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

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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:Electron Dance 4:43mins @140BPM Techno

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US2K Review: This mix begins with a rhythmic raspy delay treated synth hook is played at a bass octave. Seven seconds into the mix a squelchy acid synth joins the arrangement to play an answering melody for the existing synth hook. It begins centre of the stereo position but seems to move round subtly. The duet continues up to the twenty seconds position, at which a sustained higher octave note is played from one the existing synths to act as a mix fill and announce a change. The change mentioned is the addition of a steady four on the floor bass drum pattern. The chosen drum is of a characteristic which drives the mix without booming, which has the benefit of not muddying the mix or drowning out the lower frequencies of other instruments. One thing which is interesting though is the drum also seems to have some cymbal-like qualities to it, so I wonder if the bass drum has been layered with another percussive instrument such as a hi hat of some type.

At the thirty four seconds position a snare fill introduces a more obvious closed hi-hat or shaker playing a sixteenth note pattern, typical of that which often accompanies a four on the dance floor pattern. The result is to make a more compelling rhythm and hook to listen to, all in all the succession of changes have been affective in creating an excellent flow for the mix. The new hook remains interesting to listen to up to the forty seven seconds position after which point some intentional some intentional note changes in the melody lines to represent a fill are used in addition to a few clap snare rolls and other sound effects are intermittently introduced to announce an imminent change. After the equal successful creation of a fill effect again with a simple sustained higher octave note, the indicated change takes place with the introduction of an accent snare for every second hit of the bass drum and a fill at the end of every so often to add drive and interest to the flow of the music.

Around the one minute fifteen seconds a few higher octave note scales are used to announce yet another change, which is the addition of a new synth playing melody line which fits the arrangement to the extent that allows the acid synth to periodically answer it. The result forms a new very happy sounding hook and a fairly danceable groove that I will refer to as main theme two. The more danceable musical theme continues until the two minute nine seconds position.

At the two minute ten seconds position a sound like a jet landing introduces the start of a major bridge for the mix. This bridge is formed by thinning out the musical arrangement, the use of various sound effects including a vox and a few snare fills. The new sparser selection of instruments consists of just a bass drum and either the acid synth varying octave to alternate musical answers in bass then lead or a similar instrument is used to answer it as the bass line.

A bass drum roll is used at the two minute twenty four seconds position to announce the next major change which begins with the removal of all existing instruments again and a new steadier rhythmic bass line which reminds the listener a little of the introduction with its “raspyness”. A few whooshes later and a completely new synth lead playing an equally fresh sounding melody line enter forming main theme three for the mix. Despite giving the mix a new interesting twist, the melody line does have an adequate relationship and suitable answer to previous musical ideas to satisfy wide audience appeal. Main mix theme three remains interesting up to the point of a subtle drum roll which re-introduces an accent snare for the bass drum. From this point the mix just becomes better and better, the lead plays numerous "free-style" variations of main theme three, and the drum pattern has continuous subtle changes to retain listener interest without interfering with flow.

Around the three minute thirty eight seconds position a more powerful drum fill and more whooshes finally announces the concluding theme for the mix. This theme has a concept consisting of an arrangement of at least three octaves of different synthesisers, some have been heard earlier in the mix if not all but they now play a succession of different ideas based on the earlier themes and the results are very interesting and match the three part structure for the mix well. Of particular interest to me was the temporary slower musical part with fewer instruments at the four minute forty one seconds position which seems to me to represent a classical musical influenced "fan-fare" type coda section often used as an exciting way to indicate a musical composition is going to have its concluding themes repeated one last time. Listening further my theory is confirmed because after the "fan-fare" a snare roll is used to re-introduce the concluding themes exactly one last time to the listener before the five minute eleven seconds position after which a more intermittent descriptive melody line for a "good bye" is used to initiate the final moments of the mix.

