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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: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.

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Mix Info:Imperial Fighter 4:25mins @141BPM Tech Trance/ Sci Fi Film Score

Overall Rating

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3 cheers to the new year! and 3 tracks to go with them , more on the way Nige!!.

US2K Review: This mix introduction is formed with an immediate with a seriously commercial "happy" lead trance synth hook, a high frequency "whoosh" effect and a four on floor the bass drum, second hit accent snare pattern. A bass drum roll and another whoosh is used to introduce a center-of-the mix bass line, and around the ten seconds position the lead is "ducked" with adjustment of the frequency of a filter and possibly a reduction of volume for that instrument too.

Around the thirteen seconds position a similar technique in reverse is used to bring the lead synth back to full strength. Because the synth was "ducked" when it gains control of the mix again it sounds "fresh" to the ear keeping the mix interesting.

The lead trance synth hook plays the same theme up to the twenty four seconds position, after the lead synth is "ducked" again, a major change begins with an additional synth playing some slower/longer notes before a variation of the original hook returns. There is something else happening though, preparation for a key change is taking place. Up to the forty two seconds position the two synths take it in turns at leading, the note changing subtlety on repeats of their note sequences beautifully edging the scale towards a more menacing set of chords. A new lower frequency lead synth is introduced to make emphasis of the full key change, the original synths are demoted to playing rhythm and accompaniment. The new musical theme has got to be my "fav hook" in the mix although not "happy" like the introduction is still extremely catchy. This theme continues to the fifty five seconds position before a bass drum roll introduces the first bridge.

The hi hat is removed briefly from the mix at the beginning of the bridge to allow some beat changing "trickery" to take place with between the bass drum and snare. The snare becomes beat one for a short moment whilst the mix switches to alternative musical idea which is more rhythmic/descriptive/discordant than the earlier musical ideas. I had my doubts on it but it seems to work. The lead from the introduction is initially “ducked” again but raises in intensity whilst playing discordant note sequences reminiscent of 90s acid house, shortly after this, the bridge transforms into a a more substantial part of the composition when a second synth is introduced (possibly a echno bass playing a higher octave) right of the stereo-field playing a syncopated rhythm which compliments the rest of the mix extremely well.

After two minutes of play one of the synths is "ducked" again before it has its musical sequence gradually changed to the hint of the return of the "happy" scale used in the introduction. One of the introduction hooks makes a brief return before at the twelve minute , ten seconds position another bridge is introduced by a crash and a long bass drum fill. The bridge begins with all drums and the bass line leaving the mix with the synths left to begin a new theme based on the less harmonic bridge from earlier.

At the two minute fifteen seconds position another drum fill and a whoosh sound re-introduces the return of the full drum pattern. The lead synth is "ducked" again temporarily to allow another delay treated techno bass sequence right of the mix to take control briefly. The trance synth rises back to full strength playing a new melody line suitable for answering the earlier musical ideas and beginning a coda for the conclusion. The trance synth goes through a series of "ducks" and "un-ducks" towards the two minute forty seconds position before a drum fill is used to announce a reverb treated mid octave square wave synth, adding a "choir-like" atmosphere to the mix. Also from this point the trance synth is played a higher velocity (strength) and a series of other synths are used intermittently to play yet more answering melodies to the main earlier hooks.

The mix continues to the three minute position after which a drum fill and a whoosh re-introduce my "fav hook" from earlier but this time the other trance synth instead of being for rhythm and accompaniment, plays an imitation of the new lead line on shorter/faster notes increasing mix energy.

The energy of the mix continues to go up and up towards the three minute forty nine seconds positions, then the lead synth "ducks" and returns playing its previous note sequence transposed up a few semitones forming what sounds like discords but with the rest of the mix remaining harmonic, how do you do it Steve? quite fascinating. The urgency in the music created by this technique hints at the fact the composition is coming to an end soon. After this point I am certain the pitch of every instrument is slowly adjusted to continue the idea of the mix rising up, although it could be a "musical illusion".

The mix continues four minute six position after which a drum fill and a single synth stab is used to announce the final ending to the mix. The ending is performed on a thinned out arrangement of synths and right hand techno bass, playing a suitable "good bye" melody based on the musical themes of the mix. A final bass drum fill and a low frequency whoosh announces the end of the mix on the techno bass which by which time has moved to the centre pan position of the mix. The mix fades out cleanly on the delay tail of the bass and the end of the whoosh sound.

