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..

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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:Pacific Island 5mins @135BPM Progressive Trance

Overall Rating
Artist:US2K



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Message sent with this Mix:
I finished this before I went into hospital. Although I have a hi hat loud in the mix I dare anyone to say this is not progressive trance. This time I think the piano works. The piano at the end of my last mix was tacked on so I agree with the negative feedback.

US2K Review: It is one of my own, so no review or score, unless someone wants to give some constructive criticism.


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Mix Info:Arch Enemies 5:32mins @135BPM Techno

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
FL 10 track for ya Nige

US2K Review: This mix begins with an atmospheric air gush sound treated with reverb and flange, accompanied by a four on the floor with a bass drum sound that has excellent clarity in the mix. Interestingly enough, a cymbal playing hits you would normally expect a snare to make accompanies the bass drum pattern. After three seconds a modern sounding tech mid octave trance lead melody and "answering" techno bass line are faded in to form a danceable hook and set a main theme for the rest of the mix. This music theme remains addictive right up to the fifty-seven seconds position where the first bridge in the mix is reached.

The bridge section consists a lower octave variation of the lead without the bass line to answer or drive it. Four seconds into the bridge a long whoosh sound reintroduces the bass line whilst a new melody line more catchy than anything else before in the mix takes lead, this can be considered hook two. This lead continues up to the one-minute forty-eight second position where it is changed to play a more "broken up" variation of shorter notes to indicate another change is going to take place. This actually happens twenty seconds later in the form of a longer bridge initiated by a drum roll, after a which a half speed slightly "broken up" bass drum pattern accompanies a duet of synths playing an answer melody to the main theme whilst giving the listener a rest and preparing them for more dancing.

After the two minute twenty-five second position the bass drum returns, and shortly after a slower variation of hook two begins. This theme plays up to another whoosh at the two minute thirty-four second position, where the bass synth seems to gain important momentarily, before a second whoosh introduces a new change. The mix seems to speed up with the playing of numerous freestyle musical ideas based on the earlier hooks. The music continues to increase in energy especially at the point where a snare enters the mix first as a roll before becoming a secondary accent for every second bass drum beat.

The musical theme is contant until the three minute forty seven seconds position at which point an important bass drum fill swaps round the strong and weak beats in the mix making it sound "fresh" to the listener again. The same hook previous to the fill continues with a new vigour up to the four-minute forty second position at which point a sound like guitar feedback is used to announce a totally new synth sound and melody line replaces one of the existing ones. This seems to be ideal for a concluding coda for the mix. At the four minute fifty seconds position the mix begins to conclude when a whoosh sound leads to a slow breakdown of the drum begins with the bass drum playing "broken" intermittent beats and fills before leaving the mix entirely. The synthesiser melodies are left to continue the coda melody until a final whoosh and some pitch shifted or glided notes to a final scale and an important final note to end the mix after five minutes thirty seconds of play.

My evaluation of this mix is that it is well structured and produced. There are some very catchy melodies, and plenty of interesting variations. There is skillful use of sound effects and drum fills to maintain interest or announce changes in the mix. The arrangements and stereo positioning choice of instruments is spot on, the mix generally flows well. Studio engineering, including reverb, delay, equalization and other sound processing techniques are put to excellent use. The only slightly disappointment in the mix is that there sections in it that would possibly upset those who perceived it as a dance record. My final score is 9 out of 10. As a piece of techno in its own right it is excellent and it sent me on an adventure when I listened to it.


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Mix Info:Addicted to Dancing 5mins @134BPM Rave/Progressive Trance Hybrid

Overall Rating
Artist:US2K



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Message sent with this Mix:
Well there is a huge Love Parade Sound with a Third Theme to Keep Things More Progressive Trance and Also to Help Dancers Lose There Addictions. The mix is 5 minutes but there is a chunk of silence for me to remove.

US2K Review: Sorry folks, there will be no review or score for this due to the fact it is one of mine.


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Mix Info:Assassin 5:43mins @130BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
First FL10 track for ya Nige

US2K Review: This mix starts immediately with a very danceable techno hook (hook 1) formed from of an arrangement of "raspy" timbered techno synth patches, one playing at a lower octave to provide the role of bass. I think there some subtle percussion but I am not certain right of the stereo field. After 22 seconds a four on the floor bass drum an accent snare enter the mix making it danceable. This theme continues until the thirty-six seconds position with a nice fill in the beat half way to keep it fresh. After this position another instrument joins the arrangement, an acid bass right of the stereo-field to answer the existing hook melody, shortly joined by a more high-pitched sound. These changes add some energy nicely to the mix.

The mix gets better and better up to the one-minute position. After which time some slightly discordant synth string stabs center-left of the stereo field enter the mix. At first it seems uncertain to the listener whether they are going to work musically or not. They begin dramatic and urgent becoming slowly speed up, becoming happier and catchier towards the one thirty six seconds position and take the lead to form a new hook instead of stabs (hook 2). Once they have made the mix seriously danceable they have their melody and role changed again to playing to a slower "backing off" melody line. They eventually end up as long stabs again whilst the bassiest most centrally stereo-positioned synth from the introduction hook slowly takes the dominant role of driving the mix. After some atmospheric industrial themed sound effects announce a major change and the strings leave the mix, at which point there is a start to a short bridge section.

