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There are currently 323 mixes on this page, the last was uploaded on 07/10/2017 13:01:04

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Mix Info:Anger 3:31mins @142BPM Dance/ Techno

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
This is probably how i am feeling at the moment and my anger at the attitude the world and governments have towards the menace and destroyer of lives and families , everyone probably have heard of it , it's called ' Alcohol' , money has the last word again.

US2K Review: This mix was always going to be a difficult mix to review. because of the delicate subject of something being in memory of someone, I was dreading it to be honest. Also in 2012 when I first heard the mix I did not like it due to the parts which are non harmonic and less catchy for dancing to which was important to me at the time, and the introduction had the potential for the dance floor.

I gave ten out of ten because art from the heart for a loved one is such a special thing and there was a demonstration of high musical skill even if it did not fit with my personal tastes. My understanding of music has matured and widened since, perhaps being less able to dance, and the fact I have a better sound card contributes.

Before I start reviewing I will say I like this mix much more now. This mix begins with a rhythm played on panning, filter swept synth (s). It could be a lead and bass or one instrument playing lower octaves on the left hand side, it is difficult to tell without the FL file. This is accompanied by a snare playing the second beat accent of a four on the floor without a bass drum. This continues to the seven seconds position at which point a breathy vox left of the speaker and another sound effect with a snare roll introduces the much needed bass drum for the four on the floor.

When the new drum pattern combines with the synths quite a catchy techno concept (main mix theme and hook 1) is forming, which could work on the dance floor with a hi hat, other subtle changes and possibly some harmonic pads to modernise it a bit. Main mix hook 1 continues to the thirty six seconds positions before a breathy vox right of the stereo-field and bass drum roll are used to freshen the hook so it can become interesting again when it repeats further towards the one minute two minute two second position.

At the two minutes three seconds posiiton a bass drum roll and whoosh announces the first bridge in the mix. The bridge is formed by the bass drum playing a syncapated broken beat whilst the existing aaccent snare is unchanged, but a an atmospheric hit sound is heard occasionally. The bridge continues to the one minute sixteen seconds position before the musical idea changes again when there a a dischordant non harmonic note sequence (possibly chromatic) begins. When I originally heard this musical idea I did not like it because it would be unlikely to work on the dance floor.

A lower octave note around the one minute twenty one seconds position announces a new catchier more harmonic musical concept, another synth enters the mix and the four on the floor bass drum pattern is re-instated whilst the snare changes from playing accent hits to a less mechanical more human improvised syncapated pattern.

The new theme is another potential dance floor filler, although it only plays for a short whilst before at the two minute fifteen seconds position a drum fill allows a new main theme (mix main theme 2) to start forming. To establish main theme two completely the bass and snare drum leave the mix briefly and there is a long sustained note played on a panning square wave synth followed by a pulsing acid sequence left of the stereo-field (which almost sounds like an old analogue radio tuner).

The bass drum and snare return after some fills at the two minute twenty six seconds position, at which point, although main theme two is firmly established the notes are initially too varied for a melodic hook to exist, so the mix remains a little descriptive.

The descriptive concept continues, with hook slowly forming from the earlier square wave synth playing a steady answering melody for the rhythmic melody formed by the other snyths, with various sound effects and drum rolls adding interest for the listener. It is not until the three minute, fourteen seconds mix positions and an atmospheric crash sound that main mix hook 2 is complete, with all synths playing steady catchy answers to each other.

Mix hook two continues to sound catchy with the aid of effects and drum fills to the three minute forty seven seconds position. After a drum there is an important change, the bass drum pattern changes to a slower break beat pattern temporarly. This time it gives the impression that the mix is going to finish. It is possible the synths play a slower melody too but this could be an illusion due to the slowed down bass drum.

This idea continues to the four minute play position, but then all drums leave the mix but at the point where the listener thinks its `all over` some beeps, a snare fill, atmospheric clap and then a full snare roll gets the mix in `full swing again` This kind of musical trick is commonly known as a false ending in classical music.

From this point a variation of main mix hook 2 is heard up to the four minute thirty one second position, after that point a repeat of the false ending takes place but it is not false this time. The last moments of the mix from the four minute forty two onwards involves the removal of all drums, the melodic theme of main mix hook two is restated, before some delayed acid synth notes sweep from the left of the stereo-field to the right.

The mix ends cleanly on the fade out of the delay tail of the acid synth. This has been the hardest review of my life to do, but my final evaluation of this mix involves the following factors, catchiness of melody lines (8/10), general demonstration of musical skill (10/10), use of sound effects, drum fills/rolls, crashes and natural musical cue points for changes or adding interest to the mix (10/10), intelligence of musical structure (9/10), use of instrument or arrangement changes or general variation to maintain listener interest (10/10) ,use of equalisation, stereo-positioning, reverb/delay, compression and other sound engineering or mastering techniques (8/10), wide audience appeal (8/10 because too many changes and especially long chromatic non harmonic sections narrow the audience).