My final evaluation of the mix consists of the following scores, demonstration of general musical skill (10/10), catchiness level (10/10), use of equalisation, studio effects such as delay/reverb and general mastering (9/10), originality (10/10) , use of fills sound effects to add interest or announce changes (10/10), musical structure (10+/10) , use of arrangement changes and other variations to maintain interest (10/10) .This mix is well worth a listen and it fits the title well, I could imagine speeding t-fighters from star wars flying to a death star, and in battle. It is a danceable sci-fi film score.

The final score has risen from 9 out of 10 to 10+ because listening to it again revealed to me some fascinating scale and key changes which create a a structure consisting of “morphed” sections, resulting in an excellent listen to any trance or techno fan. There are also sections that I am sure a skilled dj could put into a dance floor friendly mix, although they would have a challenge because there are subtle key and scale changes throughout.

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Mix Info:At the Costa Del Sol Crossing (Maxed Up Mix) 5:16mins @136BPM Progressive Trance

Overall Rating

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US2K Review: The mix begins a crash, and whoosh sound before the drum pattern from the original of "The Costa Del Sol Crossing" (In future references the acronym CDSC will be used) enters with a far improved snare, and a catchy frequency sweeping bass line. The original drum loop soon gives way to an interesting variation of a four on the floor theme with little rolls and syncopations. This theme continues to the thirteen seconds position, before a short crash announces a change.

The change after thirteen seconds has no obvious difference in musical arrangement or melody but the listener perceives a bridge, I thought it was a musical illusion of some type but there must be subtle difference because I was so intrigued I performed a fast Fourier analysis on the audio and the wave is definitely different in a way that indicates velocity or volume changes on one or more instruments. The subtle bridge section continues to the twenty one seconds position before another crashes announces a greatly improved version of one of the fairly complex melodies used in the original version of CDSC (hook 1), the lead sound chosen works really well too. This melody continues over the drum pattern with a few crashes before a drum roll announces a faster variation of the melody with a new more powerful accent snare for the bass drum which continues to remain interesting up to the forty seconds position.

After the forty nine seconds position an alternative melody variation based on hook one is briefly is accompanied by some higher pitched stabs every 4 to 8 beats either on the same synth as hook 1 or a different one. This new musical theme only lasts up to the fifty six seconds position after which a whoosh sound introduces the start of a set of two bridge sections. The first of these bridges involves a simpler more repeated and urgent sounding melody line on the synthesiser which seems to be readying the listener for some greater changes to come.

The first bridge comes to an end on a climatic scale and a drum roll. After the drum roll the second part of the second bridge begins with all drums and the lead synth leaving the mix, but the bass line which has been in the mix from the introduction is joined by a more piano like instrument sound right of the stereo-field. This piano plays a series of notes which combined with a crash re-introduce the bass drum and snare along with part of the next main theme (beginning of hook 2) for the mix which I also recognise from the original of CDSC. There is a drum roll and then shortly afterwards a shorter drum fill (two very close bass drum hits) announces an additional synth playing the other answering part of hook 2 from the original of CDSC. Once the arrangement for hook two is completed the bass drum and snare patterns slowly transform into a steadier driving four on the floor.

By the time the two minute thirty seconds position of the mix has been reached a standard four on the floor has been achieved making the mix more catchy and danceable, at the same time it is possible that some vocoded vox has been added to the resonance of the bass-line. From the two minute fifty six seconds position there is totally new material which is based on the earlier musical themes and seems to fit the existing mix very well. A third synthesiser soon joins the arrangement playing a mechanical melody which sounds like an old arcade machine jingle over the existing hook.

At the three minute three seconds position the main instruments from hook 2 leave the mix after a snare roll and a reverse cymbal, and a "moaning" pad is added to the remaining arrangement of bass and arcade jingle. This series of musical idea although very unusual work surprisingly well to lead the listener to the conclusion of the composition which finally begins after a drum fill and a cymbal at the three minute twenty eight seconds position. The conclusion melody and arrangements was not in the original of CDSC at all, it a is less harmonic, more discordant adaption of the introduction, which appears to be full of Max Motions intelligent techno signature style. Every four to eight bars there is an occasional urgent sounding long stab on a second synthesiser. To keep this pattern interesting there is occasional drum fills or various sound effects including a whoosh that pans left to right (or right to left) of the stereo-field. This continues to the four minute fifty one seconds position after which a bass drum roll announces the departure of the main drum pattern in favour of some of Max Motions characteristic "stop-start beats" on the bass drum and the snare performing small rolls.

