Fruity Loops 7,8,9 and 10 Mixes.

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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:Cerebral 5:53mins @135BPM Techno

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One of my latest tracks for a change Nige , enjoy!!.

US2K Review: This mix begins immediately with a catchy rhythm line hook played by a delayed treated techno bass instrument. It is soon joined by second bass synth, which only plays a stab note after each repeat of the existing rhythm, but this is enough to enhance the hook and drive the mix before the main drum groove enters the mix around the 15-second mark. The hook and groove combine to result in an infectiously danceable feel to the mix. This theme continues whilst interest is maintained with thoughtful drum variations and fills, until the 28 second mark where a snare enters the mix first to introduce itself with a fill, before assuming the role of accenting every second bass drum beat. This snare like the other drums every so often plays fills too to ensure enough variation until the first break in the mix. This break is accomplished via a drop of all the drums.

After the break in the mix another whoosh sound effect announces a hi-hat enters the mix, but that is only the start of a succession of changes. A new synth melody line enters the mix and takes lead but does not overpower the energy of the hook. Instead the complimentary arrangement forms a new hook to keep the listener wanting to dance, or at least tap their foot. The new hook continues until the one minute, 22 second mark where a sound right of the stereo-field which has characteristics of both a sweep and electric guitar feedback, announces the departure of the original bass line. The synth that answers it is the second bass from the introduction now playing a more complex note sequence. Of course next we are greeted my Max' s calling card in many of his best mixes, an air aid siren which always reminds me of the rave glory days. It may be interesting that unless itís a myth that until the end of the 1950' s or 60' s it was a capital offence to sound an air aid siren.

Anyway back to the mix, the air aid siren is pans left to right of the listener, and a drum fill followed by a whoosh introduces the return of the catchy rhythm bass line. Then the listener is treated to a stereo-field of all sorts of atmospheric vox and pad sounds to make the already extremely catchy mix even more interesting. This brilliant theme continues until the two minute 28 second position at which point one of the pad sounds and a resonant acid bass sound begins to play a melody line often heard in acid house.

Over time due to the notes in the rest of the arrangement, the notes of the acid lead forms an Egyptian sounding harmony. There is always something almost alien or extraterrestrial about Egyptian scales so the fact the music has ancient Egypt undertones does not make it sound old fashioned at all, especially with the other modern elements. In fact it is quite a fascinating and contemporary composition of atmospheric techno. This theme continues whilst interest is maintained with an audio collage of occasional shouts, and other vox, slight melody variations and snare or clap fills, up the three minute 34 second position in the mix. After this point the drums are dropped for a split moment and the hybrid electric guitar feedback/sweep sound from earlier is used to announce the final change in the mix for a conclusion.

The last theme involves the acid line playing faster and more rhythmically, taking full control to drive the mix. The result is less Egyptian and more full techno. It is still very exciting and worth listening to right until the fade out which begins at the 5 minute 12 second position.

My final evaluation that this mix is an extremely well produced original and atmospheric techno composition. The structure, arrangement variation, and general flow of the mix are very intelligent, and the use of sound effects and pads to create atmosphere is superb, especially as the stereo position of these sounds has been thought about. Additionally the use of sounds and drum fills to announce changes demonstrates great musical skill. The general production, use of equalisation, reverb, delay and general studio mastering of this mix is of a very polished standard. Also there are very catchy exciting melody lines, hooks and drum patterns in this composition. My final score is 10+ out of 10, it is RED HOT. Everyone give one of Max' s best mixes a listen.

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Mix Info:Spirit of Arnhem 3:46mins @140BPM Techno

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Check it out Nige ! , new track , bit of a tribute

US2K Review: This mix begins a noise that sounds like a shot gun being reloaded, some gunfire, and an air raid siren plays whilst a trancey sounding hook, the introduction theme, is played either by a lead that initially has the high frequencies cut using a sweepable low pass filter, or it is formed by two instruments, one lower pitched than the other. Around the 14 second mix position a foot tapping, a variation of a four on the floor bass drum pattern is announced by a laser sound assuming the roll of a snare fill, after the air aid leaves the mix, to establish the introduction groove.

