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

The mixes on this page are created with the Image Line Fruity Loops programmes. The mixes are all zipped, because they are faster for you to download. If a mix has any "imported" or "tweeked" samples, they are normally saved into the mix, but it makes the file size much larger. Any message or text that you want to send with your mix will be added as well, unless stated otherwise..

Please note right mouse clicking the download buttons on this page and choosing save as will not work as they are only links to the actual download page in order for downloads to be counted.
There are currently 323 mixes on this page, the last was uploaded on 07/10/2017 13:01:04

All mp3 full downloads have been granted permission for free distribution
by the artist or current licence holder (eg. Dance Industries)

You can submit your Fruity Loops  7,8,9 and 10 mix or mp3 via the new Uploader

Go to top of page.
Mix Info:Emergency! 6mins @138BPM Tech Trance

Overall Rating
Artist:Max_Motion



Go to download page for Emergency! mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:

US2K Review: The mix begins immediately with a police or fire engine siren. The hook is almost immediate too consisting of a catchy mid octave raspy synth lead melody, 4 on the floor bass drum with snare accenting every second beat, and of course half beat open hi hat. This the main groove for this mix. There are some atmospheric vocal whispers in the mix too.

There is a series of bass drum fills before a techno bass line enters the arrangement, at which point the music is already seriously danceable. Things are kept interesting by occasional bass drum rolls or fills for a full 46 seconds the siren returns, introducing the first short break/bridge in the mix at the 55 second position. This is formed simply by the drum pattern, and bass line leaving the arrangement for about half a second whilst the siren and synth lead have dominance. The main groove and bass line return very shortly afterwards at full strength putting listener back into "dance floor mode". This time Max has sneaked in an echo treated clap to drive the mix a bit more which ensures the mix continues to be foot tapping whilst slowly becoming mellower. These changes include the bass becoming less powerful and higher in frequency, and the drum pattern becomes more laid back allowing an orchestral pad sound to slowly emerge in the background.

The mellower more trancey theme continues with numerous subtle sound effects and some atmospheric vox speech and shouts that at times seem to have similarities to the emergency siren. This musical idea is kept interesting right up to the 3 minute, 28 second position in the mix because Max’s bass drum/heavy snare fills ever so often ingeniously change the listeners perception of what is the strong or weak beats in the music so the result is the hook and main groove start point changed keeping the mix "fresh". After this point the original synth instruments plays shorter notes and a new more powerful ravey lead is faded in on the left of the stereo-field. This new synth soon takes the role of lead alternating between playing a catchy hook or notes of a more descriptive and discordant nature.

The drum pattern seems to slowly gain in intensity towards the four minute mark. I am not certain if this is due to a doubling of the accent snare, a volume change, equalisation or an illusion of some type as a result of another change. After that point the rave lead instrument begins to change its melody line. Fourteen seconds later it is playing what sounds like an arpeggio sequence before a bridge in the mix is reached. Once again this is achieved by the drums being dropped, but this time the snare remains. The atmospheric vox and sirens also momentarily have a very strong presence; there is what sounds like an argument. This bridge is longer than the last and a snare roll announces the return of the main groove and the last section of this composition.

The vox are initially retained but soon dropped in favour of a sweepy sounding orchestral pad playing a very atmospheric musical concept on long notes (minims or semibreve 2-4 beats in length). At this point the rave synth plays higher notes and occasionally to add detail to the music. This themes until the four minute fifty eight seconds position in the mix at which point. The drum pattern changes temporarily at this point, the clap leaves the mix and the snare changes is roll from playing accent of second bass drum beats, to only an occasional hit every 4 to 8 beats. At the same time original lead synth hook from the introduction gains in mix presence before climax to the mix begins after a bass and snare roll.

