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

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There are currently 321 mixes on this page, the last was uploaded on 23/07/2017 20:32:11

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Mix Info:Reflex 3:38mins @144BPM Techno

Overall Rating
Artist:Max_Motion



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Here's another one for you , gotta keep ya busy Nige m8.

US2K Review: This mix begins fairly minimal with a mixture of a fairly bleepy lead and trance synth sound at the lower frequency end. There is also an additional synthesiser playing stabs to answer the other melodies and add variations and character to the mix (theme 1). There is an intentionally uncertain bass drum pattern with fills to accompany this introduction. Towards the minute position in the mix these synth slowly become more steady and harmonic, forming a faster catchy melody hook (theme 2). After the minute when a solid hook exists a four on the floor bass drum and hi hat enter the mix. This theme continues until the 1 minute 40 mark after which a whoosh sound introduces a middle 8 bridge, where the entire drum pattern leaves the mix, where a variation of theme 2 is played before at the two minute mark the bass drum returns to the mix. A new musical idea is played based on theme 2 that is slowly changed into a new catchy melody line, varying leads and arrangements changing. Distinct changes include a faster acid synth line on the panned right of the mix.

Progressing to the two minute 48 second a driving bass drum pattern and hi hats is now in the mix. At this point some abstract possibly filter treated high frequency percussion on the left-centre of the stereo has also been added. My foot was tapping but the slower conclusion came in too soon when I was enjoying myself. There is nothing wrong with this conclusion melody in itself, as it is a sophisticated variation of earlier musical ideas. Even the final finish on the simpler musical arrangement leading to a delay treated higher octave scale, which acts as a drum roll is very clever.

The weaknesses with this mix is twice the listener has been happy with a catchy foot tapping section when a change took place too quickly. It could be intentional and experimental but in my opinion it has caused a weakness in structure and flow. Also the first minute of the mix may not be very intresting to some. Other than that this mix demonstrates great musical talent. The use of cymbals, sound effects etc. to announce changes is very intelligent. Also the use of equalisation, delay, reverb and other production mastering techniques demonstrates great skill. At this occasion, perhaps due to hearing all the more recent great music the score of this mix is going down to 7 out of 10 from the provisional of 8.

My conclusion This is not one of Max' s better mixes, but it is worth a listen by techno lovers if they are in the right frame of mind for something a bit different.


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Mix Info:Sunset Over London 6:21mins @140BPM Tech Trance

Overall Rating
Artist:Sasa_Clubber
(Now_Signed)



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Buy full version here Tainted Buddah Records


DBAReview: this song is a bit weird.. The first part(before break) doesnt fit with the break and pads.. Also the mixing is not that good in some places. The melodys and pads are nice and there is a good use of fx. perc can better and needs more variation. I have mixed feelings about this song. Needs a rework in my eyes because it has great potential for a good trancer! For now 6,5/10
6

US2K Review: This excellent track appears to be an adaption of "Insane Life". This one is not going to be easy, it never would be for a promoter to review an already signed artist. It tends to tempt bias a little but here goes.

The introduction of the mix begins with a reverse cymbal and a very trancey synth bass line. After 11 seconds a driving rhythm enters the mix. This is a very fast 4 on the floor, the bass drum accented on every second beat with a high-pitched snare or clap, and a hat on the half beat. This groove is joined by a synth line that is obviously playing notes that do not directly harmonise the bass line. I detect discords, possibly diminished, augmented chords or notes from chromatic scales.

At the 23 second mark along with sweep, and a drum roll this lack of harmony mentioned earlier is exaggerated to a point of where the mix almost goes out of tune. It amazingly works so well, simulating an orchestral crash or intentional key change pivot on a discord. It is either such lucky accident maybe found messing around with vinyl or real-time sample experimentation, or total genius. Anyway after this musical trickery the listener is prepared for a sophisticated audio journey.