The introduction groove continues until 27 seconds into the mix after which a bass drum fill and some more lasers lead to the bass drum pattern leaving the mix once again. During this break the listener is treated to laser and machine gun sound effects and the return of the air aid siren, with a bridge melody. The drum pattern returns around the 34-second mix position with a new catchier hook melody. This theme continues with sound effects along the way to maintain interest until an upwards sweep/power up sound at the 53 second mark that finishes at a higher pitch a full minute into the mix. After the mentioned play position, the air aid siren returns with and the musical theme changes to a slower variation of the hook line from earlier, accompanied by occasional gunfire. Shortly after the 1 minute and 9 seconds a snare is introduced after a gunfire snare roll, and after some laser beams at the 1 minute 29 second position the introduction theme from earlier joins the arrangement answering the existing melody. This effectively creates a sensation of the mix speeding up which gave me a bit of an adrenaline rush. The mix continues in this exciting way until the 1 minute 49 second position before the siren returns, and another synth enters the mix moving round the stereo field, adding extra interest to the mix. Also what the listener may not have realised at until this point that one of the existing synths has been changing to be bassier in nature for about 10 seconds. I am not certain but it is either via equalisations, morphing or a sweepable filter adjustment.

At around the two minute mark the changing synth mentioned earlier has finally formed a bass instrument able to drive and lead the mix resulting in a new more conventional techno hook that which is possibly even danceable which I will refer to as the final hook. This musical theme is accompanied by numerous sound effects from earlier but the drum pattern also now has more conventional bass drum and snare fills in it too, which enhances the feel of conventional techno. The new drum pattern accompanied by the final hook forms the finale groove. The listener would probably expect the mix to finish with a few repeats of this musical theme without any other changes but around the two minute 20 second position there is an interesting surprise instead, one last variation, a bridge without the snare, and a musical arrangement, some playing a variation of the final hook, pad sounds left and right of the stereo-field, and at least one synth playing musical themes that simply add character and interest to the bridge section. When the bridge section finishes the final hook returns with elements of the bridge. The musical arrangment seems to get faster and faster, becoming more exciting as it progresses.

The final conclusion begins to the mix begins after 3 minute 32 seconds. This takes the form of all drums and instruments exiting the mix, leaving reflections from the delay trail of one of the synths. Then there is one final sound of the air aid siren, gunfire, and finally a shotgun reload sound to finish the mix after three minute 46 seconds.

My evaluation of this mix is that it has an intelligent but slightly less common musical structure. Also it is very well produced and arranged. The studio engineering, equalisation, mastering, use of delay, reverb and stereo positioning is demonstrates and a high level of skill and even imagination in places. The catchy hook melody lines and the use of fills and sound effects to keep the mix interesting demonstrate great musical talent. I especially thought that the use of gunfire for a drum roll was a nice touch. I have one negative point to the mix, although I was using headphones, some musical instruments sounded a little too similar to each other, which means some listeners may not notice all the variations. Despite that my score for this mix is 10 out of 10. It is atmospheric techno very suitable for listening to, or for a film or computer game sound track, and well worth a listen.

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Mix Info:Sweetest Touch (Compo Entry) 6:07mins @140BPM Hard Trance

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This is a comp entry. Regards, Alex Moy.

Max MotionReview: This track has a lot of good bits but the bad ones over-ride them , i don`t think he has spent any time mastering this track , it`s distorted all over the place and you can hear it even at low levels , there is also some tuning issues. It`s a pity because there is a good track in there somewhere.5/10

Bass Mom & Dj CrusadeReview: Alex it is I Shari from the states and I am going to review this track for you! You have a very powerful intro in this track and I love the organ in this mix!! I also love the build up of the snare, the variations are mixed in very well, and overall production is very good however the outro could use a fade out in the track! I rate this track a 9 out of 10 for overall quality and production

US2K Review: This is yet to be judged or reviewed is an excellent hard trance track. The previous entry was distorted and so only worth a 5 out of 10, but a better quality one has been sent. My opinion is that ST has the potential to be one of the top entries, and the provisional score has to be 8 or 9 out of 10.

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Mix Info:Good times 4:49mins @140BPM Tech Trance

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Another tune for you m8ey:).

