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There are currently 324 mixes on this page, the last was uploaded on 18/11/2017 19:28:36

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Mix Info:Infinitum 4:13mins @136BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Nige , here's a track i made the middle of last year.

US2K Review: This mix begins with a filter swept/delay treated synth playing a catchy dance floor suitable melody line (main melody mix hook 1). The melody forms a musical cue point with a scale at the thirteen seconds position which provides an opportunity for skilful introduction of a four on the floor pattern including kick and second beat snare accent. This groove continues to the twenty seconds position t which point a snare fill is encountered to add a subtle variation in the mix so the present musical theme can continue to sound “fresh” right up to the forty seconds position.

At the forty one seconds after a whoosh a rhythmic bass line is added to the mix making it yet more danceable, the main groove has been reached. This theme continues up to the fifty five second position where there is a melody fill scale followed by a short snare roll to add variation in the form of an exciting answer to the main theme. These musical ideas are repeated again twice up to the one minute thirty seven seconds position, before a snare fill announces the next major change in the mix which is a short bridge formed by the temporary departure of the bass instrument and the addition of some acid bleeps and analogue radio tuner-like sound effects (which may have also been achieved with a frequency sweep on an acid synth patch). There is also a subtle lawnmower like sound in the mix which adds extra interest to the mix and provides a cue point for a bridge section with an alternative synth melody which acts as a suitable catchy answer to the introduction.

After the lawnmower sound effect a sound effect is used to re-introduce the bass instrument from earlier, this time playing a faster punchier note pattern. It answers the new synth pattern in a way that is extremely dance floor friendly. When I heard it I could not wait until the bass drum returned. There is few higher octave notes (either on the existing lead or an additional instrument) introduced add extra interest to the melody line and provide a cue point suitable scale.

After the cue point, around the two minute sixteen seconds position the four on the floor kick and accent snare are re-introduced. Interestingly enough although the existing melody-line would have been great as a conclusion hook, a more complex musical idea is formed after the return of the drum pattern. At least two mid octave synthesisers all around the stereo-field and a bass line are used to create a looser evolving pattern of instruments answering each other. No instrument seems to take lead more than any other and instead they all have equal importance in driving the conclusion.

The conclusion continues until the two minute fifty one seconds position at which point a few notes with a strong answer to the previous melody lines are used as a natural cue-point for the return of the acid and analogue radio tuner-like sounds, restating the theme of the introduction before the mix continues again sounding “fresher” as a result of the sound effects.

Towards the three minute forty five seconds position there is a short drop of the bass drum and a snare roll adds further interest for the listener before one of the synths is smoothly removed from the mix. After the removal of a synth the rest of the previous musical idea is repeated with a hint that the mix is coming to an end soon. Some musical notes sound like they are spaced wider apart to provide a sense of slowing down.

The mix continues on to the three minute fifty three seconds mix position at which point a subtle lawnmower like sound from earlier makes a brief return becoming louder until it can provide the cue-point combined with a snare fill for all the drums to be removed from the mix.

After all the drums have left the mix, a sparser arrangement of analogue tuner effect, bass and lead synth is left to play towards the end the mix. The mix ends continues to a clean finish on the delay reflections of the last few lead synth note around the four minute ten seconds position.

My final evaluation of the mix Infinitum includes the following factors, catchiness of melody/dance floor friendliness (8/10), use of sound effects, drum fills , natural cue points to announce changes (9/10), use of sound effects and drum fills, melody/harmony/arrangement variations to maintain listener interest (8/10), wide audience appeal (7/10), sound engineering including the use of equalisation, reverb, delay, stereo position, compression etc. (9/10), general demonstration of musical skill (10/10). My final score for this mix is 8 out of 10, and I maintain that although it starts with a catchy hook melody and is generally well produced, it takes a whole 2 minutes to significantly change after an initial quality track build, so I think some may lose interest., hence the lower score for wide audience appeal. Those who are seriously fans of techno, dance or trance of any type and are not just clubbers listening out for a “phat tune” will still enjoy this mix very much. There are parts of this mix that highly skilled dj could include in a more commercial dance music set too.


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Mix Info:Meet the Friendly Folk ( Max Motion Meet & Greet Remix) 6:40mins @125BPM 80s Dance/Pop

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
I spent ages on this beauty , awsome track Nige , hope i have done it justice.

US2K Review: After an introduction on a cymbal and a bass drum strike and a trancey sounding delay treated bass-line. Then part a 4 on the floor bass drum sequence begins with a snare leading by playing a repeated 2/one "readying rhythm" for the listener. After 7 seconds of play one such repeat of this drum pattern introduces a full 4 on the floor groove with the snare changing to a support role of only accenting every second bass drum hit.