The mix over a few drops of the drums, and atmospheric cymbal sweeps, changes into a more harmonic composition. Towards the minute 6 second mark a beautiful orchestral pad line is faded in which is left on its own to charm the listener when all other drums and instruments are dropped to form a lovely break in the mix. This continues for about 36 seconds before a series of very atmospheric fx (a bass drum hit morphing into a sweeping wind sound, and a reverse cymbal) announce a new catchy rhythmic synth piano riff which will later serve as part of the conclusion of 'Sunset Over London'. More wind and a filter swept drum roll, and a tiny effect treated pause, announce the return of the bass drum and hi hat, to join the piano riff. The track is infectiously danceable at this moment. At the two minute fifty eight second mark the bass drum drops from the mix again, and a reverse cymbal reintroduces its return with an accent snare this time. The track now fades out intentionally whilst this theme is repeated.

This mix is an edit and the full version is on sale my I can say the mix continues this way and my general assessment is that it is very professionally produced. It has an intelligent structure, and the use of breaks, fills, cymbals and other sound effects is superb. On top of these factors, the studio mixing and other mastering such as filter sweeps, reverb echo etc. make this mix highly polished and well worth a 10 out of 10 score. Well worth a listen here, and the sale version extends the musical experience for longer.


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Mix Info:Fairground 4:36mins @140BPM Hi Energy Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Back again Nige !! , started this track early 2010 , wanted it to feel like being on a day trip to the Fair , could never quite get it right , you could tell me if in the end i did!!!.

US2K Review: This mix begins with a filter swept/phased rhythmic mid octave synth bass line that progresses as an arpeggio over about two chords. After the second chord ends, 9 seconds into the mix, an atmospheric sound effect introduces a catchy hook theme (hook 1) which includes a bass line and a number of synthesisers at different stereo positions and pitches/timbres playing answering melodies (all round the head if using headphones). A pad sweep playing in the lower frequency range 8 seconds later introduces a four on the floor bass drum pattern, forming main groove 1. From this point the mix gets more fun and danceable with many sound effects including atmospheric echo drips, and an acid line used in such a way to sound like a bubbling brook. There is a break after 51 seconds of play where the drums are dropped and a different synth melody line used to keep the mix interesting before the main hook returns with the main groove with bass drum fills every so often. The mix continues until the one minute 49 second mark until a second break where the drums drop and an alternative melody is used as a middle 8. An arrangement of fewer instruments reintroduces a variation of hook 1 and its accompanying groove. One change is the addition of an accent snare for every second bass drum beat and some variation fills. Bubbling acid line seems to playing a more prominent urgent acid rhythm. I think instead of being peripheral, in a support/accompaniment role it leads before the next break in the mix. This break introduces a few notes that will be used later, after a few snare beats and a roll, in a brilliant faster more exciting hook finale. When the concluding hook arrives it is accompanied also by a new groove; a higher energy beat including a shaker or hi hat, and a clap instead of or on top of the snare to drive the mix. For over another minute Max Motion keeps the mix fun and exciting with crafty melody, arrangement and drum pattern fills and variations. At around the 4 minute 25 second mark, for the final conclusion there is a whoosh/atmospheric sweep pad followed by a solo mid octave synth playing part of the hook with water droplets in the background. The mix cleanly finishes on this sound effect too. My evaluation of this mix is that it is well structured, very danceable, catchy and fun. It is also very skilfully produced and the use of stereo position, delay, echo and other mastering effects is excellent. Also Max has used some excellent sound atmospheric effects and percussive fills, and melodic variations to keep things interesting. I score this excellent high energy tech trance mix 11 out of 10 as it is off the scale of this website. This really would give the commercial guys a run for their money.


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Mix Info:Changeling 5mins @141BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Well here we go Nige , got many tunes to upload , here's the first of many over the next few weeks , made most of them last year!! , better get your reviewing head on , LOL!!

