Fruity Loops 7,8,9 and 10 Mixes.   Go to Music Search

The mixes on this page are created with the Image Line Fruity Loops programmes. 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..

Please note right mouse clicking the download buttons on this page and choosing save as will not work as they are only links to the actual download page in order for downloads to be counted.
There are currently 325 mixes on this page, the last was uploaded on 18/12/2017 11:59:41

All mp3 full downloads have been granted permission for free distribution
by the artist or current licence holder (eg. Dance Industries)

You can submit your Fruity Loops  7,8,9 and 10 mix or mp3 via the new Uploader

Go to top of page.
Mix Info:Michael` s Song 4:51mins @140BPM Techno Trance.

Overall Rating

Go to download page for Michael` s Song mp3

No extra EJay programmes needed to listen to this mix.

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.

Go to top of page.
Mix Info:Count Names 4:16mins @135BPM Commercial Electro Dubstep hybrid

Overall Rating

Go to download page for Count Names mp3

No extra EJay programmes needed to listen to this mix.

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.

Go to top of page.
Mix Info:Sit Down Shut Up 3:34mins @131BPM Danceable House/Club

Overall Rating

Go to download page for Sit Down Shut Up mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:

US2K Review: This mix begins with an immediate four on the floor pattern including bass drum and clap snare (with fills).After eleven seconds there a flanged sound effect and whoosh which provide the opportunity for the drums to leave the mix and a the start of a C Major/A Minor scale lead dance floor melody on a raspy synth. The results are immediately catchy and the listener already knows what to expect, main mix hook 1. Twenty nine seconds into the mix the four on the floor drum pattern returns and the mix is becoming more danceable as it continues.

At the forty three seconds position there is a clap fill and a whoosh before the lead synth is replaced with a bass organ playing the same melody line. This effectively forms a musical answer to the previous instrument.

Up to the the fifty seven seconds the bass organ lead continues before the second of two snare/clap fills. Then a saw synth joins the arrangement to play an accompaniment rhythm, followed by a succession of other instruments each introduced by a clap/snare fill. The additional instruments include a second higher octave panning arp bass line (combination of two arps and bass I will refer to as mix hook 2), and eventually after an atmospheric sound effect main mix hook 1 returns layered with a power string/pad sound. At a busy club or party the results would likely to be a content dance floor, especially if a hi hat or white noise were in the drum pattern.

At the one minute fifty six seconds position another clap/snare fill and atmospheric sound permit main hook 1 and its layered string to leave the mix. These leave the hook to play accompanied by a four on the floor to the two minute twenty five seconds position before main hook 1 synth returns to the arrangement at a higher octave add further addictive qualities to the mix and lead the listener to a pre-conclusion bridge in the mix at the two minute forty seconds position.

The pre conclusion bridge in the mix consists of the rhythm accompaniment synth playing soloing with an alternative drum pattern. The bass drum plays a swing break beat pattern, giving an impression to the listener/dancer that the mix has slowed down and they are waiting for the mix to become danceable again.

After the three minute position a skilful bass drum roll announces the return of main hook 1 layered strings and standard four on the floor drum pattern (including snare/clap fills) for the last time.

The last repeat of main hook 1 continues to the three minute twenty eight seconds position, at which point a single bass drum hit and clap together are used to indicate the drum pattern is leaving and the mix is soon to finish.

For the last moments of the mix the synth melody continues before a three strike clap/snare roll and the cadence or final note of the melody are heard together. This ends the mix cleanly at the three minute thirty two position, only leaving an echo trail right of the stereo-field to fade out to silence.

My final evaluation of this mix takes the following factors into consideration, demonstration of general musical skill (10/10), catchiness and danceable factors (9/10), musical structure (10/10), Use of sound effects, cymbals or drum fills to add variation or announce changes (10/10), wide audience appeal (9/10), Use of studio and sound engineering techniques such as equalisation, reverb, delay, stereo-panning or compression (8/10), Use of variation in musical arrangement, instrument or melody (10/10). My final overall score remains at 9 out of 10. My reason for the mix not reaching ten out of ten is that in my opinion without a vocal the conclusion needed a few more new ideas to be added, I would have finished with some more strings/pads to give an orchestral climax and get the raver arms in the air because this mix has potential to be a massive field party anthem.

Go to top of page.
Mix Info:Adventures of a Three Piece Suite 6:15mins @135BPM Atmospheric Progressive Trance

Overall Rating

Go to download page for Adventures of a Three Piece Suite mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
This is my first release under my new artist name, although you can still hear the music I produced under my joke name at US2K

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

Go to top of page.
Mix Info:Razor Back 3:49mins @139BPM Techno

Overall Rating

Go to download page for Razor Back mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
Here's another ear pleasure noise

US2K Review: This techno mix begins with a bass drum roll and a single low octave note, before a saw techno lead central to the stereo field plays two notes to answer it, and a sweep with few more notes on at least one other synth are heard to form the beginning of the introduction melody, supported by four on the floor kick pattern. A variation of this musical idea continues up to the ten seconds position with the last a few notes on the saw synth completing an almost instantly catchy melody line.

