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There are currently 251 mixes on this page, the last was uploaded on 07/10/2017 13:29:14

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Mix Info:JamieFor Amie Set Pt6 (Good Things on The Telephone) 3:35mins @130BPM Funky House

Overall Rating
Artist:Jay_Sissimo



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US2K Review: This funky house mix which was originally part of a set by jay Sissimo starts immediately with a main theme, with a full drum pattern including hi hats, snare and bass drum, a brass instrument playing an improvised jazz melody, and a very confident but laid back sounding male vocal about sounds on the telephone and varying other adlib vox.

There is added atmosphere from the very quiet sound of people talking. Two seconds into the mix a bassline joins the arrangment. The overall theme is compelling to listen to. The mix remains this way up to the thirty seconds position, before the drum pattern and percussion and brass leave the mix providing a bridge section. The vocals continue and a few alternative brass stabs are played over the bassline bringing the hi hat back in.

Halfway through the bridge there is a moment where the listener is teased with part of the drum pattern three times to build some tension before everything leaves the mix except a long stab on the brass followed by a trill of notes at which point the lead instrument becomes most likely to be a saxaphone. The end of the trill is used like a drum roll along with a "whoo" shout to announce the return of the main theme.

When the main theme returns the male vocal is replaced by a repeating very subtle female vocal, and there are two brass instruments, answering the melodies of each other.

Around the one minute fourteen seconds there is a short drop of the drums and another "whoo" before the full drum pattern returns again. The mix continues with differing vox, exactly another minute before a sexaphone trill is used to assist the drums leaving the mix again before progressing further to a drum drop at the two minute twenty eight minutes position via a brass fill and another "whoo" ; this one is unexpected but works well.

At the end of the shout the main mix and drum pattern returns, with the brass playing intermittent stabs, allowing the bassline and drum groove to lead for a bit. This groove is funky enough to continue to sound exciting right up to the two minute fifty eight position. At this point there another series of shouts including a "come on" at which point the drums leave the mix again, almost returning immediately, this time with more percussion and a subtle jazz piano playing lower octave notes. The mix continues on in similiar fashion to earlier, eventually fading in the next mix in the set so it is impossible to know how the single mix originally finished.

Overall the musical ideas do not really change significantly but the subtle changes and, sound effects, various vox and occasional drum drops manage to retain listener interest.

My revluation scores for this mix are general demonstration of musical skill (10/10), use of melody variation to maintain user interest (9/10), use of natural musical clues, fills, vox, and sound effects to announce changes (8/10), general melody catchiness (8/10), use of mixing and mastering techniques such as equalisation, reverb, delay (7/10). My overall final conclusion is this is a quality Jazz Funk House mix well worth a listen to all house music, funk and jazz fans.


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Mix Info:Hot Standing 5:11mins @125BPM Tech Trance

Overall Rating
Artist:John_Samely



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cold or hotplay!!!

US2K Review: This mix begins with a sample of a slightly gated or phased synth playing a mellow rhythm accompanied by at least one percussive cymbal and a squelchy acid bass synth with a slowly opening resonant filter which creates a sound similar to that famous "rising effect" used by Josh Wink. At the fourteen seconds position a whoosh sound introduces a four on the floor and a change of bass synth whilst the previous musical arrangement instruments have their levels reduced so that they are now merely heard in the background.

The mix progresses for seven seconds during which time the new bass line intended to take lead and new tom drums are slowly faded in, before a percussive synth sound effect is used to introduce an accent snare and indicate some other imminent changes in the mix.

The percussive sound effect is used again around the twenty eight seconds position to introduce dominant shakers and metal drums providing an addictive latin sounding groove. Over the next five four seconds, instead of relying on a melodic musical hook line, the mix uses a strong groove to progress the listener through a journey of interesting sound effects including some sweeping acid synth sounds and a variation of the introduction chords. Of the sounds my favourite has to be that occasional "game show" buzzer sound although over time the metal drums seriously make the foot tap. The slow process of taking leadership by the metal drums must be intentional by the artist because around the twenty five seconds position there is a subtle bridge where all instruments except the metal drums, shakers and underlying synth bass line are dropped down low in the mix.

At the one minute forty seconds position the bridge comes to an end at the point of a new high octave string being introduced whilst all other instruments except the bass line, kick and shakers are removed from the mix. The string plays the first "real" melody for the mix, which is more of an intense film score nature than something you would hum in the shower. This musical idea continues to the two minute nine seconds position whilst the chords from the introduction are slowly faded back in. Shortly afterwards another mix bridge section is encountered, introduced by a very abstract sounding synth line that slowly reduces in pitch transforming into to the "game show buzzer" effect again.

At the two minute thirty three seconds position after the sound has morphed from a lower frequency squelch to something a bit higher and brassy sounding and travelled right from left across the stereo-field like a speeding train, a percussive square wave lead which I initially mistook for a mallet instrument of some type is faded into the mix (instument sound is very much like popcorns' popcorn from the sixties which had to be early techno in my opinion). Also the mellow pad chords from the introduction are becoming audible again. By the time the pair of instruments are becoming strong enough to drive the mix the bridge is nearing its end.