US2K Review: The mix begins a noise that sounds like an electric saw. Then follows another delayed percussive scraping sound effect and a pair of distinctly different synth sounds (one acid, one more harpsichord like) play lines that answer and together form a very interesting melody. There is an intentionally slow broken bass drum beat. This theme continues using the electric saw effect as a fill, until the 15-second mark after which the bass drum slowly speeds up initially with the use of an extra beat acting as a fill. The bass drum continues to blend into a 141 bpm four on the floor until the 41 second mark a combination of a whoosh down sound followed by the electric saw introduce a much more steady drum pattern with fill. The foot cannot help tapping at this point. I cannot be certain but one of the synths may be playing extra notes too. Was this 41 seconds intentional as it has a relationship to the bpm of the composition? This is brilliant if it was. For the next thirty seconds or so a series of sounds are progressively added to make the mix more interesting. First is a Vox samples, and then an occasional train sound. The mix continues with this theme until the 1 min 29 seconds second mark at which point another musical concept is slowly introduced which includes different sound effects, a techno bass line, that is joined about 35 seconds later by a faster, higher pitched, very catchy trancey lead line. There are some interesting melody variations and introduction bass drum hits during a middle 8 lead to a new and exciting sci-fi techno theme. This continues until the 4 minute 16 seconds mark where the composition finally finishes on some intermittent bass drum beats, a short appearance of earlier elements of the mix and a suitable finish melody played on a harpsichord-like synth line. My score for this mix was 8 out of 10, but I think it should rise to 9 out of 10. In all a very fun listen and I recommend everyone has a listen.


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Mix Info:Juggernaut ( Extreme Mix ) 4:16mins @150BPM Tech Tarnce

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Hi m8ey , this is about as ' Extreme ' as i could make it ! , believe it or not the original is one of my favorite tracks !!.

US2K Review: This mix begins with a whoosh sound and a trancey synth lead melody. After the melody completes once a noise, which sounds like giro percussion morphing into a whoosh, introduces a 4 on the floor bass drum pattern. 19 seconds into the mix, after demonic sounding distorted vox and whoosh effect either side of the stereo position, the bass drum is joined by a snare accenting every second beat, half beat hat, and a very danceable groove has been formed. Giro whooshes assist the mix in driving forwards, with a delayed bass slowly fading in. After the 30 second mark all instruments drop except the melody line and snare, before another whoosh announces the return of the full drum groove this time with an alternative melody answering the previous one (main hook and main theme), and the bass line returns with a stronger role, playing rhythmic 16th notes "under" the mix. This arrangement is an exciting but not necessarily catchy hook. This hook continues until a distorted vox assists the change of melody to a more discordant acid or Egyptian scale. As the note combinations get even more unusual towards the 1 minute 30 second position the mix almost sounds like it should be out of key but works very well regardless as a bridge to the later return of the demon vox and a variation of the main hook at the one minute 40 second position. The lead line and accompaniment continue to play increasingly unusual variations on the main theme up to the three-minute mark. The musically arrangements change, with instruments dropping in and out, bass drum rolls etc, during this time to keep the mix interesting. There is a bridge at the one minute fifty second mark where all drums and percussive instruments leave the mix except the snare and the lead plays some stabs instead of an intentional melody. After the two-minute mark the power of these stabs is used to drive the baseline which somehow is leading with an indication of the main hook 10 seconds later. From this point to the 3 minute mark there is some truly clever and interesting key and scale changes although despite some good moments I wonder if I would have preferred to have heard the basic main hook again, as a temporary "comfort" zone. A little later though when the conclusion is introduced by the main groove leaving the mix in favour of some snare, bass drum fills, and some "starting pistol" note patterns the mix does seem to become a more comfortable listen again. When the faster version of the main hook enters the mix and the main groove returns with an additional closed hi hat or tambourine percussion the foot gets tapping again. This is my favourite part of the mix as it gave me a natural high. This new theme with the sound effects and Vox is a truly spectacular finale. The mix continues in this splendid way up to the 3 minute 56 second mark, at which point there is a musical answer to the hook that makes a statement that the music is coming to an end. This takes the form of groove "falling away" and some other melodies that form a musical full stop. This final melody comes to a sudden stop but is faded out conveniently via reverb/delay diminishing reflections. The use of sound effects and drum and musical arrangement and lead variations is very sophisticated. The production, mixing, stereo position, and use of delay, reverb, equalisation and other mastering effects are of a professional standard. The structure is a little unorthodox but works surprisingly well. Despite all my little personal points I mentioned earlier this mix is a brilliant tech trance production although possible more suited to sound track music than for the dance floor. My score is 10 out of 10 and recommend everyone that enjoys any sort of techno or trance has a listen.