US2K Review: This mix begins with some orchestral stabs, and horn toots and some vox saying 'Is She Ready' reminiscent of the acid rave warehouse sound. A bass drum roll introduces a duet of synthesisers playing an acid style melody that I will refer to as main theme 1. One of the sounds in the arrangement is a modern trance patch playing variations of a complex melody line. The other a more raspier sounding warehouse patch is playing a simpler but catchy repeating series of notes that is answering the melody of the other at a lower octave, whilst also playing a rhythmic hook in its own right. This arrangement is accompanied by a 4 on the floor drum pattern, including bass drum, hi hats, and snare accenting every second beat. There are some sound effects, a sweep and it may be early in the mix but I already have my foot tapping. The musical theme continues this way 37 seconds into the mix but retains interest well, before a whoosh sound, a drop of the drums and a series of musical notes, possibly a rising scale announces a change which is the return of main theme 1 with a mid octave bass instrument in the arrangement this time. This bass instrument initially only plays an occasional 3-note scale, which I think is accenting every 4th beat in the bar. The new instrument drives the mix nicely onwards to the one minute 7 seconds position in the mix, whilst the listener has some nice surprises as a result of the drum pattern having some variations and fills in it. Shortly after that point a delay and reverb treated crash right of the stereo field accompanied by a very subtle snare drum roll to the left of it whilst the drum groove has left mix indicates the next change which is the modern trance synth playing a faster more rhythmic melody and the bass line taking the role of lead with a new punchy riff line of its own. This new musical theme is only heard for about 14 seconds and is never repeated anywhere else in the mix so must be the start of an unusually early bridge section but is interesting enough to have been used as a longer lasting and repeated verse section had that been the intended structure. Towards the end of the 14 seconds a mysterious sounding musical saw playing a simple scale enters the mix acting as a pad, the drum pattern leaves the mix again, and then a 'power down' sound effect is used to too things, 1 to act as a break and two to announce the fact another change in musical theme is imminent. There is a further fill on some stabs of one of the leads and an orchestral right of the stereo field followed by a laugh. Then the change takes place which is the warehouse synth lead reassuming its lead role. Once again we have main theme 1 or a variation of it. This time although the theme continues until the two minute 30 position point in the mix it is kept interesting with variations. Interestingly Max has kept closer to the hook with his variations by playing notes simply at the higher octave, I wonder if he has been influenced by me at all? There is another break from the drum pattern a second later to keep things interesting, and the trance synth and the bass play a rising scale to announce the return of main theme again sounding different this time. I am not sure what the difference is, although it could be another 'octave game' but it works well. This variation of main theme 1 continues until the 2 minute 38 point in the mix, after which time the drums are faded quieter instead of being dropped, and a musical saw plus the vox 'Is She Ready' announces the final major change in the mix. This is the conclusion with the bass line leading again but playing a different melody line, to the one during the bridge. The melody this time reminds me more of 80s pop music, and I could imagine a string working lovely with it. Anyway back to reality, the bass line melody is accompanied occasionally by a trance synth on the right of the stereo field. This synth plays an occasional few bass line answering notes at a higher octave. The drum pattern is faded back in to drive the mix very well and vox, sound effects etc. and note variations keep the last musical theme interesting until the musical instruments are faded out after a whoosh sound effect acting as a crash. The mix finally at 4 minutes 50 seconds after the final instrument, the lead bass line is faded out. My final evaluation of this mix is that it is very well structured and musical arrangements are intelligent. The use of drum rolls, crashes, vox and other sound effects is excellent in keeping the mix interesting and announcing changes. Also the production and use of mastering effects such as equalisation, panning (the bass moves around the stereo field right?), delay, reverb etc. is of professional standard. I really enjoyed all the catchy hook melodies with in the mix and the variations, breaks and fills ensure that this production retains listener interest. My only reservation of this mix is that I am not over keen on the musical saw, and think the good times and warehouse theme could have been exploited with some more vox or more ravey sounds instead, but my final score is 10 out of 10. This acid house and 80s influenced tech trance/rave mix is definitely a very enjoyable listen, to those who enjoy the genre, and danceable in the right circumstances, so I recommend it very much to tech trance lovers and ravers.

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Mix Info:Cheerleading Music (Arena) 3:44mins @94BPM Ambient Electro Chill