At the end of the bridge around the two minute forty seconds position the kick drum has been re-introduced and the "pop corn" synth is realised to be playing a fairly powerful hook. The subtle click at the end of the "game show buzzer" sound effect is used as a natural cue point in the music to introduce the change in a basic, possibly accidental but nevertheless non abrupt manner and does not interfere with flow for the listener.

The new arrangement including "pop corn" synth progresses for a few seconds whilst an accent snare and other percussion is slowly faded in minus the high frequency shakers at first. Later the second accent snare of a four beat section is used to announce the return of the shaker around the two minute fifty seven seconds position. Many sounds from earlier in the mix our heard as the mix continues, including the percussive rhythm synth sound from the introduction.

Soon the dramatic string from earlier is re-encountered and somehow its intensity retains listener interest right up to the four minute five seconds position, at which point all drums and percussion except the shaker leave the mix, after which point even that instrument and other remaining s sounds are faded out except the "pop corn" synth hook which eventually becomes almost an eerie solo of the nature John Carpenter would have used a piano for, ok yeah there are other better artists such as Vangelis, Jarre or Oldfield who come to mind. We are definitely in paranoid robot or psyco killer territory by the time the mix finishes at the five minute ten seconds position. I would have loved to have heard this eerie solo sooner in the mix because I am a big fan of all the artists mentioned.

My evaluation of this mix includes the following factors, general demonstration of musical skill (9/10), musical structure (10/10), use of natural musical cue points, drum fills, sound effects to introduce changes (9/10), use of sound effects and drum fills to add interest to the mix (10/10), originality (8/10), catchiness/addictiveness for listener (10/10 despite the lack of a melodic hook for most of the mix there is something compelling about it due to the flow) , sound engineering including use of reverb, delay, equalisation, stereo position, compression and other mastering (8/10)., use of melody, accompaniment and arrangement changes to retain listener interest (10/10).

My final overall score is 10 out of 10 and my conclusion is that this is excellent tech trance highly influenced by listening genres of intelligent techno, it misses a special plus due to the fact that sound engineering quality is a little weaker than usual for this artist. I would still highly recommend the mix to fans of tech trance, intelligent techno film scores etc. I am sure a skilled dj could mix parts of this production into a more dance floor ready set too.


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Mix Info:Galactic Yo! 6mins @128BPM Commercial Chillout Techno/Electronica

Overall Rating
Artist:Julian_R



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Some electronica for you! More music at sound cloud

US2K Review: This artist only requires promotion so there is no review


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Mix Info:Dj Mood Set 2011_09_03 Part 6 2:28mins @126BPM Minimal Techno (Vocal Intro)

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Artist:Dj_Mood



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More music by Dj mood at Soundcloud

US2K Review: This minimal mix begins with some mellow vintage sample of a woman singing in a crowded ballroom or dining hall, of some type. Almost as soon as it has started a stutter effect is applied to it, giving it a rhythmic affect which is used to introduce an electronic accent snare, the start of a full minimalistic techno groove.

Towards the twenty second play position, after a 808 style snare roll, a fuller drum arrangement is obtained with the addition of a bass drum, tom (or bass instrument of some type) and high frequency percussion including at least one hi hat or shaker joins the pattern to create a seriously mechanical sounding pattern. To keep the mix interesting a slice of the introduction sample or cleverly chosen sound which matches has been use to accent every second bass drum hit, an original alternative to a snare or clap.

The mix remains compelling up to the forty seconds position at which point a high frequency flanged sound effect is heard to add further listener interest before the groove continues onto the first bridge of this mix around the fifty seconds position. This bridge is achieved by switching the continuous groove temporarily to an intermittent one, and the unexpected use of a deep raspy bass effect and a jazz drum brush to add some original percussive interest and build tension whilst a new syncopated bass rhythm is stealthily introduced.

The first bridge finishes at the fifty nine seconds position, with the mechanical techno groove returning with the new bass line allowing the mix to sound fresh again, although some intelligent occasional double repeats of the earlier sample, and more flanged sound effects prevent the listener from taking the musical theme for granted.

The mix continues to the one minute thirteen seconds position and just at the point listener interest is about to be lost the bass is dropped down in the musical arrangement, allowing the tom drum to have more presence, and the vocal sound slowly faded louder giving a chanting effect. Although the music ends up sounding temporarily more tinny it has the effect of adding excitement and intensity to the mix. The vox gets more and more intense becoming almost like the listener is being reminded of or demanded to do something, the entire musical theme is beginning to enter the realm of horror movie sound track.

Around the one minute thirty second position the vox and most of the drum pattern except a now more prominent cymbal is faded out leading to the second bridge in the mix. After this point the bass line is faded in slowly. Where earlier in its earlier role only the underlying driving qualities’ of the bass could be heard the instrument has now taken lead and is heard to have a powerful hook of its own, yet again very influenced by horror or action film score music but also maybe sounding a little ethnic at this point.