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Mix Info:Raise The Field ( Max Motion Remix) 4:46mins @135BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Hi Nige , hope you like this remix , done alot of work on it.

US2K Review: This mix begins with a "broken" (gaps in the repeats) bass drum pattern with fills and a pad hook from the original version of "Raise The Field" but with a different pad/string instrument, which sounds a little like a musical saw or thermion. A swept version of the pad and a bass drum fill/roll 25 seconds into the mix announces a change in the bass drum pattern to a four on the floor, and the introduction of a succession of instruments. These are first a mid octave "slightly acid" bass line and then a lead synth playing a faster catchy rhythmic hook riff. Of course the hook had to change with the key of the pad in the background. I am unsure without the mix file but it is possible the lead line was based on one of the original ones but regardless it does indeed change very well to match the underlying chords of the pads. There are some nice variations in the lead line too, which are subtle enough so as not to deviate too far from the hook riff. At the 1 minute 22 second mark, the bass drum groove leaves the mix, and a rhythmic version of one of the melody lines that were played on a pad in the original mix enters as lead. This instrument has a subtly reverb/delay applied that produces additional harmonics, giving an allusion of another instrument being in the background. This is a very bouncy break, and the bass drum returns shortly afterwards, this time it seems at a somehow higher tempo, although I was unaware of Fruity Loops enabling such mid-mix bpm change, so could be a sample loop. A new synth is introduced right of the stereo-field and the instrument previously leading slowly changes its role up to the two minute mix position. After that point a new higher octave instrument on the right playing a succession of trancey 16th notes takes over as lead (driving synth) to drive the mix, the original lead now playing a supplementary melody. By the two minute 14 second mark the mix is becoming very danceable. After a few intentional discords Max Motion' s personality surfaces in the form of a more prominent lead line although based on a melody played by the pads in the original mix this, his acid interpretation has a few more "twists and turns" in it. This clever balance of keeping common ground to the original but having subtle re-interpretations ceases around the three minute 9 second mark. Onwards from this position Max has kept the best notes from the hook but created entirely new fascinating answering melodies and arrangements. There are even high octave orchestral string/pad stabs to add intensity to the mix, but around the 3 minute 33 second mark the hook and theme of the composition is re-stated at on a lower octave instrument that could be considered a bass synth. It adds detail and interest to th mix while giving the high octave leads patterns of notes to answer. The bass synth changes between low and high octave notes every 4 to 8 bars, possibly via a filter sweep adjustment, until four minute 14 second mix position. At this point an atmospheric organ enters the arrangement on the left hand side of the stereo mix, and the listener is being led to a finale which includes the return of the upper octave trance 16th notes and another delay/reverb treated synth (final lead synth) playing a pattern of notes that alternates between either a 16th note riff or jazz like discords and stabs to answer. Interestingly enough the driving trance 16th note lead synth slows to play 8th or longer notes when the final lead synth is playing 16ths. During the jazz/stab section at the end of the mix the driving synth is playing 16ths again. The composer has very cleverly creates a feel of the two synths taking it in turns to either play rhythm or lead. This concept is used to create a very affective conclusion to the mix, and the actual finish after four minute thirty eight seconds of play, is achieved at with a sudden stop on a discord formed notes played from all instruments at the same time creating what is commonly known as an orchestral crash. The ending is improved further with the use of a delay on the final lead that fulfils the role of a smooth fade out. My evaluation of this mix is that it is very well produced, and structured, catchy in places. There is sophistication, and imagination use of variation, fills, sound effects etc. to maintain interest and announce the changes. Also the orchestral crash was a very nice touch. On reviewing my score for this mix has risen from 7, to 8 out of 10. I recommend everyone who enjoys progressive, tech trance, or techno has a listen to this very good mix.




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