By the 4teen seconds position where a cymbal introduces the first hi hat (where else but on the half beat) for the mix, the combination of tried and tested successful dance music elements the listener is already getting a sense that their foot is ready to tap. At the 21 seconds position the listener (or dancer) encounters a very short bridge typical of the genre, an electronic sound bass line and a half beat hi hat (the latter to keep the underlying dance groove available).

A reverse clap at the twenty eight seconds position provides the cue point for the rest of the 4 on the floor components to return with an additional percussion instrument, a tambourine, and the snare drum at a higher velocity to drive the groove harder and add a "little buzz" of excitement to the mix. The music continues to a point where a fill on the tambourine (achieved either by playing it at a different pitch or velocity) is used to introduce one of the hooks from my original mix (main melody hook 1) can be heard emerging via a subtle "non-intrusive" pad/string instrument, "the melody is almost on the wind".

The music is becoming more danceable for the listener as it continues and the artists enhances this further as a reverse clap is encountered at the 43 seconds position. It is not this which really gets the listener going but an element of the mix which many may not notice although but will wonder why they are starting to get a little rush. It is that quiet double percussive hit of every 1st and 3rd bass drum beat originally heard in the introduction now being played as driving percussion.

Around the 57 seconds an intense cue point is achieved with the fully open end of a filter sweep which has been skilfully blended in to "double" the hook-line melody, a snare fill, clap and whoosh sound. After the cue point the hi-hat leaves the mix and the sweep "comes back down", leaving the bass drum and snare to drive the mix whilst main melody hook 1 remains in the background. This musical idea is retained up to the one minute 13 seconds position at which point a cymbal introduces the return of the hi hat and the mix progresses retaining listener interest.

At the one minute twenty 7 position there a whoosh is used to establish a cue point for the beginning of an import bridge section for the mix because it introduces the second main mix hook.

The new bridge initiates with an alternative but successful re-interpretation of the original hook but later after a drum fill the mix launches into the original hook on an accordion-like lead fitting the Celtic theme well. When the pad joins it later the result is very ethereal & ancient battles, hills, valleys and glens long since forgotten come to mind (but in a modern way). There was a hint at this in the original mix but Max Motion has taken the idea one step further.

The 2nd main hook melody becomes more catchy and intense up to the 2 minute 7teen seconds position at which point a subtly different snare from those previous is used to cleanly drop all percussive instruments except the lead synth which is allowed to solo from a melodic perspective due to the fact that the other remaining instruments’ are solely percussive.

After a last variation of main hook one a whoosh is used to drop the bass and reintroduce mix hook 1 around the 2 minute 25 seconds position. This repeat of the first main hook is accompanied by a broken beat (4 on the floor with 4th beat missing) which becomes a more complete pattern including snare accent and fills after a crash at the same time as an unexpected return to mix main hook 2.

On the return of main mix hook 2 the original haunting synth is used which retains some character from the original mix, and this continues with re-introduction of the bass until a whoosh and a drop of the drum groove except a closed hat, the more folky accordion-like synth makes a comeback. It initially plays a support melody for a short bridge but when that ends regains the role of lead.

Around the three minute 5 seconds position after an atmospheric sci-fi sound effect the full drum pattern returns and then a series of seriously catchy free-style interpretations of mix main hook 2 are played through a musical concept of wonderfully dramatic pads, strings and period support from the haunting original synth.

The pad and string accompaniment reaches its greatest intensity at the 4 minute three seconds position due the fact that layers have formed chord extensions of a far more complex nature than earlier parts of the mix. Once these chords have formed the lead melody seems to take advantage of the increased note range made available.

Around the 4 minute 23 seconds position a natural cue in the musical is used to drop the accordion-like lead and leave the other synth to play a few final quiet notes accompanied by some descriptive sweeps. The only other instruments heard are percussive cymbals and a snare playing double hits and fills. The listener is given every impression that the mix is going to end right up to the 4 minute 43 seconds position, but then a snare roll changes everything.

Main mix hook 2 returns as lead with a full drum set groove for a finale/coda section soon accompanied by some strings which are not just dramatic and matching the lead hook synth but sounding more beautiful than the earlier sections.

After the 5 minute 20 seconds position Max Motions switches from beauty to excitement again because the lead becomes faster and more powerful and some alternative musical melodies on the lead are heard to skilfully answer the mix' s main musical themes.

The rising intensity of the lead continues until the 5 minutes thirty 4 seconds position at which point a snare roll and a whoosh allow the departure of that particular drum from the arrangement. At the same time the listener or dancer gets the impression that the entire mix is slowing to an end. This achieved with longer notes at less velocity (how hard an instrument is plucked or struck in the live instrument arena) and the bass drum being switched from 4 on the floor to playing a "broken beat" again, but the listener is being fooled for a second time because it is another false ending.