The very affective bridge is formed from the bass synth, bass drum, snare/clap, sound effects and a higher octave synth right of the stereo field occasionally playing notes that answer the bass synth. The bridge ends with a drum roll and the higher octave synth leaves the mix being replaced with a raspy rhythmic techno synth lead. The notes played by this synth combined with the existing bass and four on the floor drum pattern form an irresistibly danceable section based on hook 1.I am talking about a hook which of rave anthem potential. Max keeps this hook interesting by playing subtle variations at first but then adds another synth left of the stereo-field, possible the string from early to play little answering accent stabs.

The mix continues until the next major change in announced by an industrial factory sound at the three minute twenty second position. This change is all the instruments have changed in tone and timbre, and the lead seems to be juddering or vibrating, quite a fascinating surprise for the listener. This new theme is soon joined by a higher octave synth right of the stereo-field playing an accent stab every eight bars. Sound effects introduce yet more synthesisers playing either accompaniment or answering notes. The mix continues this way until sound the four minute seven seconds position, at which point there is a short drop of the drum pattern before the synth strings playing hook two returns for sixteen seconds, during which there is almost a crescendo. There afterwards the conclusion begins the strings play a slower accompaniment melody to answer the bass line melody and keep the mixing flowing whilst various synthesisers from earlier playing either various faster melodies based on hook 1, or accompaniments. Each synth answers the previous one with an equally catchy result. The music maintains this theme until just after the five-minute position where a hint of hook two returns, and the snare drum becomes powerful to finally begin the end to the mix.

The actual end is formed by the strings and rest of the rest of the arrangement playing a slower dynamic version of hook 2 to restate the musical theme, with some concluding drum fills, stop and starts to indicate an imminent finish, before the mix intentionally thrown out of tune to play a discord, resulting in an orchestral crash. To enhance end there is also a sound effect not dissimilar to the Dr Who Tardis. These ending sounds are treated with verb and delay. The reflections from the delay tail fade out nicely to cleanly finish the mix.

My evaluation of this mix is that it has an intelligent structure and sophisticated arrangements. There is excellent studio mastering including use of stereo positioning, equalization, reverb, delay etc. The hooks are addictive and catchy to listen to especially after the minute position. The bridges and other variations are used well to keep the mix flowing and interesting. The use of drum fills or sound effects to add interest or announce changes in the mix is excellent, apologies but I could not mention them all otherwise this review would have been like ‘War and Peace’. Overall this is a very good tech trance production, the final score is 8 out of 10. . I suggest everyone who likes Tech Trance has a listen and gives their comments.


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Mix Info:Full Steam Ahead 4:39mins @140BPM Techno

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Older FL9 mix i produced a while ago.

US2K Review: This mix begins with a rather abstract melody on a pair of left and right stereo panned warehouse rave-like synthesisers and a triplet bass drum pattern, and a low octave techno bass line. After a whiney synth sound the abstract melody begins to morph into a catchy techno hook (hook 1) whilst the bass drum pattern transforms into a four on the floor dance beat (main groove). This pattern has a subtle swing or shuffle to it making it a little different to more usual examples. This theme plays until the 13 seconds mix position where there is a short drop of the bass drum before it forms a roll and resumes the four on the floor pattern. The fill used here is not to announce a change but add some variation to the mix keeping it 'fresh'.

The mix continues with hook and groove 1 until the one minute seven seconds position with interest maintained with drum fills and an occasional play of the whiney sound. There is a short major break in the mix where the bass drum drops for a split second and a note from the hook is sustained longer adding as short moment of reflection before hook 1 resumes although sounding like it is new until the one minute forty eight seconds position with further fills and sound effects to maintain interest. After this point is the start of a two-part bridge section. The first part involves the departure of the right hand stereo position synthesiser, two repeats of a series of electronic sounding power up and power down fx introducing a "Serious Sound" vox and an occasional long note on a sweep has been added as accompaniment.

Around the two minute 31 second position there is a drum roll and a series of electronic "power up/down" down effects which announce the next change in the mix which is the return of the synthesiser right of the stereo-field. This time it seems to sound more exciting than before and seems to get faster up to the three minute ten seconds position, where the "Serious Sound" vox precedes the concluding theme for the mix. This theme is the synthesisers playing a faster/catchier variation of the previous melodies, with an additional punchy but subtle techno bass line, and half beat hi hat to drive the mix. One thing of particular interest to me at this point is the synthesiser right of the stereo-field takes lead, and seems to have either been layered with an acid lead sound or a filter sweep and/or chorus of some sort has been applied to it to make it warble. The result is the entire mix takes on the nature of a danceable trance hook (hook 2).