This hook continues to fade in, each repeat adding further intensity before a low tom roll around the one minute forty one seconds position brings back the main groove but this time it definitely sounds influenced by Indian Bangra. . The new more ethnic musical idea continues to the one minute fifty two seconds position when the mix is starting to get a little monotonous the artist shows he has a real sense of humour because it became clear to me that the percussion is based on a subtle vocoded speech sample "This Clappy Beat" (or Crappy I am not certain). I would not have noticed that particular sample either had it not been for another subtle change, some “plinky” digital sounding percussion which adds further interest to the mix and seems to pinpoint some of the syllables of the synthetic speech, which I had initially thought was occasionally another ethnic drum of some type. The question is at what point did the sound sample change or was it always there and some very clever musical trickery was in use?

At the one fifty six seconds position there one short last bridge where the bass line solos for a short moment before the rest of the percussion returns and to create a finale part for the composition the original vocal from the introduction is used again for some further dynamic chant effects, enhanced with cymbal crashes. After this point the mix is faded out smoothly ending in silence around the two minute thirty position, just in time, because despite being a very clever minimal techno mix I was beginning to lose interest simply due to personal tastes.

The final evaluation of this mix includes the following factors, musical structure (9/10), demonstration of general music skill (9/10), addictive/catchy qualities in melody or rhythm (7/10), use of melody, harmony or musical arrangement variation to maintain listener interest(6/10), application of musical resolutions, drum fills or sound effects to announce changes to enhance variation (9/10), wide audience appeal (7/10), studio engineering including reverb, delay, equalisation, and stereo-position compression etc. (9/10). My final overall score is 7 out of 10 and it well worth a listen to enthusiasts of the minimal techno genre. I am confident a skilled dj could put the rhythm of this into a layer of a more harmonic record if they were intending a wide audience appeal set. The introduction is novel, and I think is within copyright boundaries, and humour later on too. There may be other hidden vox other than the one I found too.


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Mix Info:Welcome To Los Angeles (Original Mix) 3:04mins @128BPM Vocal Electro House

Overall Rating
Artist:Julian_R



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More great music on my sound cloud

US2K Review: This artist only requires promotion so there is no review


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Mix Info:Jamie for Amy Set (Part 5) 3:48mins @130BPM  Funky Electro Vocal House

Overall Rating
Artist:Jay_Sissimo



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More funky electro and other music by Jay ay at soundcloud

US2K Review: This mix begins immediately with a really addictive groove formed from numerous drums, and a high pitched percussive instrument to accent the end of every bar. After six seconds of play a short drop of the drums and a vox is used to introduce a lo fi electronic bass sequence right of the stereo-field, and some additional percussive "ooby eh" vocal bytes. This keeps the mix interesting and helps it flow to the twenty one seconds position where a sound effect which sounds like it was achieved with “cello abuse”, introduces yet another vocal. This new "I" vocal nicely answers the groove every few bars. Ten seconds later yet more vocals are introduced with an aircraft sound and a clap fill. The new vocals include "My telephone" and some other less distinguishable but upbeat sounding vox. More “cello abuse” is used to create a sound effect at the fifty nine seconds position that announces a funky bass-line.

From the minute position the mix progresses the groove just gets funkier, and seriously danceable. At the one minute twenty one seconds position some vox and a clap roll are used to introduce another serious hook vocal. It sounds like "Your Gonna Funking Dance" (or something more offensive). The thing I always love records of this nature is the humour. The record progressive remains really addictive up to the only bridge in this mix at the two minutes five seconds position.

The bridge is announced with a clap roll and a "whoosh" sound, and the departure of all the drums and "Your Gonna Funking Dance". A new riff formed from a brass sounding instrument and yet more vocals enter the mix to add energy whilst the listener waits for the return of the drum groove. A "Yeah" announces the return of the drum groove without "Your Gonna Funking Dance" but a syncopation between the brass and the drums keeps things funky and danceable regardless.

At the two minute thirty five seconds position a clap roll re-introduces the "Your Gonna Funking Dance" hook vocal and takes lead twenty seconds later. This theme continues up to the three minute position after which a more random collage of various vocals and sound effects forms an interesting conclusion for the mix. The arrangement remains funky due to the bass line, brass and house drum groove remaining present.

Around the three minute forty eight seconds position the mix finishes on a loud "Its Crazy Like" vocal and a last short stab of the brass instrument. This is a little abrupt but probably suitable for house music which tends to mixed or played end-to-end with other records most of the time anyway.

My final analysis of this mix takes the following factors into consideration, demonstration of general musical skill (9/10), addictiveness and dance-floor friendliness (9/10), use of variation and changes in melody, arrangement or instrument to maintain listener interest (9/10), Use of vocals, sound effects or drum rolls to add interest or announce changes (10/10), musical structure (7/10), wide audience appeal (9/10), use of studio engineering techniques such as equalisation, delay reverb, stereo-positioning etc. (8/10) . My final overall score is 8 out of 10. I highly recommend this mix to those who love house music, electro or funk music of any type. It is ideal for inclusion in any funky elctro dj' s early evening set too.