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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:The Harlequin 5mins @140BPM Tech Trance

Overall Rating

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This track i want to enter the comp with if it is still on

US2K Review: This is my detailed analysis of "The Harlequin" by Max Motion. As it is almost a custom since the X factor for judges to argue, David Stolkes did not realise:-
The mix Begins in A# Minor Key scale
Bars 1-2 c# f g# - c# major chord
Bars 3-4 c# f g# a# - a# minor 7th chord
Bars 5-6 c# f g# a# - a# minor 7th chord
Bars 7-11 c# f g# a# - a# minor 7th chord

From bars 11-12
f g# a# d# - g# minor or major 9th
bars 13-15
g# a# c# (f not played but implied ) - g# minor or major 9th

Bars 33-37 Key Change G# Minor
33 E G# B - E Major
34 F# A# C# - F# Major
35 F# A# C# - F# Major
36 c# (E is not played but implied) G# - C# Minor with passing note of C natural from A# minor which of course has a relationship of being 1 whole semitone up in the scale from G# minor

Bars 37-42
37 F G# B - F Diminished
38 E G# B - E Major
39 F# A# C# - F # Major
40 G# C D# - G# Minor of course from the A# minor scale
41 C# F G# - C# Minor from the A# minor scale
42 E G# B - E Major From G # minor again, one comment the fact this works is surprising and must be due to spacing of notes as neither the G# or A# minor keys contain both E and F natural.

43 F# A# C# - F# Major
44 - Chords G# C D# - G# Major to C# F G# - C# Minor both from the A# minor scale
The rest of the mix contains no other notes other than those heard before. The notes are far from random it is a musical game based on the G# and A# minor scales using the note of G# as a pivot point . No wonder David Stolkes thought they were though as I expect he does not know what a diminished chord is as they are seldom used in modern music and I try to avoid them like the augmented chords myself. I admired the minor 9th jazz chord, and loved that passing note of C natural from an academic point of view. Musically it is well structured, produced and arranged including percussion and drums. Despite David Stolkes innacuracy (lol no wonder I am not signed) on this occasion although a brilliant tech trance production it is not my my favourite mix by Max Motion, it lacks some of his usual sparkle. It is more enjoyable to analyse than to listen to, perhaps the diminished chord (or should I say intentional dischord makes it unsettling). I score it with 8 out of 10 (about 85 out of 100 had it been still in the competition).

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Mix Info:Return to the Bass Oddity 4:05mins @137BPM Progressive Trance

Overall Rating

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I think maybe the bass drum could have been more powerful. It is one of mine so no review or score unless someone else volunteers one.

Max MotionReview: Nige as usual knocks out some lovely htrance lines in this mix , it has a real nice flowing sound to it at times but is also a little dis-jointed at times aswell. It starts off really nice apart from the drums which i don`t like , there is also the usual amount of heavy mastering going on as the track saunters along. It is really nice mainly until the breakdown around the 1 min 50 sec mark , the drums here are a little annoying though and off we go again until the 2 min 20 sec mark and a saw synth cuts in , i don`t like this sound as it affects the tempo and the smoothness of the track and makes it sound a little dis-jointed , although the drums sound alot nicer here with a snare making it sound crisper. At the 2 min 45 sec mark unfotunately the snare changes and ruins the feel and flow, synths sound nice and at the 3 min 30 sec the track breaks for the conclusion , we are left with a saw synth finishing off for the last 30 sec`s or so , too long for me, Overall some nice stuff in there as you would expect but could be so much better with a little work.6.5/10

US2K Review: Thank you Max Motion for your great work in creating a constructive review. The Global Music Community Spirit Lives On!

