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

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There are currently 316 mixes on this page, the last was uploaded on 25/02/2017 19:08:03

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Mix Info:Bright Tunnels (Max`d Up Remix) 3:51mins @145BPM Techno (Intelligent and Dance Influences)

Overall Rating
Artist:Max_Motion



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Here's another tune i have remixed of Portal Z , the original is on his site. here

US2K Review: This begins with a rhythmic "twangy" bass line sequence which sounds a little like a Jaw Harp. Another more trancey left-right panning 16th note synth hook and four on the floor bass drum pattern is faded in for a few seconds until a very danceable theme has formed. The mix continues in this way with interest maintained with occasional drum fills up to the next major change around the 26 seconds play position. After this point a bass drum introduces a new powerful centrally positioned synth playing slower longer note (8ths or whole beats even) based trance anthem, whilst the bass drum pattern plays a broken "stop-start" beat. The combination forms a sense to the listener that the mix has the breaks and wants to get going again.

Around the 41 seconds position a myriad of sound effects including what sounds like a Star trek teleporter, Dr Who’ s Tardis announce the anticipated more up tempo musical theme. Immediately afterwards a very danceable combination of a fast four on the floor (main groove) with a very catchy hook formed by an arrangement of synths all round the stereo-field using the musical ideas from earlier combined with a new punchy rhythmic bass.

The danceable theme is kept interesting with subtle variations from various synths in the mix up to the next major change in the mix. The change is announced with a cymbal/crash at the one minute thirty three seconds position, and results from one of the synth lines being substituted for a slower higher octave lead line. From this point the entire mix begins to slow down once again.

Progressing further to the two-minute position a "stop-start" bass drum pattern is used again to "put the breaks on again". This idea is continued seven seconds later where a crash, and even a "false stop" is used to make the listener think the mix is coming to an end. Of course it does not finish yet, instead sound effects and "stop start" beats are used this time giving the listener an indication of another imminent change and the idea that the mix “wants” to speed up again, whilst the slow lead synth slowly changes its note pattern to a catchier more hook-like sequence. The mentioned synth has already gained full pace by the time a drum fill around the two minute 18 seconds position has re-introduces the main mix groove. Although the melody is exciting it is of a nature more suited to intelligent or sci-fi techno, rather than a lead hook suitable for the dance floor (only in the 'Blade' and 'Matrix' films have I witnessed a large group dance to the style this mix has developed into) .

Towards the three minute mark the instruments from the backing arrangement including percussion and breathy female vocals is faded louder to gain dominance over the previously leading synth line. Then the original lead has its notes sequence changed to a slightly less regular, more "descriptive" pattern so it can fulfil its new role as accompaniment. The new theme continues for a twenty four seconds before the synth regains its role as a lead with some high stabs before a temporary drop of the main groove begins the conclusion to the mix.

The main groove returns after a bass drum fill and then the synth line which has recently regained leadership plays a more energetic/exciting melody suitable for a sci-fi techno ending, accompanied by a bass line and at least one other synth playing a rhythm note sequence.

Extra interest is added with various sound effects and whooshes, until one final major bass drum fill at the three minute thirty seven seconds position announces the departure of all drums and percussion, allowing the synth line, a pulsing trance bass pattern and sound-effects (Star trek teleporter and Dr Who' s Tardis again maybe) to end the mix. The final moments are the synth playing an ending scale and the tail of one of the sound effects at the three-minute fifty one minute position.

My final comments were the mix being sped up to 145 bpm leant towards something more danceable, and to start with it delivers this but half way through when the change takes place to a more intelligent theme the tempo is maybe a little too fast for the intelligent techno fan. The first part of the mix could be used by a dj though because it is suitable for the dance floor, the later theme of the mix seem to be uncertain of style, the lead lines are not catchy or happy enough for dancing too but the groove is a little too fast for intelligent techno, but that will not matter to those who enjoy techno across the board.

My final scores for this mix are structure 7/10, general musical skill 9/10, catchiness 7/10, use of sound effects or drum fills to add interest or announce changes 10/10, production including mastering fx such as equalisation, reverb, delay and stereo positioning 10/10, use of variation and instrument arrangement 9/10, wide audience appeal 7/10. My final score taking these mix factors into consideration is 8 out of 10. Die-hard Techno enthusiasts will enjoy the whole mix and djs will find the parts of the fist minute thirty seconds of the mix useful for a dance set.


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Mix Info:Shout Out ( Maxtra Remix ) 4:15mins @136BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Ok Nige , here's a remix of the 'Portal Z' track of the same name , it can be found here :- http://www.youtube.com/user/PORTALZ2000?feature=mhee , if you want to compare!!!.