The climax includes the return of the main groove without the clap, whilst both synths that have led at some point play complimentary multi-octave arpeggiated 16 note melody sequences. The results are discordant at times but not out of tune, instead more reminiscent of an acid bass line. The synth on the right side also plays another melody at a lower bass octave. The atmospheric vox and sirens also return to the mix taking lead as a result of being central of the stereo-field and to the synths being left and right of that position. The result is a temporary high energy techno feel to the music with drum fills retaining this feel. The mix continues to sound like this until the five minute 38 second position after which the lead on the left has its note sequence changed to a slower ending melody and the right synth plays the theme it originally played as a bass at a higher octave and lower velocity. After this point there distinct sense of a "wind down" with fills leading to drums leaving the mix, whilst the siren gets louder. The mix conclusion is formed from an arrangement of gentle bass drum, snare, closed hi hat, one last note from the synth on the right sustained so it sweeps out, combined with a siren and atmospheric vox shout.

My evaluation of this mix is that it is well structured, and has the right balance of repetition and variation. Max always uses some sophisticated drum fills but he has surpassed himself here in using them to change the bar starts to keep parts of the composition interesting which would otherwise have become too repetitive. The use of atmospheric sound vox and other effects is of the usual standard of the artist. Stereo positioning, equalisation, reverb, delay and other mastering effects demonstrate great production skill. The melodies range from interesting, catchy and exciting; also the mellow pads are a nice touch to the mix. To sum things up this is an excellent imaginative techno trance production that is well worth a listen to those who enjoy this kind of music, so my score is 10 out of 10.


Go to top of page.
Mix Info:Technoid (Welcome) 3:06mins @130BPM Progressive Trance

Overall Rating
Artist:Epic_2_The_Max



Go to download page for Technoid (Welcome) mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
Made with Fruity Loosp 10.

US2K Review: Sorry folks this cannot be reviewed as it is by Max Motion and Yours Truly. I am giving Max a Score of 10 for his work though.


Go to top of page.
Mix Info:The Spectre 3:56mins @140BPM 80s Electro Tech Trance Film Score

Overall Rating
Artist:Max_Motion



Go to download page for The Spectre mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
A FL9 mix for ya Nige

US2K Review: This mix with an interesting 80s style techno film score with a musical hook influenced by electro, techno and trance, which I will for further references call the main theme. This is formed from a musical arrangement including a square wave flutelike instrument playing a lead melody, an organ that seems to morph into a sub bass at times, and another punchy bass line simply playing harmonizing accompaniment notes. Around the thirteen-second position a power down sound to announce a bass drum that is fairly gentle and plays some intermittent beats at first before changing its pattern to a four on the floor after a sound effect that is like a synthesiser laughing. A second "laugh" after 38 seconds and a short drop of the bass drum introduces a snare playing second beat bass drum accents and fill variations, the main groove. This groove continues with the main theme until the one minute thirty second position, with interest maintained via various sound effects including an atmospheric echo/delay treated effect right of the stereo field which sounds like a submarine bleep.

After the one minute thirty three position the lead flute/square waves plays a variation of its previous melody line and some "power up/power down" sound effects introduce a change in the mix which the accompaniment instrument and organ playing a bridge section descriptive melody. During the bridge there are yet more sound effects and some pretty fancy snare drum fills and variations. After another "synth laugh" sound effect a new musical theme begins led by the organ from earlier. The main groove drives this new theme with an additional hi hat. Although the foot taps a little there is no catchy melody hook and the melodies remain complex and descriptive in nature. The nature of this musical section I am not certain due to the non existent demarcation usually made clear with a drop of the drums but this section may be a continuation of the bridge and be a like a middle 8 in a pop song. This theme continues until the two minute forty-six second position in the mix, a sweep, "synth laugh", a snare fill and some other sound effects, a slightly more energetic version of main musical theme returns for the conclusion. The notes may be playing a bit faster or it could be the hi-hat in the mix that makes the main theme more exciting this time. This concluding theme continues until the three minute forty seconds play position before the last change in the mix is announced on a snare roll. This is followed by the "synth laugh" and an arrangement between the accompaniment instruments from earlier playing a melody to resolve the composition of the main theme. The mix finally ends on crash, sweep, sustained bass note and a metallic percussive right of the stereo field after three minute fifty four seconds.