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Mix Info:Tranceylvania 3:19mins @143BPM Tech Trance

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Nige another track for you to mull over

DBAReview: the mixing skills in this song are good and the structure of the song also but the sound(design) you have made/used is not my taste and sounds for me 2 dated. Good song, but for a more modern techno sound you should check some other soundbanks or give a listen 2 some techno producers like redhead, marco bailey, DJ Rush and many others.. You will hear the diffrence of a modern techno sound and yours now. Score: 7/10

US2K Review: This mix begins immediately with a 4 four on the floor bass drum, "weird science" or oingo boingo or Yellow type sound effects and some descriptive melody notes played by the introduction lead instrument. After 8 second there is a short drop of the drums, and when they return the notes playing slowly become catchier in nature. This is achieved with a second synth playing shorter notes from scales that answer the introduction lead melody. Together this forms a more addictive hook but there are occasional notes, which are deliberately, and correctly "out of tune" forming occasional discords that add a slight edge or 'darkness' to the musical theme that continues until twenty seconds into the mix after which a soon to come change is indicated by some notes being repeated a few extra times assuming the role of a fill, and seconds later an unexpected temporary drop of the bass drum and some other "out of place" note variations. When the change does take place 28 seconds into the mix, it is in the form of a melody that sounds less hook like and more descriptive in nature. Some would think the notes are random without reason at this point but the theme playing at this point is very classical is nature and depicts "uncertainty or decisions to be made, maybe searching for something". This sense of decision-making gets more frantic towards the 1-minute mark, with sound fx and musical notes coming at the listener at "a rate of notts".

When the decision making piece has finished a different structured melody begins to form within an arrangement of atmospheric instrument sounds and fx. The amount of echo makes me think of being in a catacomb of some type, the bottle tinkle sound is intended to be an abstraction of a dripping sound. All in all to me there is a sense of claustrophobia. Around the one minute 12 second, the bass drum leaves the arrangement temporarily and there is a cheeky bit of Prodigy influence, where a bleepy delayed riff at the higher octave is introduced. Although where the prodigy would have used to drive the mix it is used more like an alarm in this context followed by a scraping or laughing sound effect. The theme continues until a bridge is reached where the drum pattern leaves the mix and the melody changes to form a happier harmonic hook out of two or three synth sounds. A bass drum pattern with occasional fills returns to the arrangement. One such fill and a whoosh/power down sound effect around the one minute 40 seconds mark introduces an accent snare and a hit hat. At this point the mix gets better, becoming more and catchy as it progresses, with plenty of variations in the melody and drum patterns including intentional unexpected drops of the bass drum to keep the listener interested.

The atmospheric flanged sound effect around the 2 minute 32 second mark is one of my favourite moments in the mix, as is the finish on the electric generator power up and down sound accompanied by further variations of the hook for a Grande finale.

Evaluating this mix I can conclude it is a very sophisticated movie, computer game or listening techno score. The beginning is very dark and edgy bringing John Carpenters' s Halloween piano piece to mind. It would be interesting if Max wrote the piece and then gave it its title or the other way round. If he wrote a piece to a title or theme, which by the way is not my forte, hence some of my truly 'crackers examples of art' like 'Unusual for Me' then this mix by Max is on a cleverness of John Carpenter' s Halloween score. That haunting composition scared me even before I saw the film for the first time at the tender age of 9 (Yes I know I should have been in bed not watching late night video nasties lol). Anyway back on topic 'Trancelvania' the melody lines are very interesting with plenty of variation. Musical arrangement and production techniques such as use of delay, reverb, equalisation and stereo position etc. demonstrate great skill and the overall mix quality is definitely worth a score. Now tell me Max am I right in thinking that the mix depicts first Van Helsing searching for Dracula’ s castle, then it is found and so we journey underground, where a few vampires are encountered hence the alarm sounds that Van Helsing dispatches of easily. Van Helsing goes after Count Dracula but after chasing the remaining vampires into the woods, they including Dracula escape as bats? Whether I am right or not this mix, although influenced by techno and trance, is definitely very classical in structure and deserves a 9 out of 10 as a piece of art, and will be a very fun listen to those who choose to have the patience to listen to it.

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Mix Info:ID 7:29mins @BPM Trance

Overall Rating

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US2K Review: This begins immediately with a pulsing trance bass line, 4 on the floor drum pattern including hi hat and bass drum. Around the 12 second mark there is a short break before a pad enters temporarily with a sense of urgency in it. The purpose is two-fold, to keep the mix interesting and to act as a crash with respect to announcing an imminent change. This change happens thirteen seconds later after another break from the drum pattern it returns, this time with an accent clap on every second bass drum beat. The velocity or timing/beat position of the clap seems to make it sound laid back. This laid back groove continues until around 37 seconds into the mix, another break and the beat returns but this time the clap is no longer laid back, it' s role now is to drive the mix. Such a subtle variation in the mix is very impressive as it works so well in making the foot want to tap. The mix continues this way up until a break and whoosh/drum roll combination that reintroduces the pad of urgency and then a trance riff is faded in slowly. This riff eventually reaches full strength and is kept initially interesting with short drops of the drums and crashes. Around the two minute 42 second mark, despite the fact the clap and hi hat have already left the arrangement indicating a change the mix becomes temporarily a bit bland. It is possible this introduction section of music has gone on too long.