US2K Review: This mix begins with a powerful introduction hook is formed between a bass and a raspy rave/techno synth sound playing at a lower octave right of the stereo-field. Every four strong notes played are accented by single kick/bass drum hits. The result is both intense and exciting and grabs the attention immediately in a similar way to the dynamic guitar line used in the the 80s survivor record used for the Rocky movies.

Around the 12 second position there is a drum fill and the raspy synth plays an answering note sequence to that played earlier. Some notes are played at the higher octave (either by same synth or a very similar one) indicating a more significant change is going to take place. What the listener may not notice though is that the synths are slowly moving towards the center of the stereo-position to fight for lead, which I am sure was intended.

A drum roll/fill around the twenty eight seconds position introduces a faster even more catchy, danceable synth line (main hook melody 1) and a sophisticated (variable pitch/velocity for second or fourth beat accent which will stay interesting longer than the standard 4/4) four on the floor bass drum pattern. A very addictive musical hook idea is forming, I am sure in a club the revellers would be tempted to enter the dance floor. The danceable theme continues until the forty two seconds position, with subtle variations added on way by various synths in the arrangement. Of particular interest is a "slightly gliding" synth left of the stereo-field which plays pairs of notes to answer the main hook initially but slowly develops its own melody in its own right towards the 56 seconds mix position.

One bass drum roll later and and a whoosh sound, the "answering synth" has moved more central to the stereo-field and has took over as lead for a subtle less energetic bridge section. The raspy synth from the introduction takes the role of accompaniment playing a rhythm with the bass whilst answering notes played by the new lead.

Progressing further around the one minute twenty six seconds position an accent snare for the bass drum is introduced after a drum fill. Some amazing sound effects and drum fills are used to keep the new musical theme interesting whilst a third synth line is slowly introduced to the mix and the existing raspy rave/techno accompaniment evolves into playing either the same notes or something very close to the lead line by the one minute fifty four seconds position. The final result is a very powerful layered/stacked lead hook line, with a myriad of accompaniment synths all around the stereo-field to create an important modern full sound. Everything has been so gradual the end of the bridge and the beginning of a new main theme was hardly noticeable but the mix is becoming very catchy and danceable again, which I am certain techno or trance fans will appreciate alike. The original synth still has some presence in its own right because its note glide can still be heard in the mix as an effect similar to an acid wobble. Modern listeners and rave veterans will appreciate this old meets new sound which I will describe as main hook 2. I am sure the artist must have realised this because he later adjusts the timbre and filter settings of the gliding synth over time which was also done with acid house music. The described musical theme continues to the two minute forty four seconds position before a whoosh sound effect and a bass drum roll introduces one short last bridge section for the mix.

The last bridge consists of what I term a "stop-start" drum pattern and a "broken" sparser arrangement from main hook 2 with the higher octave lead synth playing a pattern which indicates to the listener some is still yet to happen.

The listeners expectations are met around the three minute fifteen second position because at that point some more sound effects, a return of a much more exciting fresher sounding variation of main hook two takes place, backed up by an abundance of interesting sound effects for a finale or crescendo to the mix. This addictive theme continues to the four minute mix position before the final conclusion is announced by a drum roll.

After the four minute mark most of the instruments are removed form the mix except two synths, the bass drum and snare. The synths play a musical theme which is based on the rest of the mix but slower and suitable to finish the mix, The drums play a “broken” “stop-start” beat to reinforce the fact the mix is about to finish which it does ten seconds later on a sample which sounds like helicopter blades pitch shifted up.

My final scores for this mix are general musical skill 10/10, catchiness 10/10, use of sound effects/drum fills to add variation or announce changes 10/10, general use of variation in melody lines and musical arrangements to retain interest 10/10, musical structure 10/10, production including equalisation, delay, reverb equalisation and stereo positioning, wide audience appeal 10/10. My overall score for this excellent tech trance remx (mix genre was originally incorrectly described as a dubstep, techno hybrid) is 10+ out of 10, and it well worth listening to by techno, trance and old skool acid house fans.


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Mix Info:So Simple 3:42mins @132BPM 90s Dance/Rave

Overall Rating
Artist:US2K



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Message sent with this Mix:
Some 90s style dance/rave music. I have included the FL mix file so you can see how I made it.

US2K Review: Sorry folks no review or score as it is one of mine.


