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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:Exclusion Zone 4:47mins @130BPM Techno

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
A very recent track i made , i thought you should get a listen as i really like it , hope you do m8!.


DBAReview: A good basic techno song, but needs more work because its now a bit monotone. Use more fx and perc(cymbals, snare, open en hi hats) and a break 2 build up for more variation. Sound design is not bad but i feel u have the same problem like nigel. It sounds a bit oldschool and ravey. Outro needs more work also. A good basic but needs more work. 6,5/10
6

US2K Review: This is an excellent techno mix. It kind of reminds me of the early days of the Berlin Love Parade. My provisional score until I can review it is 10 out of 10. What makes it really fun to addictive to listen to is a subtle vox driving the mix, and the fact the notes used for the accompaniment are parts of some happy chords.


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Mix Info:Turn It Up 4:45mins @139BPM Techno

Overall Rating
Artist:Max_Motion



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US2K Review: This mix begins with a syncopated bass drum and snare pattern with fills, accompanied by a centre stereo, catchy raspy lead melody techno line which is a little reminiscent of what a tech trance interpretation of what I could imagine the hook line from Too Unlimited' s "Get Ready For This!" would sound like. Of course there is Max Motion' s typical sound effects, vox, personality and spark of originality (discordant note stabs on brass lead right of the stereo field is used to answer the hook without throwing the mix out of tune.) coming with it though that makes a big difference and that note or chord/note has been commonly used by countless other artists because it is damn catchy anyway.

Back to the mix a whooosh sound introduces a the fact the drum pattern is going to change to a tighter four on the floor rhythm with a snare accenting every second beat but with occasional syncopated hits. Shortly after this change there is also a succession of vox samples including the very dynamic "Silence", a bird whistle and what sounds like "Transformers", and some other background murmuring and some other Latin American sounding, Spanish or Mexican vocals. Interestingly enough the lead seems to either have an overdriven chorus or flange effect applied to it which creates a pulsing.

At the 14 seconds position a drum fill announces a new instrument to the mix, a wobbly filter accid base synth with the filter closed. At the same time the lead playing the variation of the well-known hook leaves the mix. The wobbly bass synth plays a variation of that hook instead. The discordant stabs continue to accent and answer the hook now played on the bass. This concept continues to the forty three seconds position, kept interesting with various vox or the bird whistle.

After forty three seconds a new sound effect announces two new changes, the first is an illusion of the drum tempo increasing and the second is the fact that the brass stab is going to go through a transition to a more regular ryhtmic pattern. By the time an extra clap has entered the mix after a drum fill, and another whoosh sound, the brass instrument has completed the mentioned transformation.

The new theme is kept interesting with vox and clap or snare fills right to the one minute fifty two seconds position, before a bridge section is reached. The bridge involves the dropping of the clap, the filter being opened half way on the acid bass resulting in a more organ like sound, and the vocals being allowed to lead more.

This bridge begins with the start of a new musical idea at the two minute position, this is the acid bassline with the new leadline being played more regularly and possibly its reverb level increased. The result sounds fantastically haunting in a similar way to the dominant instrument used in the more harmonic sections of the famous warehouse record 'UHF' by UHF in the earlier 90s. This new concept continues accompanied by Vox, sound fx, and and the rhythmic brass section continues for a further 16 seconds before something not heard before in the mix is heard. The new sound added to the mix is a synthetic choir or vocoder sound, and to enhance the 'freshness' of the sound it is backed up by a whoosh sound whilst all drums are dropped.

The drums return as soon as they left and the haunting synth lead and the accompanying rhythmic brass riff continue to play more regularly becoming more exciting as they go (a change from 8th 16th notes is highly likely but difficult to know for sure without having the FL mix file to examine). This affect climaxes at the two minute fifty seven position at which point another subtle bridge section is introduced with a drum roll.

This bridge section has a more basic four on the floor bass drum patterns, the accent snare being less powerful and having no syncopation, and also the acid bass synth slowing down almost leaving the mix entirely. For some reason this theme creates a sense of waiting for a change. The change that takes place is around the three minute position, which is the beginning of the conclusion, starting with the acid bass/organ sound becoming more dominant and taking lead of the mix again, and regaining speed. All previously heard vox and sound effects make "reappearances" again too, and the choir sound is heard more regularly.