The average score would go down to 8 out of 10 but I am going to add extra point due the fact the mix is art from the heart, so my final score is 9 out of 10. Steve contact me about a collab with the original FL file if you still have it because there are some potential dance floor hits in this mix, a better memory for your brother would be some great musical spin-offs especially now the followers of the site are rocketing. Intelligent or film score techno fans will love this mix, I like it more than when I first heard it., even though it is a very polished techno production.


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Mix Info:Argentum 525 ( Trip To Oblivion ) 3.31mins @106BPM Dubstep

Overall Rating
Artist:Max_Motion



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Enjoy!.

US2K Review: This mix begins with a bleepy melody line and some slow dubstep style swing beats (including bass drum, snare and closed hat). After 7 seconds a growling dub step bass line enters the musical arrangement and the mix then continues to flow on in a way suitable for the genre to the twenty seconds position. At that point a short bridge section is reached. The bridge begins with the departure of all drums and a stalling engine type of affect applied to the bass-line, whilst a harmonic pad sounds which do the equivalent of glistening or shimmering for audio.

The bridge ends at around the 26 seconds position with the return of all the drum instruments, after which point the mix resumes once again to the fifty two seconds position. The bass line then stalls again to provide a cue point for the bridge which starts with the departure of the drums gain and more shimmering pads. This bridge is shorter than the last and the drum pattern returns again rapidly. When the drums return, the bass instrument is changed to a more a raspy instrument, and some interesting electronic sounds are added the mix. This makes the descriptiveness of the sound tapestry richer improving the listener experience.

As the mix continues a delay treated acid sound is used announce the next major change. The change is an alternative bass line; either the same growling dub step bass line transposed up twelve octaves or an entirely different in pitch instrument is used for the next moments of the mix. The dub step pattern is playing faster at this point also, too, there definitely a more regular snare and hi-hat pattern and the swing of the bass drum may be a bit faster but could be a musical illusion, caused by the other changes. The faster dub step theme continues to the one minute twenty four seconds position at which point a high rasp of the dub step bass instrument is used to drop all other instruments out of the mix for a split second and back again.

After the return of main mix hook 2 it continues to the two minute ten seconds position a series of bass drum rolls and a new higher pitched lead bass instrument (third bass line) panning left and right of the stereo field is used to add some variation to the mix before it continues to the last part of the mix. At the two minute twenty four seconds position of the mix, the last part of the mix begins, which is first the third bass line and another variation of the sub step beat for about 8 bars, before a crash sound is heard and a higher frequency roaring, pitch sliding dub step synth instrument replaces the bass line. It plays higher notes to those in earlier parts of the mix for a conclusion. It is joined by a sound like a duck call every so often right of the stereo-field. This continues to the three minute fourteen seconds position at which point one last crash is encountered, and the conclusion begins to form out of the last dub step synth. The synth plays an intermittent note sequence which is like a judder, accompanied by an acid synth. Then the acid synth continues and the last sounds to be heard at the end of the mix are the delay trails of that instrument and some white noise.

My final scores for this mix are catchiness of melody line/beats (6/10), musical structure (8/10), general demonstration of musical skill (8/10), use of sound effects , drum rolls etc to announce changes, provide cue points or just add interest to the mix (9/10), wide audience appeal (5/10), use of melody change, musical arrangement or instrument positioning to add variation to the composition (7/10), mixing and mastering skills including panning, equalisation and use of delay, reverb, compression ,panning, sweeping or other studio engineering techniques (9/10).

My final evaluation of this mix is that although at the time of production this style of music was in fashion and faithful to the more listening orientated sub-set of the genre it is with no fault to the artist a style of music which is only ever going to be interesting to a very niche audience. The overall score is 7 out of 10, dub step fans who enjoy the more abstract listening sub-genres could love this mix.


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Mix Info:Sunflakes Part 2 ( Find Some Shade ) 4.50mins @130BPM Commercial Progessive House

Overall Rating
Artist:The_Appprentice



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Message sent with this Mix:
This will get you ready for the summer!

US2K Review: This mix is one of my own so I cannot review or score it.


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Mix Info:Presents From The Past 7mins @133BPM Progressive Trance

Overall Rating
Artist:The_Appprentice



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Go to download page for Presents From The Past mix file.

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Message sent with this Mix:
Some mellow progressive trance for the bank holiday. Enjoy! As it is a holiday and am feeling better after being ill the fruity loops mix file is available for download.

US2K Review: Sorry I cannot review or score my own music.


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Mix Info:Michael` s Song 4:51mins @140BPM Techno Trance.

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
This is for my brother .