Around the 2 minute 52 mark interest does start to return though a crash with some rather atmospheric delay or reverb applied to it announces the pad this time sounding like a discord. The piano section, although nicely delayed that follows is a little basic in my opinion so solo for so long though. If it was going to try hold its own it needed some nice accidentals or passing notes like a real pianist uses to give it a dreamier feel, especially due to the nature of the introduction. A reverse crash introduces a well suited pad sound to harmonise the arrangement affectively, at which point the piano does work much better. Towards the three minute 47 second mark the mix is still very dreamy but in my opinion the drum pattern should have returned by now, which it would have done had the piano solo been shortened. A cymbal introduces a really catchy hook line before in my opinion when the drums return the mix assaults the listener with too many different hooks and melody lines to a point of sounding a little disjointed. On listening to this mix again and reviewing it with a more focused mindset this mix has to go down to as it has some really nice elements but seems to flow less and become uncertain in direction.

My conclusion is that this is a very well produced mix and use of effects, mastering, delay, equalisation etc. drum rolls, crashes etc. to indicate changes demonstrate great skill and there is a lot of potential in elements of the mix but the final score of this mix is only 7 out of 10. My suggestions to improve it would be to reduce the length of the introduction and middle 8 sections, don' t solo that piano for so long, and lengthen some of the later melody lines, possibly dropping one completely. The style being progressive trance needed more of a hook towards the end especially after such a long wait at the beginning. This mix has the potential to score 10 out of 10 with some slight rework, and it is still worth a listen.

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Mix Info:Labyrinth Zone RMX 2:08mins @87BPM Computer Game Film Score

Overall Rating

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This is my remix of the labyrith zone from sonic the hedgehog 1 for the sega genesis

US2K Review: The introduction begins with a happy scale based on the later melody. This line is played mid to upper octave on a delayed bass instrument. It continues until a snare fill and a short break of no instruments, with the delay reflections filling a split second gap. Shortly after the delayed bass plays a hook-line melody which is initially catchy, and is accompanied with a syncopated slightly swinging bass drum and snare pattern you would normally hear in a funk or hip hop production, and a lower octave slower bass-line. This section of music, which I will refer to as theme 1, goes on for roughly 26 seconds. Shortly after that point there is a short "answer melody" to the earlier hook then a new musical idea based on theme 1. There is a combination of strings and a variation on the mid octave bass line lead hook from earlier which sounds fairly movie-score/computer game music orientated, and a likeable slightly sped up drum pattern. This section, which I will refer to as theme 2 for further references, continues for a similar amount of time as theme 1. The bass-line has interesting little fills and variations, as do the strings play a nice melody. One minute 51 seconds into the mix a rising scale on the string and a drum roll is used to end theme 2 and re-introduce theme 1 which plays until the 1 minute 36 second position. After which a conclusion is formed by a repeat of theme 2 until an abrupt conclusion after 2 minutes 7 seconds on a drum roll.

To sum things up the artist has faithfully recreated the music and improved it significantly sound quality wise with better instruments, and has he said himself more bass. The standard verse chorus structure is adequate, as is the use of snare fills and melodic variations but that was true for the original also. Now my criticisms, I appreciate the work gone into producing this mix but it is not really different enough to the original to be classed as a remix, a cover is the closest classification I can think of. My first question is why was no thought into changing its genre considered? one of the best computer game music re-works on this website was the Tetris dance mix, but hip hop Sonic would have been equally enjoyable. Also why with such a choice of instruments is the lead so similar to the bass line?