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Mix Info:Tranceylvania ( EP Mix ) 6:14mins @140BPM Techno

Overall Rating
Artist:Max_Motion



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Tranceylvania ( EP Mix )


DBAReview: the mixing skills in this song are good and the structure of the song also but the sound(design) you have made/used is not my taste and sounds for me 2 dated. Good song, but for a more modern techno sound you should check some other soundbanks or give a listen 2 some techno producers like redhead, marco bailey, DJ Rush and many others.. You will hear the diffrence of a modern techno sound and yours now. Score: 7/10
7

US2K Review: This is an excellent danceable version of Tranceylvania. I intend to review this in the future but in the mean time my provisional score if 9 out of 10, and suggest all techno lovers have a listen.


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Mix Info:Midnight Massive 5:18mins @136BPM Progressive Trance

Overall Rating
Artist:US2K



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Message sent with this Mix:
My latest Goa trance release. I hope it will end up played at Christmas season raves this year.


DBAReview: i feel this song is more progressive trance and not GOA trance but thats my personal opinion. Not a big deal ;-) The song has a nice build up and its very energetic. That sound you have used for the mainlead is not my favorite sound because it sounds a bit 2 heavy for me. The mixing skills are good. Good song but a bit 2 heavy for my taste. 7/10
7

US2K Review: I cannot review my own music, are there any volunteers, the chosen few can just log in. I look forward to your' s DBA.


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Mix Info:Goliath 4:01mins @145BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
OK Nige , here's one 4 ya m8!.

US2K Review: This mix begins with what sounds the lower frequencies of a wind sample and acid squelches treated with a considerable amount of reverb/echo/delay giving them the characteristics of a pad sound. There is a higher pitched lead acid synth completely dry (no fix) making it in foremost in the mix, playing a rhythm mix sequence of notes.

Approximately seven seconds into the mix and a second synth enters the arrangement forming the start of an introduction melody. Six seconds later, and a bass drum roll introduces a very fast four on the floor drum pattern with occasional fills. There is pattern is driven by a bass drum as usual but the accent snare on every second beat is a little unusual in that it is subtlety layered over the bass drum, and there is highly likely a different snare layered on all the other hits too.

Progressing to the forty second position in the mix and first what sounds like an electric bell-like piano has enter the mix and a new more powerful synth line is heard which plays a melody line which is similar to that you would hear played by a Suza military band or fairground steam organ. I will refer to this further as the Marching hook. Combining this with the prior arrangement results in the forming of a new hook/riff line (main hook). At first this melody is only occasional but it gets more regular towards the one minute five second position, after which a squelch sound announces that the Marching Hook is taking the lead. The result is an extremely addictive, catchy and danceable techno trance concept. This continues until the one minute forty six seconds position, after which the electric piano followed by a whoosh announces a bridge section.

The bridge is formed by an intermittent bass drum pattern and the synths from earlier playing a variation of what they played earlier. There is more space in the mix at this point because less synths play together this time round and at least one of them is playing shorter less sustaining notes at a lower velocity. This allows the bass drum to lead for short whilst the synths are only really re-stating or answering the theme from earlier in the "background". After a squelch sound the synths start playing stronger lead lines again, and at the two minute five seconds position the end bridge is announced by the "marching synth" beginning to play the military Suza band riff/hook again, sounding fresh from its break.

This time one of the other synths instead of merely playing an accompaniment to the "marching synth" actually periodically plays an answering melody to it too, and there are occasional extra accent claps are used from time to. Variations of this theme continue to the last bridge variation at three minute five seconds position, announced by some intermittent bass drum hits and a clap fill.

When the bridge section is fully reached, although there is a large number of claps and other percussive instruments (without bass drum) there is only two melodic instruments retained, the "marching synth" and the bell-like electric piano, sounding more bass like at this point. The thinning out of instruments is concealed by some powerful synth sweeps, flanges and whooshes, and the percussive instruments playing a long 16th note drum roll.

The result is a feeling of excitement and intensity, and that something is going to happen. One last whoosh and a bass drum roll introduces the return of all synthesisers playing the main hook for the conclusion up to the three minute fifty seconds position, only interrupted temporarily by a whoosh a slight variation/ornamentation on the way.

After the two minute fifty two seconds position a squelchy whoosh sound bass drum and snare fill joined by two of the accompaniment synths from the main hook playing a "good bye" melody. The mix finishes on a whoosh and a "final" note from the scale of the "good bye".

My final evaluations of this mix is musical structure 10 out of 10, addictiveness/catchiness 10 out of 10, use of drum fills and sound effects to add interest or announce changes 10 out of 10, Production including equalisation, reverb, delay stereo-position 9 out of 10, wide audience appeal 9 out of 10, General demonstration of musical skill 9 out of 10. My final score for this very catchy well produced tech trance mix is 10 out of 10.