My evaluation of this mix is that it is very well structures, it has some interesting melody lines, and there is the right balance of variation and repetition for a composition of its nature. The choice of instruments and use of sound effects my Max as usual is very imaginative, that was a nice touch that morphing instrument even if it was a pain for me to review, and the snare and other drum variations are skilful as usual. The use of studio mastering such equalisation, delay, reverb, stereo position etc is excellent. My final score is 9 out of 10 because this is a very produced 80s film score techno mix and well worth a listen to enthusiasts of that style of music, or anyone who enjoys 80s electro, techno or trance.


Go to top of page.
Mix Info:Hidden(Remix of US2K s Hiding In The Dark) 3:12mins @140BPM Sci Fi Movie Score

Overall Rating
Artist:Max_Motion



Go to download page for Hidden(Remix of US2K s Hiding In The Dark) mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
That was a very quick remix Nige , replacing most of the Sytrus sounds with , Predator - Vanguard - Poizone - Nexus - Toxic Biohazard , i don't like using Automation clips unfortunately ( i use pattern clips - find it much easier ) or i would have played around with it a little more , i wanted to extend a part of it alot but couldn't find out how to cut and paste like you can with pattern clips ( maybe you can't?). I think using Sytrus for all samples makes the song sound a bit staid , don't you think?.

US2K Review: Max has really modernised my mix. This mix begins synth playing a basic introduction melody, and a sophisticated bass drum pattern. Shortly this arrangement joined by a catchy bass line and a typical complex Vangelis like lead line at a higher scale. There is a second synthesiser playing an answering melody, and the combination makes a lovely ethereal sci-fi techno theme. After 20 seconds and two crashes an open hi hat in introduced to the mix. Another crash at the 27 seconds position announces a closed hat, a change in bass drum pattern to four on the floor, and a snare to accent every second bass drum beat which seriously adds some energy to the mix.

There is an exciting arrangement up to the 34 second position at which point a bass drum roll introduces a short bridge in the mix consisting of no drums or percussion and a temporary alternative synth melody and a sweep. A crash a few seconds later announces the return of the four on the floor bass drum and snare pattern, short followed by the re-introduction of the hi hats also. There is a catchier version of the Vangelis like melody line too. A crash introduces a clap that has two purposes, the first to enhance the snare accent, and a second to play fills to keep the mix interesting. The mix continues this way up to the one minute thirty six second position, after which point a bass drum roll announces a second bridge. This section and alternative melody line in the original mix was intended to symbolise the sun rising and give the listener an intense sense of waiting, so all drums had to leave the mix and Max has kept faithful although there is a second synth line which fits the lead. After a crash there is some complex introductory bass drum hits before the return of the four on the floor, and like in the original the melody line from the bridge is used to drive the conclusion. Another crash introduces the hi-hats to add excitement and drive the mix effectively onwards. A faster 16th note rhythmic synth line is faded in. Although movie score techno I am confidence it is seriously danceable at this point. Steadily more percussive fills introduces yet more synthesisers to keep this mix interesting. The ending to the conclusion begins at the two minute 48 second position with the hi-hat leaving the mix, and then the clap that was doubling the snare. The last part of the mix is created with the departure of all drums and initially a duet between two of the synths that played the last passage of music, and then the most rhythmic of the pair plays a faded out solo. The mix finally finishes after 3 minutes 11 seconds on the delay tail of the last synth.

My evaluation of Max’s remix of my 'Hiding in the Dark' is that the structure is intelligent; there is great skill in the musical arrangement choices made. The production I think is better than mine was. The mixing and production are clearer, there some interesting subtle variations, crashes and fills to announce changes, and also generally there is more energy and a more interesting sound than my original. The conclusion for certain is much better and there is more space in the mix for the rhythm to have power. My version dragged a little. When I originally score this mix I was on anti-depressants, with my clearer mind I think this is worth 10 out of 10. All Vangelis fans must have a listen to this; Blade Runner seriously comes to mind when listening to this mix. I think trance and techno lovers will also enjoy this too though.