After the 5 minute 57 seconds position some snare hits and yet another roll, and a strings playing a discordant note for an orchestral crash, provide a cue point for a mellow conclusion on haunting synth supported by more subtle strings. This final theme continues up to the 6 minute 34 second position at which point a drum roll and the echo/delay of the last sustained note finishes the mix spot on.

My final evaluation of this mix includes the following mix criteria, general demonstration of musical skill (10/10), skill in using sound effects, drum fills and other natural musical cue points for changes (10/10), use of variation in melody, harmony, musical arrangement to add interest to the mix (10/10), musical structure (10/10), catchiness and dance-floor appeal (10/10), use of sound engineering techniques including equalisation, reverb, delay, stereo position, compression and other mastering (9/10), bonus score because I like mix so much (10+/10). My final overall score for this excellent very danceable form of tech trance with 80s pop and progressive influence is 10+ out of 10. I highly recommend this mix to anyone who enjoys any type of techno, trance or dance music.


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Mix Info:Something Mellow 4:46mins @140BPM Atmospheric Vocal based Chillout/Ambient

Overall Rating
Artist:Epic_2_The_Max



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Message sent with this Mix:
Max says Ok Nige , here's my version , not quite breakbeat...lol . US2K ( Nigel says) well I never this is seriously music to sober up to after a hard night of partying lol Queen' s Bohemian Rhapsody Crossed with Aphex Twin. Suggest it is only alcohol the person is sobering up to with this lol

US2K Review: Max and I cannot review our own music.


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Mix Info:Mercy on the Dance Floor 3:39mins @140BPM Commercial vocal based Dance/Techno

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Kicked this one out for ya Nige!.

US2K Review: This mix begins immediately with a powerful dance hook, consisting of a very commercial sounding trance riff and an occasional "Yeah" vocal, and some intermittent parts of a four on the floor bass drum pattern. A bass drum roll at the six seconds position introduces a more completw four on the floor drum pattern but slower than usual and with no accent snare.

The nature of the four on the floor changes the next five seconds, becoming steadier and an anticipated snare accent being skilfully added after it is used to introduce itself with a fill shortly after some new vocals. The powerful hook now has an equally strong dance groove to accompany it.

The mix continues to be catchy and danceable up to the forty seconds position at which point a a scream is used to add further excitement to the mix. The new theme for the mix becomes the dance hook with "Yeahs" and female shouts every 8 bars to add energy to the listener experience.. This theme continues up to the one minute forty one seconds position. At around the one forty two seconds position there is a short bridge announced by a whoosh sound, involving the departure of the four on the floor drum groove, a change in vocals and a slower variation of the synth melodies used for the mix main hook, and the introduction of a new synth line to answer the existing musical arrangement.

The bridge section finishes at the two minute five seconds position before the vocals announce "Its time for war" and a long powerful whoosh re-introduces the main drum pattern, whilst all melodies feel like they have sped up with an additional synth line. the main groove is back with new dance floor hook equally powerful as the first has been formed, but I wonder whether the bridge and change in musical idea was a little late in the mix?

The new dance floor hook continues up to the three minute thirty two seconds position, with the various vocals being used to add interest and energy every so often. At the one minute thirty three seconds position a sound effect like an analogue radio being tuned in, a drum roll, and a synth from earlier is used to play a slower, lower octave "goodbye" melody, after which the mix ends cleanly on delay from the synth and a hot steam whoosh sound effect.

My final evaluation of this mix includes the following factors, catchiness of melody line and dance floor suitability (9/10), demonstration of general musical skill (10/10), use of drum fills, sound effects and vocals, natural musical cues to announce changes (10/10), use of sound effects, drum fills and vocals to add interest to the mix (9/10), use of melody/harmony or arrangement changes to maintain listener interest (8/10), wide audience appeal (8/10), musical structure (9/10), application of studio engineering techniques including delay, reverb, panning, equalisation and compression (10/10).

My final overall score is 9 out of 10, and my summary is it has a lot of potential to be a super vocal based dance track but the excellent hook in the last minute needed to be sooner and a hi hat would have enhanced dance floor appeal further too. It is well worth a listen to anyone who enjoys dance music and a dj should have no problem including it in their club mix.


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Mix Info:Meet the Friendly Folk 6:06mins @132BPM Progressive Trance

Overall Rating
Artist:US2K



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Message sent with this Mix:
This progressive trance sounds inspired by folk music.

US2K Review: This mix is one of mine so I cannot review it.


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Mix Info:Gala Party ( Motionmix ) 5mins @136BPM Techno

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Ripped your track up a little m8..lol.