Up to the two minute twenty four seconds position this concluding theme continues with interest maintained via changes to the synth patterns, vox, sound effects, drum fills and the open settings of the acid synth being adjusted. At this point the instruments change to more intermittent or chaotic note patterns based on earlier themes, and the brass synth also rises in octave to an almost screechy sound to play a final scale which allows the snare to discretely leave the mix, followed by the rest of the instruments. The mix finally ends skilfully on the feedback of a flanged whoosh sound after four minutes forty four seconds of play.

My mix evaluation is that despite the raspy lead at the beginning being too loud at times this techno mix is a generally interesting blend of Too Unlimited mixed with UHF and stirred with Max style. My final score therefore comprises of structure 9 out of 10, strength of melody and catchiness 9 out of 10, use of mastering effects such as equalisation, panning delay 9 out of 10, use of vox sound effects or drum fills to announce changes or just add interest 10 out of 10, Skill in arrangement and general changes to maintain interest 9 out of 10. The final score is 9 out of 10. To conclude this is a brilliant techno production that is well worth listening to by those who enjoy techno.


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Mix Info:Breath of Ariana 4:30mins @136BPM Club Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Sorry Nige for pounding you with tracks , but i thought i would send you the latest track i have made for a change , fresh off the Laptop!!!.

US2K Review: This mix begins with a powerful reversed sweep sound accompanied by some bleepy notes and a long stab on a brass horn like trance lead (trance stab) sound. This sequence is quickly answered by a brilliant happy club style trance hook, and a main four on the floor groove bass drum pattern. The mix only as two synths, one playing a trance lead ping pong delayed left-right of the stereo field whilst the other plays an occasional bleepy bass line left of centre, but the outcome combined with the powerful four on floor is already so danceable.

A super hook continues to the 25 seconds position before an occasional four or eight bar accenting hi hat enters the mix, 13 seconds later, a bass drum roll announces a happy answering happy higher octave lead line to the existing hook, and a snare to accent every second beat of the bass drum. This concept continues up to the forty six seconds position at which point a powerful backwards sweep and a trance stab like that which began the mix and temporary drop of the drums forming a nice bridge.

After bridge the higher octave synth takes the lead forming a fresh variation for the mix which continues with some subtle changes up to the one minute eighteen seconds position before the club trance synth form the introduction of the mix returns to its rightful role of keeping the mix addictively danceable, with the higher octave synth answering it when need be to add to the energy to the mix. This continues to be the case up to the one minute fifty eight seconds position after which the higher octave synth returns to lead again this time but backed up with at least one extra synth (a raspy bass sound to drive) and some powerful hi hats and percussion.

All in all the sound of the mix progressively becomes fuller and fuller similar to the sound that is heard is in records produced by top signed Ibiza or Ministry of Sound club music. From then on the records continue to get better and better with faster and more powerful variations of the hooks heard earlier, with the trance stab, drum rolls or other musical tricks (including snare hit samples being reversed) to add interest to the arrangement.

The conclusion beings at around the three minute forty two position where a good bye theme is created initially with some "free style decorations" and repeats of some of the dominant notes within the hook, before an extra snare hit is used to initiate the thinning of the musical arrangement, before the bass synth gets a chance to play the lead hook, answered by an intermittent play of the club trance synth sound. The mix finally finishes neatly on a drum roll from a bass drum at a higher pitch than that used for the four on the floor and the reverb trail from the club trance synth.

So my final score consists of the following factors, variation=10, catchiness=10, arrangement=10, mastering, delay etc. and instrument positioning=10, Use of drum rolls or sound effects to announce changes=10, musical structure=10, general musical skill=10. The overall result is 10 out of 10 for a mix which I am sure if it was played in Ibiza, Londonís Ministry of Sound or Slinky it would be indistinguishable from the quality records by signed artists and djs. This is definitely one of Max' s best mixes on this site, one tip though would be to maybe retitle the track to something a bit more trendy in order to get A & R interest but shame on the djs that do not have a copy of such a massively uplifting club trance production.


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Mix Info:Voyager 3:42mins @136BPM Tech Trance

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
i absolutely love this track m8 , i did in tribute to the famous space rover , tried to emulate it's travels through our solar system and beyond , maybe i succeeded?


Bass Mom & Dj CrusadeReview: This is this reviewers first review for this artist known as MAX MOTION and so far I really like what I hear this is a mix that is well organized and well produced at that this definately one track I could not stop dancing too!!! this gets a solid 10 from me!!!
10

US2K Review: This brilliant tech trance mix I am provisionally scoring with 10 out of 10 until I can review it. It very exciting and well worth a listen.