The mix finishes whilst the stop start beats continue with each lead instrument from earlier in the mix restating its musical theme. The mix finally ends on a drum fill and the delay reflection trail from the last lead.

My final evaluation of this mix is consists of the following scores: demonstration of general musical skill (10/10), catchy interesting melodies (10/10 ), use of drum fills and sound effects to announce changes or add variation (10/10), use of musical variation such as arrangement or melody changes to add interest (10/10), general studio engineering including equalisation, reverb, delay, panning, compression and other mastering effects (8/10) , the overall score is (10/10). My final comments are that I am disappointed that neither Max Motion or I were able to make a “dance floor stormer” out of this mix hence why it was never used in a video, but it is never the less an excellent progressive tech trance production, great for listening to for fans of that genre and I am sure parts of it could be mixed by a skilled dj into a more danceable set.

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Mix Info:The Immortal 3:39mins @130BPM Dubstep/Techno/Electro Hybrid

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US2K Review: This mix starts with some percussion (heavy snare and hi hats or shakers) and sliding (both in pitch and stereo position) synth notes. The effect is very orchestral and very intense in nature and reminds me a little of something that is sometimes done with violins or violas in classical music. Soon there is a whoosh sound and a bleepy rhythmic melody to answer the sliding notes is introduced. The result is anticipation for the listener.

A series of sound effects announce the temporary removal of the percussion to allow the bleepy melody line to solo before the sliding notes enter the mix once again; the main theme and first hook for the mix is forming. The end of one of the note slides followed by a non-pitched delay treated beep is used like a crash to announce the return of the snare drum and percussion. A bass drum seems to be slowly faded in behind the fairly heavy snare. The full drum arrangement which has been formed is a slightly swinging four on the floor. This beat with the bleepy melody (which has become more complex as a result of various sound effects becoming part of it) and sliding notes repeat a few times before the drum instruments leave the mix in turn starting with the bass drum up to the twenty seconds mix position.

After twenty seconds although the mix has not "really got going" yet, the result of the departure of all the drums is a bridge section consisting of a duet between the bleeps and sound effect melody and sliding notes. A long whoosh effect and the sound used in sci-fi movies for computer read-outs is used to announce the return of the full drum kit ( this time playing a tighter four on the floor pattern) and shorter sliding notes (they do not get to reach their new pitch). This new arrangement is kept exciting with a sound escape of fx before a drum roll at the fifty seconds position introduces a new techno melody bass line which combines with the existing musical arrangement to form a catchy Egyptian or Arabic sounding harmony.

After the fifty seconds of mix position the sliding notes slowly gain in length again, acting as a lead instrument in conjunction with the new techno bass line (main hook theme two). The mix remains interesting partly due to the myriad of well-chosen atmospheric sounds including spooky vox effects up to the one minute position. After this point an effect which sounds like an animal roar or a chant pitch shifted down is used as three times to simulate an orchestral crash to announce an imminent middle-8 bridge for the mix. After this point the mix slowly thins out, the drums becoming a single bass drum, the bleepy melody line, techno bass line, vox and other sound effects including the "computer readout" become more dominant as a result for what does sound like what is commonly referred to as a middle-8.

The sliding notes return for a short whilst until the middle-8 is finally nearing its end at the two minute position. At this point even the bass drum has left the mix, leaving a vox sample and the bleepy melody to create their own intense moment . Max Motion’ s typical method of making the mix sound like it has breaks on it but wants to get going again is evident, before a whoosh, a bang, and a sliding note allows it to by announcing the return of the rest of the musical arrangement playing a conclusion theme based on earlier musical ideas, but with the techno bass playing a strong lead line.

This final theme continues up to the three minute seventeen seconds position continues up to the three minute seventeen seconds position before a snare drum fill results in the bass drum leaving the mix, then two snare hits announce the departure of the rest of the percussion. The bleepy melody and the techno bass line play a melody line that re-states the musical theme for the mix and also say "goodbye" to the listener.

The final moments of the mix shortly before the three minute thirty six seconds position consist of the bleepy melody accompanied by some pads (which seem to slide in pitch and stereo-position like those used earlier but are lower in octave), followed by the computer readout effect which cleanly ends the mix.