US2K Review: The mix begins with a rhythmic melody line produced with a synth patch that has similar characteristics to a harpsichord, has been delay treated, and been equalised really well to give it a real good clarity. This synth is accompanied by a broken four on the floor drum consisting of bass drum and closed hi hat, and an occasional "whoosh" or other electronic sound to add interest to the mix.

After nine seconds a sound effect and a bass drum roll introduces a full four on the floor bass drum sound and a second synth playing lower octave notes (or it could be the same one playing at two octaves cannot be certain?), the result is catchy and modern sounding and danceable. The mix continues and a left of stereo cymbal introduces a snare which is first assumed to be just an accent for the bass drum but after a few hits it plays some fills, takes lead by design; and the listener knows they are going to hear something with a lot of thought in it.

The mix continues with the snare leading up to the twenty seconds position at which point an atmospheric percussive sound announces an imminent change. The change being the synth re-taking lead whilst the snare plays a flam or double beat to drive the mix onwards and the entire arrangement having a better flow as it progresses than the introduction but with descriptive elements. The descriptive elements I mention include the high pitched delay/reverb treated synth left of the stereo-field playing a single dramatic around the thirty three seconds position and then after a few drum fills at the forty two seconds position when they are anticipating the synth again they get a sound effect instead which somehow fulfils the same role, gives an answer and still does far more in the fact it is a longer sound capable with the help of a snare fill of introducing a change in the mix.

A series of bridge sections lasting for approximately twenty seconds whilst various subtle melody changes prepare the listener for the main mix hook.

At the one minute four seconds the mix main hook starts after an atmospheric cymbal, the snare drum initially leaving the mix to enhance the change. The hook involves two synthesisers already heard from earlier forming a catchy "answering each other" sequence at different octaves supported by a newly introduced acoustic sounding bass instrument.

The mix progresses to the one minute fourteen seconds position a bass drum roll provides the cue point for the snare to return and for a moment a more standard dance floor rhythm is established with the snare accenting every second bass drum hit before a snare fill and an atmospheric sound effect right of the stereo-field allows the snare to assume a more laid back role.

At the one minute thirty seconds the snare cannot be heard at all but slowly it returns at a lighter velocity playing between the bass drum beats. At this point there also changes in the synth arrangement too including the addition of a new higher pitched synth or an existing one playing at a higher octave, and at shorter note intervals. The result is an intense answer for the other synths melodies.
,br>The mix continues on up to the one minute forty seconds position with yet more interesting synth variations whilst the low frequency bass instrument is slowly faded out. After removal of the mentioned bass the music progresses further to a point where the snare is used again to provide a fill which announces one of the support synths taking lead in the musical arrangement to play a musical idea which restates the theme of the main hook before the next major bridge in the mix is encountered.

The major bridge at the two minute eighteen seconds position involves the departure of all drums except the snare, some new pads/strings and the slow introduction of a new techno synth playing the hook melody line used in the middle 8 sections from the original mix of mine. The synth immediately takes lead playing slowly at first, then after a drum fill and the return of the bass drum and closed hat the synth speeds up.

The mix continues on to the two minute forty seconds position with one of the synths from earlier playing a catchy support rhythm, before the pad/string then the bass drum leaves the mix. The bass drum returns and the original hook melody change into something more complex influenced by the mix introduction but still hinting the underlying hook theme although now on two synths playing answering melodies then further interesting variations on that theme are heard.
br>Continuing to the three minute fifty six seconds play position a "false ending" is encountered. One of the synths plays a higher octave goodbye note sequence and there is a split moment where only a whoosh is heard. The listener has been tricked into thinking the composition has come to an end but shortly afterwards when the whoosh finishes all drums and instruments return although playing a slower calming down theme. All synths and the bass are heard in the new arrangement, which continues up to the four minute seventeen seconds position.

From the four minute eighteen seconds after there has been two previous dramatic synth stabs the mix continues to wind down with a slow removal of instruments. After a short moment where the bass drum is removed and the snare plays the bass is removed then the mix continues a further eight seconds to the final moments of the mix involving the last delay treated synth playing solo for a series of ending scales. The mix ends cleanly on the delay trail of that synthesiser finally reaching silence after five minutes of play.

My final evaluation of this mix includes the following factors, general demonstration of musical skill (10/10), wide audience appeal (9/10), musical structure (10/10), catchiness of melody (10/10), use of drum fills, sound effects and natural musical cues for announcing changes in the mix (10/10), variation in melody/harmony/arrangement changes and sound effects drum fills to add interest to the mix, sound engineering including the use of delay, reverb, equalisation, stereo position compression and other studio mastering techniques (9/10). My final overall score for this excellent techno interpretation of my original break-beat production is 10 out of 10. I highly recommend this mix to those who enjoy techno or trance of any type and there are parts that a skilled dj could use especially early evening or in more chilled moments of a dance floor ready set.




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