US2K Review: This mix begins with a delay, and high pass filter treated synth panning round the stereo-field (depending on the note octave) and a snare drum playing the accent part of a four on the floor and an intermittent bass drum, to ready the listener for a full pattern later. The introduction synth initially plays a descriptive note pattern but after the seven seconds position, a drum roll, and the completion of the four on the floor (minus a hi hat), causes the mix to form a catchy dance/techno hook line with the help of a second lower octave synth acting as a bass (main mix hook 1). By the thirty five seconds the mix is actually fairly danceable, and already retaining enough interest without much variation. Regardless a bass drum roll and a breathy female vox (like a gasp) which acts as a cymbal is used to add even more excitement. The roll and vox are followed by a continuation of a main mix hook 1 which there after plays to the one minute position. After the one position there is long reverse cymbal which introduces a thinned out section, consisting of just one melodic instrument, the synthesiser from the introduction. It plays a different note sequence now, a more descriptive melody. It is accompanied by an intermittent bass drum beat, which could almost be the start of a drum & bass break. This concept continues to the one minute twenty two seconds position, shortly after which it forms a brief hook again up to the one minute thirty four position before a second more descriptive bridge is reached. The melody for the second bridge is more chaotic and discordant and the drum beats are intermittent but kind of work for the relatively short span to the minute fifty five seconds position where it finishes with a snare roll. Although this has worked it is clear to me the mix is more intended to be a listening techno record, than a danceable club mix , with in fact classical leanings. A series of bridges executed in this was on the dance floor would be unsettling to crowd to say the say the least, but that would make sense because you could not describe a person’s life and personality with the limitations of dance music. After the end of the second bridge a new hook line based on the introduction melody is slowly formed but with a third instrument in the arrangement, a square wave synth. For the new musical concept the first synth is initially not heard at all but on its return it plays a less regular note pattern than before, and the bass synth plays a punchier, more rhythmic sequence, whilst the new square wave answers the rest of the arrangement with a strong enough melody to take lead. At the two minute twenty seconds position, there is a musical cue for change provided with some notes intentionally not from the hook, and some drum rolls. After the series of musical fills the synth patterns are changed for a more catchy hook line (Main mix hook two) to finish the composition and the mix progressively gets more danceable again. The music retains an addictive quality up to the two minute fifty seconds position at which point some drum variations, breathy female vox (like a gasp), squelchy acid synth fx and a sound similar to an old analogue radio being tuned is used to add excitement to the mix with success. After the mix has had energy added a double snare hit is used to drive the listeners attention back to main mix hook and that drum there after continues to play occasional extra fill beats in addition to fulfilling its main role as an accent for the four on the floor bass drum pattern. The mix progresses to the three minute, forty seven seconds position with extra interest added to mix with a well equalised and reverb treated clap strike. After the three minute, there is a snare roll and the "radio tuner" sound before the bass drum plays less regular hits, leaves the mix completely, with the other instruments no longer playing a hook and sounding like they are concluding. Just when the listener thinks "it` s all over" at the four minute one second position, a clap and heavy bass drum/snare roll brings main mix hook two and the full drum pattern back sounding fresh again. The fully reinstated hook and rhythm arrangement continues, with a bass drum fill along the way to add interest right up to the to the four minute thirty one position. After which a heavy bass drum and snare roll is used to announce the mix has another major change about to take place. The change is the bass drum pattern transforming briefly from a four on the floor to a more intermittent swing/break pattern, and all instruments playing a slower variation of the hook. The last moments of the composition continue to the four minute forty one seconds position before a drum variation and some electronic bleeps are used to provide the cue point needed for all drums to leave the mix and the synths to fade out on the last notes of the slowed down hook line and delay trail(s). Evaluating this mix in detail, although it probably does not have wide audience appeal in its current form, for reasons pointed out earlier and the lack of a hi-hat, it demonstrates some extremely high musical skill, and would be well respected within some classical circles in the way it describes various emotions in such an original way. Even the false ending here I guess has a very deep meaning and purpose, instead of the common use by some artists to simply be flash. When the full mix returns at the end it is although the good times (happy main mix hook 2) are being reflected on. My final score consists of the following factors, demonstration of general musical skill (10/10), use of equalisation, reverb, delay, panning, compression and other studio techniques (9/10), addictiveness/catchiness of melody (9/10), structure (8/10), use of natural musical cue points, drum fills and sound effects to announce changes (10/10), use of general music variation in melody, instrument arrangement, sound effects, drum fills etc. to add interest to the mix (10/10), wide audience/dance-floor appeal (5/10), originality and “art from the heart” bonus (10/10). My final score is 9 out of 10. This mix is well worth a listen by anyone who enjoys descriptive classical or techno music, because it is an excellent composition with some very happy catchy moments. It is also worth exploring by dance djs. A message for high calibre djs with a musical ear, although the average score is 5 out of 10 for the mix’ s suitability for a dance floor (unfortunately no long instrument or drum only sections either), some of the hooks looped will work well if a club mix is playing either stings or pads (in the right musical key) having dropped its rhythm section, and there is plenty of remix potential.