My final evaluation of this mix includes the following scores, musical structure (10/10), catchiness (10/10), use of sound effects or drum fills to add interest or announce changes (10/10), Wide Audience Appeal (8/10), use of arrangement changes and other musical variations to maintain interest (10/10), sound engineering including equalisation, reverb, delay, panning, compression and other mastering effects (9/10), general musical skill (10/10). My final score for this mix is 10/10, it is commercial sounding but probably not suitable for the dance floor in its entirety although I am certain a skilled dj could mix it into a more danceable set. The mix is well worth a listen to all those who enjoy techno and less danceable styles of electronic music.

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Mix Info:Leviathan 3.25mins @130BPM Trance

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US2K Review: This mix begins with some initial synth notes over some left right panning percussion. After a few seconds a whoosh or two announces a rather commercial club sounding rhythmic synth (lower octave probably bass) hook to join the percussion. After 13 seconds of play further percussion including a milk bottle chink is used to announce a four on the floor bass drum. Once I heard this combination I knew I was in for a real treat.

The mix continues to get more intense with the four on the floor repeating nicely without sounding too samey, although a strong open high hat on the half beat around the thirty seconds position to drive things more would have improved things a little.

The mix proceeds to the fifty eight seconds position at which point some delay/reverb treated sounds including a whoosh, wooden block hit introduce a bridge section. The bridge involves the drop of the synth hook leaving the bass drum, a synth pad and a delay/reverb treated rattle of some sticks. This percussion sound is used along with some whoosh sounds to introduce the next musical theme. This is a more sophisticated progressive trance melody hook (second main theme) accompanied by a delay treated bass line (could be a rolling bass). Listening to this again reminds me a little of another artist’ s mix, Andy De Baeke' s competition winner at least a little, because there are definitely similarities.
The beautifully addictive trance hook continues up to the one minute thirty four seconds before a drum fill leads to the existing synth playing the hook (or another synth layered on top) at an octave higher, possible with some subtle note changes too. The results are a fun listen but I do miss a hi-hat a little when musical energy is being developed in this way. This results in the earlier repeats of the hook at the lower octave being answered really well.

The second musical theme continues to the one fifty seconds position with little change before intensity and variation for the listener is enhanced with yet another synth playing even higher octave notes around the existing theme. This arrangement continues to the two minute five seconds position before some strategically chosen notes are chosen from the scale in use to be repeated (having an effect like a drum fill) to announce the last major bridge in this mix.

The mentioned last bridge at the two minute six seconds position consists of a faster 16th note based version of the hook form main theme two with the highest synth playing only four to eight notes to accent the catchy parts of the hook.

The final bridge arrangement readies the listener for the finale of this mix which is a higher energy answer to everything else (main theme three) that has been heard before. Anyway before the excellent finale begins, some clever stop start bass drum beats which heard are Max Motions forte (as good as any signed artist can do in my opinion). As usual these create the effect of "putting the breaks on the mix" which evidently "wants" to get going again.

From the two minute twenty eight seconds position the bass drum pattern mentioned slowly speeds up until a full four on the floor pattern has been restored.

After the mentioned dance beat is established a drum roll and another synth (raspy harpsichord like in nature) played twice on the stereo right hand side to announce a succession of additional synths playing at a higher octaves for the finale melody line, giving existing lower octave synth the role of bass instrument.

The finale is equally if not more sophisticated than the hook heard earlier, and is very catchy and very dance floor friendly too. This finale finishes around the three minute eleven seconds position on an ending scale, one last discordant note (gives same effect as an orchestral crash), a few repeats of the underlying bass riff accompanied by atmospheric percussive sound effects, and a final synth sweep.

All the sounds at the end of the mix have delay and reverb applied to them, and it the final last reflections of the delay trails form a smooth fade out at the three minute twenty two seconds mix position.

My finale evaluation scores for this mix include the following factors, catchiness (10/10), general demonstration of musical skill (10/10), use of sound effects, drum fills and crashes to announce changes or add variation, structure (10/10), use of arrangement and melody variations to maintain listener interest, studio engineering techniques including equalisation reverb, delay, stereo-position and general mastering (9/10). My final score for this mix is 10 out of 10. It is an excellent progressive trance production although I think a strong open and closed hi-hat pattern at times to drive things a bit more would have really “pumped up” the dance energy and led to my new exceptional 10+ score. Regardless, in the main “Leviathan” is a very club dj/dance floor friendly production and I highly recommend it for that use as well as personal lovers of trance or techno.