At the five minute thirty play position after a few snare fills, a "jet landing" sound and a bass drum roll, all drums and bass instruments are removed from the mix and a solo of one or two delay treated lead synth right of the stereo-field plays a series of ending notes, slow at first, finally ending on a faster scale, and two last slow notes. As would be expected from this artist the mix is ending cleanly with precision and a smooth fade out with the use of instrument delay reflections.

My final evaluation of this mix includes the following factors, structure (10/10), demonstration of general musical (10/10), wide audience appeal (7/10), catchiness (10/10), Use of sound effects, drum fills to announce changes or add variation (10/10), general changes in melody line, musical arrangement (10/10), use of studio engineering techniques such as equalisation, stereo-position, reverb/delay fx and compression (8/10), bonus score because I enjoyed it so much (10+/10) Whoever says “techno is dead”, it was a better sound than the average dance music record in the present charts which is not even danceable because there is not even long enough parts with a constant beat (yeah I know in Ibiza they add a 90s dance underneath the mix to remedy things), as always in my opinion. This is a very enjoyable techno composition my overall final score is 10+ out of 10, it well worth a listen for techno enthusiasts and anyone who enjoys good music especially once the hi hat/percussion and the catchy melody hooks enter the mix.

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Mix Info:Gala Party Horns 6:00mins @136BPM Old Skool Breakbeat Rave

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An old skool break beat mix with some nice hooks to get the party started.

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

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Mix Info:With The Bass 3:39mins @139BPM Tech Trance

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US2K Review: This mix begins with shot sound and some aftermath echo, from after three seconds of play a bass drum role, trancey synth stab is heard and a very commercial sounding bass line emerges over a four on the floor bass drum pattern with occasional fills.

The very strong bass line continues for ten seconds before the synth is heard that played the first stab now beginning to play a melody line fairly widely spaced between periods of solely drum pattern and bass line.

The introduction theme continues up to a bridge section at the thirty one seconds position which consists of a slow pad melody behind a variation of the synth based trance melody from earlier. This time the synth plays a more energetic and regular note sequence setting the basis of a hook (main hook for this mix).

The mix main hook remains interesting up to the 49 second position with the help of an occasional clap to remind to the listener that this is dance music and a suitable beat will be returning shortly. After this point some intermittent bass drum fills are used to ready the listener even more for the return of the four on the floor drum pattern. This prelude to the return of the dance floor continues to the fifty eight seconds position with an additional accompaniment synth joining the arrangement, to answer the melody played of the other one.

There is use of two percussive whoosh fx of varying pitch and what sounds like a very metallic clap/snap roll do finally announce the return of the four on the floor drum pattern. This time the pattern is subtly different because there are either two pitches or velocity of bass drum sound, and it is highly likely that every second beat is an accent.

At the one minute five seconds position a subtle acoustic sounding snare joins the arrangement to provide the listener with a more conventional steady four-on-the-floor snare accent rhythm.

The new more complete sounding arrangement continues to the one thirty eight seconds position at which point the synth lines have not done anything significantly different for a whilst and although the mix would be less interesting without some intelligent drum fills and a second synth occasionally answering the main hook I am a little disappointed that on subsequent repeats there has neither evolved a significant up/down (either octave or tonal) of the "final notes" or decorative deviatiation from the underlying chords. If this is meant to be trance which would be intentionally this constant then there is either not the needed accompaniment layers to form enough emotion or a stronger melody line was needed to start with. I wonder because even the pad/string has begun to lose its purpose at this point that whether dropping it and bringing it back would have made the mix "fresher" to the listener

At the one minute thirty nine seconds position a whoosh sound is used to announce the first major change in the mix which is an alternative musical idea consisting of a different bass line and a different more intermittent melody focused on the second intermittent synth part used to answer the hook. This time the accompaniment synth is leading and the listener is given the impression of waiting for the return of the full main hook and to me it is a bridge or middle eight section.

The lead from the main hook slowly returns up to the two minute position, initially playing a simple accompaniment note sequence. Seven seconds later a whoosh sound effect allows the concept of the main hook to fully return and continue to the three minute fifteen seconds position, with both the lead and accompaniment synth providing subtle improvisations to conclude the mix.