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US2K Review: This mix begins immediately a dramatic groove and hook which I will refer to as the main theme. This is formed from a musical arrangement consisting of pad/string stacked with an organ as lead, tuned tom drums playing a lower bass line section, another occasional guitar bass pluck and a funky drum pattern sounding partly human part mechanical. The human part consists of bass drum, snares, a shaker or hi hat with occasional fills. The more sequenced components are an atmospheric effect that sounds like a 'gush' or 'whoosh' percussion, and a gŁiro right of the stereo field. The main theme continues until 45 seconds into the mix at which point a reverb/delay treated acid sweep enters the mix moving from the left of the stereo field and to the right and back again, acting as a pad sound, adding well to the atmosphere and interest of the mix. The sound morphs into or is layered with what sounds like a wind pad instrument of some time. The amazing sound finishes at the 1 minute 12 second mark, and another series of atmospheric sounds right of the stereo field including some wind and cymbals with there top frequencies equalised out. This leads to a drop of the drums, a snare roll, and then a bridge or middle 8 section, This begins with an alternative drum arrangement the guitar bass playing a lead line, surrounded by some really pads and sound effects, before all instruments leave for an intense 'break down' where a massively atmospheric pad and effect collage for 5 seconds reminiscent of the rock band Pink Floyd takes place. This intense moment leaves the listener in awe of what happen is going to happen next. The bridge ends with a fill on a closed hi hat, an alternative drum pattern, and the bass guitar melody lead line again, and a tom roll before the main theme returns. This main section including its amazing pads and sound effects plays again until the conclusion begins 3 minutes ten seconds into the mix. The conclusion is of course the break down again from the bridge section. Unfortunately it is far too predictable, it sounds identical to the bridge section, and there are no little surprises or variations. It sounds like it has been copied directly without change. David Stolk has mentioned this will deter record label interest, and I am inclined to agree. What makes things worse is the mix finishes abruptly and incomplete. It has been known for famous bands such as the Beatles to intentionally not play the last note to leave the listener hanging but in this case the ending is almost definitely a mistake or if not is intentional to prevent music theft. If that were the case though a music artist or producer would have little difficulty appending something to the end to address the abrupt finish. Other than the issues mentioned, this mix is generally intelligent in structure and variation. The composition, arrangement (including stereo placement of instruments), mastering and studio engineering is superb. The drum sequences, lead and bass lines are very catchy. The atmospheric pads and effects are amazing. The type of music in a more polished state would be ideal listening or film music score that I would score with 10 out of 10 but unfortunately the problems I have already outlined mean that I have no alternative but to score this mix with 7 out of 10. It is my desire to collaboration with the artist that produced this mix at some point in the future and despite any negative points I have mentioned about this mix, I recommend everyone has a listen to it as they will enjoy the chilled atmospheric experience.

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Mix Info:The Harlequin 5mins @140BPM Tech Trance

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This track i want to enter the comp with if it is still on

US2K Review: This is my detailed analysis of "The Harlequin" by Max Motion. As it is almost a custom since the X factor for judges to argue, David Stolkes did not realise:-
The mix Begins in A# Minor Key scale
Bars 1-2 c# f g# - c# major chord
Bars 3-4 c# f g# a# - a# minor 7th chord
Bars 5-6 c# f g# a# - a# minor 7th chord
Bars 7-11 c# f g# a# - a# minor 7th chord

From bars 11-12
f g# a# d# - g# minor or major 9th
bars 13-15
g# a# c# (f not played but implied ) - g# minor or major 9th

Bars 33-37 Key Change G# Minor
33 E G# B - E Major
34 F# A# C# - F# Major
35 F# A# C# - F# Major
36 c# (E is not played but implied) G# - C# Minor with passing note of C natural from A# minor which of course has a relationship of being 1 whole semitone up in the scale from G# minor

Bars 37-42
37 F G# B - F Diminished
38 E G# B - E Major
39 F# A# C# - F # Major
40 G# C D# - G# Minor of course from the A# minor scale
41 C# F G# - C# Minor from the A# minor scale
42 E G# B - E Major From G # minor again, one comment the fact this works is surprising and must be due to spacing of notes as neither the G# or A# minor keys contain both E and F natural.

43 F# A# C# - F# Major
44 - Chords G# C D# - G# Major to C# F G# - C# Minor both from the A# minor scale
The rest of the mix contains no other notes other than those heard before. The notes are far from random it is a musical game based on the G# and A# minor scales using the note of G# as a pivot point . No wonder David Stolkes thought they were though as I expect he does not know what a diminished chord is as they are seldom used in modern music and I try to avoid them like the augmented chords myself. I admired the minor 9th jazz chord, and loved that passing note of C natural from an academic point of view. Musically it is well structured, produced and arranged including percussion and drums. Despite David Stolkes innacuracy (lol no wonder I am not signed) on this occasion although a brilliant tech trance production it is not my my favourite mix by Max Motion, it lacks some of his usual sparkle. It is more enjoyable to analyse than to listen to, perhaps the diminished chord (or should I say intentional dischord makes it unsettling). I score it with 8 out of 10 (about 85 out of 100 had it been still in the competition). - The best new mp3 music from up and coming bands