My main problem with reviewing the mix is that normally I have various parameters in my mind such as originality, production, structure, imagination and creativity, ingenuity in producing a catchy melody line, foot tap factor. Unfortunately with film score or computer game style music as it is less likely to make my foot tap, a high score can only result from the originality, creativity imagination factors, but a cover of a film or game sound-track means these scores are weak. What factors are left? Well mastering, mixing, musical knowledge, sound engineering and production. This mix scores 10 out of 10 for these factors. There is a faithful re-creation of the original musical themes, a skilful change in drum pattern for verse and chorus, and the use of mastering effects such as reverb, equalisation and delay are of a faultless standard. So this is the final average calculation I have used to score your mix (Creativity=4 + Catchiness=6 + Production+Sound Engineering=10 + Mixing=9 + Foot Tap Factor=4) all divided by 5 which is of course 6.6 which I will round up to 7. I am aware the artist has made a great effort and achievement in the sound engineering of this mix, because the original had far poorer sound quality and instrument clarity. Unfortunately there is little else to evaluate it with due the weakness in doing something creative with the original musical themes. Even a different musical arrangement, or extra percussion for the conclusion would have improved its score.

If anyone has an intent to submit a "remix" of a nature which is so close to a commercial original I may decide to decline it as it may even risk copyright infringement and put my music site at risk from closure so please think before submission. This kind of project is for personal achievement, which it is, because the artist has proven great skill in music re-mastering, however as much as I do not want to turn music away from my site this type of work could be rejected. I suggest everyone has a listen and makes their comments though please.

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Mix Info:PhsycoSis 5:36mins @141BPM Tech Trance

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Nige m8 , Phsycotic track for you to ponder

US2K Review: The introduction to this mix begins with a duet of delayed lead playing a melody line and accompanying synth that together present the scale concept which the rest of the mix will be based on later. A whoosh sound effect keeps interest and announces a change soon to take place. The bass drum playing a four on the floor with a fill and an occasional vox sample saying something like 'He' s online’; enter the arrangement together to create a nice drive to the mix. This theme continues until 36 seconds into the mix after which point a whoosh introduces another lower octave synth playing slower notes that fit harmonically to the existing arrangement. The mix continues this way with a few additional subtle train whistle sound effects to maintain the listeners interest up until the one minute 15 second mark. At this point the drum pattern leaves the mix so that a bridge can form from the vocal returning with an array of accompanying sound effects. These include the train sound effect and what sounds like a wartime or James Bond alert sound.

This bridge section ends with either a clever concealed instrument change or morph or an effect on the lead that changes its tonal sound to have a shorter sustain and a more raspy or acid click sound. This new sound has been treated with echo or delay, which is used to fill a gap after a sudden stop before the bass drum returns to the mix. This newer more acid like instrument sound continues to play a very catchy rhythmic lead and various siren sounds drift through the mix making everything far more danceable and exciting. After a short drop of the drums, between the 1 minute 44 and 2-minute mark, there are some intentional melody variations that prepare the listener for a much-needed change in my opinion. This change is the addition of a hi hat and a clap or snare and the melody line becoming slowly more steady forming the foundations of a hook line which is not reached until the three minute twelve position in the mix, when a higher octave organ synth joins the musical arrangement. The new synth plays a very danceable riff which answers the notes played by the rest of the already existing arrangement. After this point the mix gets catchier and catchier to the point of addictive to listen to. Even the crazy twists and turns and sudden unexpected drum breaks that are in this finale sound better than the earlier part of the mix. The snare even plays a more interesting pattern at this point with fills or rolls every eight bars. The general feel of the rest of the mix until the 5 minute 11 seconds position remains this fun despite a few subtle lead line note variations. After 5 minute 12 seconds the mix plays a slower musical melody theme and drum pattern consisting solely of a bass drum again just to form a suitable conclusion. The mix finally finishes with delay from the original lead line.

My final conclusions about this techno mix is that is very intelligently structured. The use of variation and cymbals, effects etc. to indicate changes in the mix are as usual with Max Motion to precision. The equalisation, delay, stereo positioning of instruments and after production mastering techniques are implemented with great skill. What really makes this mix really so good is the use of the vox, and the catchy lead lines. For my final review score for this mix is 9 out of 10. I recommend everyone has a listen. Especially tech/trance fans.