The conclusion is more interesting than the earlier parts of the mix but I still feel another instrument layer could have improved things further and ended the mix "in style" either a powerful string/pad or simply a hi hat pattern of some type.

The final moments of the mix are introduced with a single hit of a powerful clap/snare, and consist of a "good bye" melody derived from a new intermittent variation of the mix main hook which this time includes occasional accidentals of a more discordant nature which work to confirm that the composition is concluding.

The mix finally ends cleanly on the delay trail of the last note of this melody line and the bass line after all other instruments have have appropriately left the arrangement.

My final evaluation of this mix takes the following factors into consideration, demonstration of general musical skill (9/10), catchiness and danceable factors (7/10), musical structure (8/10), Use of sound effects, cymbals or drum fills to add variation or announce changes (10/10), wide audience appeal (7/10), Use of studio and sound engineering techniques such as equalisation, reverb, delay, stereo-panning or compression (8/10), Use of variation in musical arrangement, instrument or melody (8/10). My final overall score remains at 8 out of 10 and my original statement remains:

It sounds like an attempt at the commercial uplifting sound but does not quite get there due to the chosen melody hook not being memorable enough, but that does not stop it from being a very good production and well worth a listen to everyone who enjoys techno or trance. I love the bass for certain!

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Mix Info:Something Mellow (US2K Breakbeat version of Epic 2 The Max collab) 2:45mins @162BPM Breakbeat/Drum and Bass

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Some more Drum and Bass/ Break Beat. The commercial old school revival at the moment has inspired me to produce this. No sub bass this time

US2K Review: This is by myself and Max Motion so I cannot review this mix but I welcome others to make comments, or any of the resident viewers to do their worst.

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Mix Info:Step Up 2:51mins @91BPM Dub Step

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thing a little different for ya.

US2K Review: This mix begins with sound effects including a siren. Shortly afterwards a harsh synth and bass combination with characteristic of dub step enter along with a suitable beat for the genre. The dub-step rhythm always sounds to me like a break beat pattern with a slight lag. This is the main theme and hook for this mix. The standard dub step theme continues to remain interesting right up to the thirty seven seconds position after which a shout sound effect announces a major change which is the snare pattern and bass-line speeding up temporarily. This section is my favourite part of this particular mix. This more energetic theme continues up to the one minute two seconds position after which point a series of sound effects introduce a bridge section which begins with the departure of all the drums and alternative bass-line and more sound effects including the siren from earlier then yet another bass playing a "squelchy" answering melody line which pans round the speakers. When this short bass sequence finishes the bridge ends and main dub step theme returns from the introduction but this time accompanied by many atmospheric sound effects. There are subtle changes to the lead synth periodically as it continues to maintain listener interest. The main theme is left at the two minute thirty six seconds position, initially by the departure of the drums and then a series of alternative synth sounds playing music themes reminiscent of that you hear in horror films. This is a brilliant ending for the mix in my opinion. It continues right up to the two minute forty five seconds position finally ending on a rather atmospheric reverb treated long sustained synth note. The echo from this sound ends the mix cleanly at the two minute forty nine seconds position.

My final evaluation of this mix consists of the following criteria, demonstration of general musical skill (10/10), catchiness (9/10), use of sound effects or drum fills to add interest or announce changes (10/10), wide audience appeal (8/10), structure (9/10), use of variation in melody or musical arrangement (8/10), use of studio engineering skills such as application of reverb delay, equalisation, stereo-positioning, compression etc. (9/10). My final overall score is 8 out of 10, and I highly recommend this very competent dub step mix to fans of the genre.

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Mix Info:Nintee 3:41mins @130BPM Commercial Trance

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New Collab tune for ya Nige

US2K Review: This mix begins with a really happy catchy trance melody line which makes the listener have immediate expectations of a highly commercial sounding mix. A "reverse cymbal like" vocal right of the stereo-field is used at the seven second and seventeen seconds positions add a feeling that an imminent change is about to take place, which does after the second time. A cymbal introduces a steady four on the floor bass drum (main mix groove).