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Mix Info:Evasion 4:47mins @138BPM Techno Trance

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US2K Review: This mix begins on a chanting vox, and ravey/techno hook (main hook and mix theme). Seven seconds on and the vox is heard again acting as an orchestral crash to introduce a four on the floor bass drum pattern. At this point the mix is always very catchy and dance floor friendly arrangement. The theme continues to the twenty seconds position at which point a drum fill announces an accompaniment synth at a higher octave synth right of the stereo-field to answer the existing hook, result being a newer more interesting musical concept. This theme continues to the one minute two seconds position without any vox but interest is maintained with a short drum fill on the way. After this position the chanting vox are re-introduced by a snare fill. After this the snare assumes the role of accenting every second bass drum hit, and the mix continues to yet another interesting sound effects, a water bubbling sound and a screechy skid fx.

All the elements in the mix make it quite compelling to listen to as it progresses to the two minute twelve seconds position where the lead synth is either layered with a higher pitched synthesiser or is played an octave higher with an alternative melody hook line (main hook 2), progressing the listener to a major bridge section at the two minute twenty seven position which begins directly after a powerful snare roll.

The major bridge consists of the chanting, vox the new higher pitched lead playing a broken melody out of short stabs, accompanied by a more percussive synth and "a broken stop/start bass drum pattern". This is one of Max Motions clever "Trade Marks" a feel that that the mix has breaks on it and it wants to get going again.

After the two minute thirty nine mix position after another snare drum roll, indeed the mix does get going again, with twice as much vigour, a variation of the main hook returns accompanied a full four on the floor groove including bass drum and snare accent on every second beat but also a “trancey” sixteenth note melody played on what sounds like a filter swept (possibly delay treated) electronic piano sound. One particularly brilliant thing about this particular sound is that when it playing the lower frequency phase of the sweep it moves to the left side of the stereo-field and to the right when it plays at a higher frequency, and the sweep is itself over about 4 to 8 bars, and seems to take lead. This helps to maintain variation whilst resulting in an extremely addictive and danceable. This dance-floor friendly feel is enhanced by the fading in over time of some subtle percussion; either closed hit hat, shaker or tambourine. Interestingly enough this is panned left and usually hi-hats do not sound right there to me but it sounds good so I am guessing that the percussion has been equalised to remove some of the "top end".

The mix continues to be very interesting and danceable up to the three minute, thirty two seconds position, at which point the chanting vox return briefly restate the theme whilst the conclusion of the mix begins with bass drum/snare fill and a single synth playing a temporary note sequence based on the main hook.

After two minute thirty six seconds play position the main hook returns with the swept piano lower down in the mix whilst the original synth regaining leadership of the mix, reforming a variation of main hook 2. For some reason the overall mix sounds more full, it may be the lead has been layered with another instrument, extra delay or reverb has been added, or a third synth been added in its own right. If this is not enough the listener is "spoilt even further" after the four minute position with the mix is giving an impression of gradually speeding up. I guess this is achieved with the use of higher velocity snare drum hits (possibly multiple snares layered) and repeated shorter notes on the synths. It does not really matter how it is achieved but it is very effective in forming an exciting finale. One last snare roll announces the end of the finale at the four minute thirty four seconds position, after which the mix begins to end on the chanting vox (restating the main mix theme) accompanied by an arrangement of the synths from earlier in the mix playing an ending theme based on main hook 2, and the mix finally ends cleanly after four minute forty one seconds of play on the reverb/delay tails of these synths.

My final evaluation of this mix is Structure (10/10), Danceable Catchy factor (10/10), Mixing/Mastering including use of equalisation, reverb, delay, stereo-position, compression etc. (9/10), use of drum fills/sound effects to add interest and announce changes (10/10), demonstration of general musical skill (10/10). My final score for this mix is 10 out of 10. This is excellent tech trance with some exciting vox. I recommend anyone who enjoys techno or trance to have a listen. If you are dj the majority of this mix is very danceable I highly recommend it to you for mixing in with happy club/Ibiza or field party music. In the early years of the Berlin love parade this kind of music was regularly heard ”in the mix”. - The best new mp3 music from up and coming bands