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Mix Info:Count Names 4:16mins @135BPM Commercial Electro Dubstep hybrid

Overall Rating
Artist:Portal_Z



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Message sent with this Mix:
This track is another one made to fit around lyrics so it has a kind of chorus section.Is it all right if you could put on this count names instead of the one I sent earlier because I've updated it a little?

US2K Review: This mix begins with a dramatic backwards sound effect. After that sound there is another, a whoosh before a catchy techno style bass line enters the mix with a drum pattern including kick, snare and hi hat. It is not a standard four on the floor, more like the foundation of a break beat or dub step swing pattern.

After the 17 seconds mix position a natural musical cue point when the bass line is sounding less fresh is used to make a minor change to the mix. The change is some additional rhythm notes on the bass line centre-right of the stereo-field. These notes seem to answer and harmonise the existing bass line and I strongly suspect these note patterns are part of arpeggio chords. As a result the mix continues to sound interesting to the thirty seconds position in the mix, at which all instruments leave the mix very briefly before a sound like a high pitched gun shot announces the return of the full musical arrangement. On the return the arrangement has a new instrument , a catchy dance lead synth pattern typical of the Ibiza and club/electro sound at the time this mix was made. This new musical arrangement I consider to be the main hook for this mix.

The main mix hook continues to the forty eight seconds position before an extra organ or low octave electric piano is heard to the right of the stereo-field which takes the listener to the forty nine seconds position before a musical variation designed to make the drums and next variation fresher later is created (although it could give dancers in a club a rest too). This is achieved simply by brief removal of all drums, leaving the other instruments especially the lead synth a chance to sound more powerful. At the fifty seconds position the drums return at the same time the lead departs leaving behind a short bass and drums section similar to the introduction of the mix. Had the drums not been removed as already stated this would not have been as interesting to the listener. The bass and drums continue to the one minute eight seconds position before a lead synth re-enters the mix, initially only playing a few accent stab notes from the main mix one hook and not a complete melody line.

As the mix continues to the one minute twenty one seconds position a full melody line on the synth line does return although with a difference to before, the notes are shorter, faster and more repeated creating a feel more reminiscent of 90s oldskool warehouse rave anthems. This rave concept continues with the organ returning playing a plucky rhythm. The oldskool rave anthem concept continues to the one minute fifty three seconds and is re-enforced when the drums next leave the mix at the one minute fifty three seconds position for roughly 6 milliseconds. On the return of the drums the lead synth intitially returns to the role of playing only short accent stabs of the melody line.

After the two minute 3 seconds position this changes, when the lead synth plays the most complex melody line, it has played throughout the mix, a more horror music like pattern, and although it is very good does not really match the rest of the themes well enough in my opinion for the intended modern club music sound, not even as a middle 8. It probably needed to be heard earlier in the mix so when hear at this point would have been a concept repeat which is more comfortable to the listener, although could have maybe been used later as a finish too.

At the two minute thirty eight seconds position, the lead synth returns to playing main mix hook for roughly another twenty seconds accompanied by a full drum pattern before all percussive instruments leave again, allowing the lead synth and organ to duet briefly before the drums return with a standard four on the floor, and the techno bass line replacing the synth lead.

For the conclusion of the mix, a final new and successful concept is formed by the organ joining the bass and drums and taking lead with a superb club music hook. There seems to a be a mix bpm/tempo increase up to the three minute twenty eight seconds position before a series of bass drum fills and rolls are heard creating an impression that the mix is going to end.

At the three minute forty one seconds position there is a brief silence and the listener does think it is “all over” before the entire main mix hook returns to restate the mix theme up to the four minute eight seconds position. For the last moments of the mix there are a succession of repeated organ and lead synth notes resolving on the reverb tail of a final note of the scale in use for the mix.

My final evaluation of this great club mix consists of the following scores, general music skill (9/10) , catchiness/addictiveness of melody line (10/10), use of variation in musical arrangement, melody, or stereo-position to retain listener interest (10/10), use of drum fills, sound effects and natural music cue points to make changes skilfully (10/10), musical structure (9/10), Use of sound engineering techniques such as panning, equalisation, compression, reverb delay etc. (9/10). Overall my score is 9 out of 10. Even at the present time I highly recommend this as a great club mix influenced by oldskool breakbeat based drum and bass, and hints of 2012 dubstep or electro. Although intended for vocals it is also great as an instrumental, highly enjoyable to listen to or maybe even dance, and a dj could mix this with anything if they chose to do it by looping one of the sections with no drums and the other mix or record only had drums at the time.




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