The synthesisers in the arrangement continue to play hook 2 with subtle variations to maintain listener interest until the four minute fourteen second position another synth moves from the right of the stereo-field to the center-left position playing a faster “bleepy” note sequence with a last few repeats of the same note to form a fill that announces the mix is coming to a conclusion. This is followed by one of the long note sweeps and the hi-hat being subtly dropped from the drum arrangement. Two of the lead synth and the bass line continue until the four minute twenty seven second position at which the bass drum leaves the mix after another long sweep note and all other instruments except the synth on the right hand-side which is left to play a solo sequences that restates the themes of previous hooks and melodies. The mix finally ends after four minutes thirty five seconds on a well-chosen sustained note.

My evaluation of this mix is that it has catchy melody lines and hooks in places. There is a general high standard of production techniques including equalisation, reverb, delay, filter effects and stereo positioning. The use of sound effects and drum fills to maintain interest is of Max Motion’ s usual high standard. The vocals are excellent in adding some atmospheric character to the music too. The mix is of an intelligent structure but listening to it again, in my opinion the main introduction of nearly 2 minutes is a little long because despite the use of drum fills and sound effects intending to maintain interest, it may not be enough for some. I think for that reason that the fist part of the mix should be a little shorter. Also Max has made such better mixes it changes the reference points for a score of 10, so my final score 9 out of 10. It is a very good techno composition that is certainly worth a listen.


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Mix Info:To Hear Is To Believe 3:53mins @140BPM Techno

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Nige , i made this track especially for the compo , thought i had better make an effort ,rather than just putting in one of the many tracks i have in the bank!!.

US2K Review: This mix begins with a four on the floor bass drum and happy catchy techno/dance hook (the main hook) formed from either a single techno synth or a duet of two, there are definitely set of melody lines answering each other. After 13 seconds the roll announces itself with a roll and then resumes the role of accenting every second bass drum beat, and making the mix very foot tapping. This theme continues until the 37 seconds position at which point a snare roll makes the mix fresh and again and does that little trick of Max' s of swapping the strong and weak beats round. There is more trickery at the 44 seconds position achieved either with a filter cut, side chain compressor or equalisation, or is simply shorter notes? The result is a temporary "duck of the mix". Shortly afterwards a snare roll introduces some atmospheric vox, and a hi-hat, ride or shaker percussion loop low down in the mix. The vox music remains interesting right up to the one minute 15 seconds position where the first bridge in the mix reached.

This bridge is announced with what sounds like some acid click/laser sounds treated with heavy delay, also there is a change is drum pattern. There is change from the four on the floor groove to a sophisticated syncopated swing beat. There is a change in melodic theme too at this point, the techno synth has been replaced by an instrument sound which is more organ like in character and also a squelchy acid bass line has also been added to the mix. The notes played by the new instruments are more stabbed/stuttered instead of playing a hook line. This idea works well to add emphasis to the swing of the mix. The drums are definitely leading this bridge section very effectively.

Around the 1 minute 29 second position there is a vox shout, and a little after drum fills and rolls, and sound effects including what sounds a car horn all server to add interest to the listener. The bridge lasts until the two minute three second position, after which point the four on the floor drum pattenr returns, and the hook from the beginning of the mix with the new organ sound playing an accompaniment melody, and some different occasional vox, what sounds like a "whoo whoo". The result is even catchier than before and it continues to be addictive for a whole 41 seconds, with the help of a what sounds like a laser explosion half way through.

At the two minute 43 seconds position a drum roll introduces the conclusion the mix which is a bit more "free style" than the rest of the mix. The melody line is more reminiscent of jazz than techno at times from this point but nevertheless is catchy. Sound effects and vox continue to add interest to the mix and the bass drum patterns are very imaginative, human sounding, and remind me more of rock music than techno at this point.

At the three minute 15 seconds position the mix has what sounds like a temporary bridge achieved with a temporary drop of the bass drum and some improvised snare fills. After this final bridge there a final conclusion consisting of an occasional vox shout of what sounds like the word "hear" and a faster note sequence of answering melodies based on the main hook, but at one point towards the end of the mix forms an Egyptian scale.

The musical arrangement includes every synth from earlier except the acid bass line. This is a very short finale, which ends suddenly with a drop of the bass drum and snare, leaving some trebly sounding percussion, a melody line becoming a long discordant stab, followed by a rapid descending scale, and one final "woo woo" vox to finish the mix at after 3 minutes of 39 seconds play time.

My evaluation of this mix is that it has some very catchy hook melody lines in places, and the balance of repetition/variation to maintain interest is very good. The structure and musical arrangements are very well thought out and the change of drum pattern from four on the floor in main passages to swing or adlib/freestyle in the bridges is a really nice touch to the mix. The use of vox, sound effects and drum fills, to add interest or announces changes is of Max’ s usual high standard. The general studio production including equalisation, reverb, delay and positioning of instruments demonstrate great experience and sound engineering expertise. My final score is 9 out of 10 because although this is a very good techno production I have heard Max do better. I recommend this mix as a good listen to any visitors who enjoy catchy techno with a tw




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