After the catchy melody there is a few sound effects and a rising sweep sound over a techno bassline and bass drum pattern which includes sophisticated fills and the listener reaches a the saw lead once again, this time playing a more rhythmic variation of the introduction, with a higher pitched acid-like instrument left of the stereo field answeing every four lead notes, and a danceable main hook for the mix is forming.

When the main mix hook is complete, I use this term because it is used later in various guises, the four on floor becomes more regular and a closed hat is added and a snare joins the arrangement to accent ever second beat of the bass drum at the thirty one seconds position after a stronger slightly discordant sounding saw synth note. The new note then continues to occasionally play an accompaniment to the hook melody, resulting in a fuller more danceable musical arrangement.

The danceable theme continues to the one minute eight seconds before some rhythm variations take place including a bass drum roll four seconds later. This drum roll enables the hook melody to sound fresh for longer, right up the one forty seconds positions, although in addition to some more obvious drum variations there definitely something more subtle taking place on each repeat of the melody line, because it sounds like it is speeding up.

There are some drum variations at the forty seconds position including another drum roll whilst the saw lead synth changes to playing a slower note pattern, then all drums leave the mix for a very short moment to introduce the beginning of a major bridge section in the mix.

The bridge section is created with a clever musical idea where the bass and parts of the drum pattern are played in an intermittent descriptive way that answers the lead synth. This idea of lead and main bass being answered by an alternative pattern on bass drum and snare and alternative bass line continues to the one fifty nine seconds position.

Around the two minutes position the bridge idea is slowly forgotten when the two patterns unite again via a variation of the main mix hook, although the bass drum does not play a danceable steady four on the floor until after the two minute twenty eight seconds.

The steady four on the floor finally makes it return over some repeats of a new bass line idea and what sounds like a creaky door opening right of the stereo-field and a rising sweep sound and a kick drum fill.

After the two minute twenty eight seconds a very catchy variation of the main hook makes a full come back along with the acid synth (this time playing a slightly different note sequence), and the snare once again plays a second beat accent for the bass kick drum.

The addictive theme progresses to the two minute fifty eight seconds position, with further listener interest maintained with various sound effects or descriptive musical instrument sounds. Just when the composition is starting to sound less interesting, a low frequency warm pad is added right of the stereo-field forming a harmony whilst another temporary subtle change in the lead or drums takes place of which I would need to examine the flp file to identify.

The harmony after it is introduced there plays intermittently there-after providing a change which has been sufficient to make the main hook for the mix fresh to the listener again. This results in the composition being successful in retaining its appeal right up to the two minute twenty three seconds play position, where the conclusion starts after one of the notes of the lead synth is played a little harder and longer and the creaky door opening sound is heard again forming a climax note for the mix.

After the point of climax the final mix conclusion begins which involves the bass drum and snare playing a descriptive rhythm and a repeated intermittent note sequences from the original main hook on the saw lead synth, and a bass instrument playing answering melodies when the lead synth is quiet . The pair of instruments provide almost a duet conclusion (the other percussion and occasional notes prevent this being a true duet).

The concluding two instruments take the listener to the three minute thirty seconds position, at which point the sweep and creaky door sound effects from earlier are used with removal of all drums to indicate the last major change for the mix.

The last change in the mix is a faster note sequence on the lead to form the start of a goodbye fanfare (the kind of note sequence more familiarly heard played on an air horn at a sporting event). The fanfare finishes on an appropriate lower octave resolving note, and this combined with the echo trail from one of the sound effects, ends the composition in a very skilful clean way.

My final evaluation of this composition, having listened to it again is that it is better than I originally thought, perhaps Max Motion had made a few other mixes prior which had very similar and that had given me bias in my listening or perhaps my hearing or judgement was less reliable then, although I did notice with such a catchy initial melody that the chance to make very danceable overall record with wider audience appeal was lost due to the four on the floor and hook being less steady and the lack of a chord based harmony early in the mix or on the bridge section. These ingredients, and possibly some more percussion would be required to make a mass appeal dance record from 'Raazor Back'.

My final scores are demonstration of general music skill (10/10), catchiness of melody/hook -line (10/10) , Use of sound effects, drum rolls/fills and natural cues in the composition to announce changes or add interest to the mix (9/10), Use of musical melody variations, instrument arrangement changes to add interest to the mix (10/10), Wide audience appeal (7/10), Use of equalisation, reverb, delay, compression, stereo panning and other sound engineering techniques (8/10).

