scene. After this point the mix slowly works to a conclusion. First the brass leaves the mix leaving the funky bass line to filter riff down one last time before it leaves the mix completely. A well-timed drum roll reintroduces the brass stab shortly before all instruments leave the mix except the drums. After a fill on the percussion around the 6 minute 6 second mark though and the brass stab makes a "reappearance" as a crash before the bass drum leaves the mix and a tom or deep snare is temporarily left to drive the mix to a finish. The final end of the mix is a snare roll with the stab used again as a crash but backed up with a real crash this time. My evaluation of this mix is that is very well structured. It is very imaginative in the way the percussive elements seem to change throughout the mix. The use of vox and other sound effects is very well done also. Having listened to this mix again although highly influenced by old skool and funky house seems to journey through other genres of music including a 70s detective theme without sounding "bitty". I can only emphasise that this theme changing whilst maintaining flow demonstrates great musical skill. The use of drum fills and other fx or bridges to keep the mix interesting is expertly done, and sound engineering such as equalisation etc. has produced a high quality sound. My original score was 9 out of 10, I think it has to rise to a 10. This mix is an extremely fun musical nostalgia experience and I recommend everyone have a listen to it. |
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| Mix Info:Alien (165 Bpm Version) 1:58mins @165BPM Drum and Bass |
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No extra EJay programmes needed to listen to this mix. Message sent with this Mix: After a short break at the 48 second mark on the alien/robot vox takes place too, long enough to create some relief before the best hook returns to play for a further 16 bars. One minute thirteen seconds into the mix there is a longer break forming a very clever bridge or middle 8. It consists of the lead and the bass line but with a another sound effect that sounds like the sound you used to get on ‘Space Invaders’ or ‘Galaxians’ when the 'boss Vader' skipped left to right along the top of the screen; Very nice work. At the one minute 35 second mark a tight drum and bass pattern returns and towards the conclusion of the last sixteen bars there are some more alien/robot vox and the mix then finishes abruptly but cleanly, although perhaps I would have finished on the space 'boss Vader’ sound but with extra reverb and maybe faded it out, so the listener would end with their 'with mind blow experience'. My final conclusions on this mix is that is well produced, and structured intelligently. The sound engineering including equalisation etc. is done very professionally. The techniques used for the grooves and hooks are very good. The space invader and Vox sounds really polish the mix. My only suggestions would have been to have used the bass line and drum pattern used for the conclusion somewhere earlier in the middle of the mix and/or a few occasionally sudden drop outs of the lead synth or percussive instruments to keep the listener on the edge of their seat due to being taken unexpected as was traditionally done in drum and bass music. My score remains at 9 out of 10, well worth a listen for drum and bass fans. |
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| Mix Info:Tsunami 3:56mins @140BPM Dub Step |
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| Mix Info:One Thousand And One Nights (Atmoshpheric Vocal Mix) 7:54mins @137BPM Progressive Trance |
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