The mix progresses as the melody line slowly becomes gradually less happy sounding. After a short drop of the bass drum a whoosh sound announces a more percussive synth accompaniment and two bar accenting hi hat cymbals. The harmony of the two synths creates an unusual emotional theme, something between melancholy and happiness. Despite this being a rare feel in danceable music which this mix in my opinion is aiming to be, it is very interesting and the foot at least taps.

The unusual musical mood lasts until the one minute seventeen seconds position where a crash announces a lovely bridge section. At the start of the bridge all drums leave the mix and there is a bass-line very similar to one of my favourite "Love Parade" 1991 records. An occasional backwards vocal is used as a reverse cymbal again periodically to ready the listener for the conclusion. At the one minute thirty two seconds position the bridge ends introducing a new theme for the conclusion.

The trance synth from earlier plays a melody line which plays musical notes based on the bass-line from earlier . A pad/string plays an accompaniment in the background. The pair of synths continue to the two minute forty six seconds play position before the bass drum is brought back into the mix in such a way it seems to introduce itself without sounding abrupt.

After the bass drum Some clever changes between major and minor scales takes place as the two instruments jointly lead with a strong series of hook lines. Sound effects all around the stereo-field and drum rolls are used to assist teh return of the two bar end cymbal accent.

As the mix progresses to the two minute position the concept is steadily becoming more danceable, a 90s rave style synth riff is heard and the synth hook lines are becoming catchier and happy again.

The mix continues until the two minute twenty one seconds position at which point a second bridge is indicated with the departure of the drum pattern, this time its use is not for simply bringing in a new musical idea but more to apply a technique typical of dance music, "readying the the floor".

The previous musical hook theme is repeated initially without drums and then with an intermittent bass drum to tease the listener whom is anticipating the return of the "four on the floor". A drum roll then fulfils expectations, this time the main groove when it returns though brings with it a regular half beat open and closed hi hat, and an array of harmonising synthesisers, bass-line and a mellow string. The overall mix has a much fuller more professional sound at this point.

The melody hook becomes more sophisticated as the percussive accompaniment synth ceases to be joint lead and instead becomes master of the arrangement. If that is not enough the use of major and minor scales take place again, this time resulting in a complex chord progression over different emotions, finally deciding to stay happy. The happy theme is emphasised with the string/pad playing a joyous answering melody for the rest of the arrangement.

it is a lovely finale but I was wondering why this string/pad melody idea was not used earlier in the mix because if this theme is used in the right way in my opinion it will result in a hit club record. This super melody line could have been played on the first bridge without the drum pattern to get an "arm waving" moment.

The joyous finale resumes to the three minute twenty seconds position at which point all drums leave the mix and the other instruments cleanly leave the mix, aided with suitable sound effects.

By the three minute twenty seven seconds position only the pad/synth (by which time is playing a more urgent discordant idea) and the percussive synth. They play a discord together to simulate an orchestral crash to join a cymbal, and an addition delay/reverb treated left-of-stereo sound effect to finish the mix. The reflections of the delay/reverb tail of the sound effect smoothly fade out at three minute forty one seconds.

My final evaluation of this mix is derived from the following factors wide audience appeal (7/10), structure (8/10), addictive dance floor qualities (7/10), demonstration of general musical skill (10/10), use of equalisation, reverb, stereo-positioning, delay and other studio production techniques (9/10), use of sound effects and drum rolls to add interest or announce changes (10/10), variation in melody or instrumental arrangement (10/10). My final overall score for this mix is 8 out of 10. Although the beginning maybe less danceable I would highly suggest that fans of danceable forms of techno and trance music would enjoy this mix most, and the conclusion is extremely dj friendly. The mix may seem a little unusual for the genre after the initial introduction but I suggest perseverance because it took me three listens before I fully appreciated it. - The best new mp3 music from up and coming bands