Go to top of page.
Mix Info:Butterflies Come Back! 4:07mins @135BPM Progressive Trance

Overall Rating
Artist:Epic_2_The_Max



Go to download page for Butterflies Come Back! mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
Message from Max, Got my teeth into this Nige , great rift!! , lets see what you do with this !!.Couple of samples added

US2K Review: No review as this is a collab between Max Motion and I.


Go to top of page.
Mix Info:Arctic Moon - True Romance (Sasa Clubber Remix) 7:38mins @140BPM Progressive Trance

Overall Rating
Artist:Sasa_Clubber
(Now_Signed)



Go to download page for Arctic Moon - True Romance (Sasa Clubber Remix) mp3

No extra EJay programmes needed to listen to this mix.

Message sent with this Mix:
Remix of Arctic Moon - True Romance. The original music video is here . The remix makes it more suitable for Europe. Buy more of my music from Tainted Buddah Records

US2K Review: This mix begins a reverse cymbal before a ping-pong delayed trance bass line and a four on the floor bass drum enter the mix. After about 24 beats and a bass drum variation a clap to accent every second beat enters the mix. The foot is already tapping at this point, but after 30 seconds into the mix when the bass drum variation takes place and the hi hat enters the mix it is obviously going to be a seriously danceable trance mix. This groove continues for a further 5 seconds before a temporary drop of the bass drum and a crash to announce its return. A trance melody riff right of the stereo field is slowly faded into the mix. A sweep sound effect and another temporary pause at the one minute 19 seconds into the mix add interest to the mix whilst concealing the fact that the trance melody has suddenly become louder. The melody continues to get louder and thereafter becoming the catchy lead hook. The mix remains enjoyable right up to the two minute 15 second play position when a drum variation and crash announces the clap' s departure allowing the hi hat to seriously drive the mix onwards to the bridge section whilst the hook continues to get louder and more atmospheric filling the listener with a sense of awe.

The bridge section begins with a massive drop of the drums and then a huge atmospheric pad/string creates a moment where I am sure the revellers at a field party would be waving their arms to like mad. This pad gets more intense as it goes, natural highs all-round. After a subtle wind or cymbal sound around the three minute 13 second mix position another hook (hook 2) that harmonically matches the pad is skilful fading in, subtly at first, but then more energetically. What is so interesting is that intensity of the hooks the foot is tapping without a bass drum so this section is very cleverly produced.

A whoosh followed by a stuttered instrumental sound announces the return of the drum pattern with hook 2 taking lead to drive the mix. The pad remains in the mix for atmosphere and maintain a sense of uplifting happiness. A whoosh sound at the 6 minute 36 second play position announces the conclusion to the mix which is "hook two" fading out over a delayed bass line and drum pattern. After the seven minute one second mix position another cymbal sound and short drop of the bass drum, the clap drives the mix with the bass line for about ten seconds before instruments start leaving the mix. The clap leaves first and then the bass drum, and then the mix finally ends cleanly on the bass line after a massive atmospheric reverse cymbal blending into a zap sound. after 7 minutes 38 seconds.

My evaluation of the mix is that it is very professionally composed and engineered progressive trance production. The structure is very intelligent and the melody hook lines are very addictive and happy/uplifting in nature. The sound quality is crystal clear indicating some very skilled equalisation and mixing. The variation in the mix is spot on, and the use of drum fills, sound effects to keep the listener interested or announce changes is excellent too. This production continues to be an addictive listen throughout. Credit has initially got to go to the original artist Arctic Moon but this is an excellent remix of an already brilliant record. My score is 10 out of 10 and I am so impressed with this artist, visitors may think of buying some of Sassa' s music after listening to this remix and is excellent.




MP3Unsigned.com - The best new mp3 music from up and coming bands