The overall score is 9 out of 10, a skilled dj could still include parts of this mix in a more danceable set ( I have already found a very useful loop point at the forty nine seconds and fifty six seconds position which would work well as party of a funky house record), however the mix in its current form, in my opinion, will appeal to general techno fans or general music enthusiasts more than clubbers or ravers, although I recommend everyone has a listen with an open mind, they could be pleasantly surprised.

Go to top of page.
Mix Info:Forget the World (Full Version) 5:03mins @128BPM Club Dance/Trance (Commercial Standard)

Overall Rating

Go to download page for Forget the World (Full Version) mp3
Go to download page for Forget the World (Full Version) mix file.

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
I made it originally for lyrics so thats why it has the sort of verse, chorus layout.

US2K Review: This mix begins with a nice steady four on the floor, bass drum and clap snare, and after a few repeats there are some suitable sound effects including a backwards vox and a steamy sounding sweep, and a very atmospheric reverb treated snare or similar is used to announce something new is going to happen. After the snare the four on floor is dropped from the mix and a catchy C Major dance floor ready 16th note delayed bass line is heard.

Shortly after a few repeats of the bass line at the thirty seconds mix position, an intermittent bass drum pattern enters the musical arrangement with a clap snare which playing the pattern the bass drum played earlier. An intelligent idea because it retains the underlying four on the floor groove whilst adding interest to the mix. This concept is continued up to the point where a very atmospheric reverb treated crash, which has the role of introducing a saw instrument which also plays a seriously club/rave melody which is in harmony with the bass line. This adorable combination continues to the one minute position, at which a natural musical cue point is taken advantage of to played a third synth line, this time its a more plucky/percussive trance patch.

The three instruments together play a extremely catch hook of club hit standard. This continues to the one minute fifteen seconds position before there is another change (I am unsure whether a drum roll or crash is needed at this point but without the music is no less enjoyable). All instruments leave the mix except the bass line and four on the floor drum pattern.

The leaner musical arrangement continues up to the one minute thirty seconds position, at which point a deeper sub bass, enters the mix, playing slower longer notes, adding some additional drive emotion to the mix.

The mix continues to the two minute position at which point the saw synth this time playing shorter notes at a higher octave initially, but after repeats a very low pitched reverse cymbal is heard, and the synth plays the super club hook line from earlier accompanied by the plucky trance instrument again up to the two minute forty four mix position.

The hook is ended again with a reverb/delay treated sweep, after which point the two baselines and four on the floor play a reduced arrangement intended to provide a rhythm section for the listener so that the hooks will be fresh when they return.

The rhythm section continues to the three minute section at which point the saw synth returns playing its alternative higher octave melody line, once and then a great musical idea takes place, the synth continues but also its lower octave club hook is heard too, and its possible there are two saw instruments after-all.

The two saw melodys compliment each other extremely well and provide an ideal pre bridge theme. The only obvious bridge in this mix is reached at the three minute thirty seconds position, which is formed by all existing instruments leaving the mix except the lower octave saw based club hook and clap snare, and a piano or harpsichord being heard for the first time. It plays very short interspersed notes which provide a new harmony (maybe indicate the underlying chords) without interfering with the lead saw synth melody.

The bridge continues with the bass drum returning and leading the listener or dancer to the four minute position at which point it provides a powerful roll to end the bridge and initiate the conclusion for this club record. The roll finishes around the four minute seven seconds position and a sweep is heard immediately afterwards. The conclusion begins as soon at the time of the sweep sound.

The concluding section is formed from an arrangement of instruments previously heard playing variations of their earlier melody lines. The conclusion continues to sound catchy up to the four minute fifty two seconds position at which point one of the saw synths plays a slightly higher note in its scale which also happens to be what is termed in classical composition as a final note. That final note is used in such a skilled way that a crash or sound effect is not needed to indicate the last moments of the mix, all that is needed is a last repeat of the club-ready bass line. The mix then finishes cleanly a little after the five minutes mix position.

My final scores for this mix are wide audience appeal (9/10), catchiness and commercial quality (10/10), demonstration of general musical skill (10/10), use of sound effects, drum rolls/fills and other musical arrangement changes to add variation or announce changes (10/10) ,sound engineering including reverb/delay/equalisation, stereo-positioning, compression, limiting and other processing techniques(10/10).

The overall score ignoring the 9, averages are for politicians after-all, and I am great believer in discretion, is 10+ out of 10. My final conclusion on this mix is it is an excellent dance/trance production with a happy hook in C Major which is instantly dance floor / club friendly. Everyone who likes Any type of electronic music should enjoy this. - The best new mp3 music from up and coming bands