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Mix Info:Anihilator 3:38mins @144BPM Listening/Intelligent Techno

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Nige this is a mix i did a while ago on FL9, enjoy!.

US2K Review: This begins with a lead synthesiser playing a happy possibly danceable techno hook (hook 1), which after a whoosh sound, is soon joined by a four on the floor (with periodic fill variations) consisting of bass drum and snare, and two (could be one morphing or sweeping not certain) new synthesisers. The purpose of the new synthesisers is to answer the existing hook melody in turn, all round the stereo-field, which seems to have very interesting results.

The introduction theme continues until the thirty seven seconds position where a whoosh sound announces a change. The mentioned change is a short bridge where the snare leaves the mix, bass drum becomes more intermittent and an acid melody line plays a more descriptive, less catchy interpretation of the notes used in the hook. This bridge finishes with a 'power down' whistle announcing the return of the four on the floor including at least one hi hat this time. The acid line is joined by a pulsing techno bass and the synths that answered the introduction hook, this time they answer the acid line, and what was a descriptive musical section progressively (very clever) becomes more catchy and danceable. By the one minute twenty seven second position the foot is once again tapping. This musical idea continues until the one minute forty seven seconds position at which point hook the acid lead scale final note and a drum fill intelligently announces the return of hook 1 to the arrangement. The result is very exciting. This concept is kept interesting with subtle synth melody or drum variations up to the three minute position.

Around the three minute four position there is a 'power down' whistle sound and a long brassy stab that moves from the left to the right of the stereo field announces a major change for the conclusion. The change is the addition of an atmospheric sounding string or pad sound to the arrangement, and the other synths seem to change their melody lines too, although it could be an illusion as a result of the harmony achieved with the pad. From this point the other synths slowly have their role in the arrangement changed (announced by drum fills), leave the mix or play less regularly.

By the three minute position there is only two lead synths, bass line, pad and drums remaining. One of the synths, the one with the acid timbre, at this point has changed from playing a catchy answering melody line to a slower more basic note sequence. This successfully creates a feeling that the mix is going to end any moment. This is true too because only twenty nine seconds later a drum roll and the 'power down' sound is used to announce the clean finish of the mix on a last stab of the right hand synth, a final scale of the left hand synth and fading out delay trails from the pair.

So my final score consists of the following factors, variation=8, catchiness=7, arrangement=8, mastering, delay etc. and instrument positioning=9, Use of drum rolls or sound effects to announce changes=10, musical structure=8, general musical skill=8. My overall score for another very good techno record is 8 out of 10.


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Mix Info:March of the Drones 4:18mins @140BPM Techno

Overall Rating
Artist:Max_Motion



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Message sent with this Mix:
Another FL10 track for ya Nige.

US2K Review: The mix begins with a whoosh and some notes on a raspy techno synth. A split second later and a four on the floor bass drum pattern enters the mix to drive it, and the raspy techo synth is joined by a bass synth right of the stereo-field. The notes that bass synth vary from low octave to mid octave. This arrangement is affective in creating a reasonably interesting hook line. This arrangement is joined by a snare playing accents and fills to form a main groove to accompany the hook line. This theme continues until the one minute seven seconds position at which an additional gliding and sweeping bass synth sound enters the mix playing accents at either the start or end of every bar. It sounds almost like an alert sound from a James bond film and seriously adds some excitement to the mix, and is my favourite part.

The alert concept continues without losing listener interest up to the two minute eight seconds position, after which a series of flanged whooshes, gushes and other sound effects introduce a bridge section. The bridge consists of some intermittent bass drum hits, a previously unheard acid bass line, the alert sound synth and some synth sweeps. The mentioned bridge ends at the two minute thirty two seconds position, which after some false starts by the four on the floor bass drum pattern, it finally resumes the role of driving the mix whilst a synth from the beginning of the mix returns playing a faster variation and answer to the earlier theme. This theme continues to the four minutes, one second position after which a flanged whoosh and some bass drum/snare variations, announce the ending to the mix.

The final moments of the mix are a series of slower intermittent descriptive melodies based around musical ideas from earlier. These are played by two synths left and right of the stereo-field. The mix finally ends cleanly on some echo from the right-hand synth and a flanged whoosh sound.

So my final score consists of the following factors, variation=7, catchiness=7, arrangement=9, mastering, delay etc. and instrument positioning=9, Use of drum rolls or sound effects to announce changes=10, musical structure=7, general musical skill=8. My overall score for a reasonably good techno record is 8 out of 10.




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