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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:Allegro 10:30mins @75BPM Classical

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Bass Mom & Dj CrusadeReview: I love classical music and this track takes me away! This is this reviewers first time reviewing for this artist and I like what I hear so far with this track! it has a sweet sound yet climaxes to a powerful theatrical sound and the use of the obo and the cello and the saxaphone and the violin work very well with one another as does the piano which adds variation to this mix. It is a bit lengthy but still leaves me with a feeling that I have just left the hall where the orchestra was playing! I give this track a solid 10 for creativity, and overall production as this could make for a very good film score like the one I wrote!!! Well done!

US2K Review: A review will follwo shortly but in the mean-time my provisional score of 8 out of 10. The composition demonstrates top musical ability, pity about the minor distortion.

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Mix Info:Jamie For Amy Part 1 4:09mins @125BPM Funky House

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US2K Review: This begins immediately with a funky bass drum, syncopated snare drum pattern with variations and fills. The groove a little like the one used for the 'Bucketheads' classic funky dance record, 'The Bomb' so the feet already wants to dance.

Four seconds later there are a few rising in loudness atmospheric reverb treated orchestral stabs and crashes that seem to be accented the end of each set of 4 to 8 bars whilst allowing a funky lead brass line and organ to be faded and filter swept in discretely. The fade eventually results in all of the new arrangement being are at "full strength" around the thirty three seconds position. The musical result is already seriously `funky house` hook (main hook) and groove, but further interest is yet added with the use of some subtle vocal shouts, introduced by a jazz cymbal which remains afterwards to add energy to strategic bar beats. This theme continues to the fifty six seconds position with occasional louder shouts, then to give the listener (dancer maybe) a surprise, half the hook is temporarily repeated a few times. This continues until a higher in velocity crash introduces itself and a female chanting vocal to add more excitement to the mix, giving it a carnival or street part feel.

The new theme continues to the two minute two second position at which point a delay treated organ plays a downward ending note scale (one similar to when someone loses in a game show) is used to introduce a bridge or middle eight section for the mix.

The bridge begins with a few further notes from that instrument before a few the drum pattern solos with what is like a watery brook with frogs ( or it could be an illusion as a result of other atmospheric sounds delay trails merging to ambience). In any case a few stabs of the organ from earlier and the main hook is faded/swept in again and vox is steadily added, the female chanting last.

Variation to the sound is ensured by changing the vox heard as the mix progresses to the conclusion. The mentioned conclusion is introduced by the same "game show loser" scale, and consists of simply the drum pattern and numerous vocals, and occasional brass or organ stabs. This mix is of course part of a dj set and so was intended to fade to the next in the set, but instead to confine the production to single mix boundaries is faded out, eventually to silence at the four minute five seconds position.

So my final score consists of the following factors, variation=8, catchiness=9, 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=9. My overall score for a very good funky house record is 9 out of 10.

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Mix Info:Minimal Techno Set Part 1 3:06mins @126BPM Minimal Techno

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US2K Review: This mix begins with a very deep sub-bass line and a four on the floor bass drum with a filter applied so that only the lower frequencies are heard. Gradually the filter is opened allowing higher frequencies to be heard. An abstract but rhythmic synth sound leads and drive the mix in a kind of catchy but melody less way and wooden stick percussion added. The mix is already possibly danceable or at least foot-tapping by the one minute eleven seconds position.

To prevent the mix getting monotonous which this style is always at risk of becoming, around the one minute twenty two seconds positions both the bass line and lead instrument change instantly after the sound of an eerie cackling with all high frequencies cut, and there is a subtle snare or hi-hat on every four to eight beats. The lead is more melodic, a metallic sounding old skool warehouse patch or sample. This lead continues, accompanied by the mentioned bass and cackling up to the one minute thirty eight second position. At this point a bridge is formed by a change in musical arrangement. The bass drum is substituted for a clap snare on every second beat in the bar, and some other more melodic percussion, whilst the cackling gets louder. It could be that higher frequencies are allowed through the filter settings at times too but it is not always possible to tell from an audio recording. The more interesting thing is the clap is readying the listener for the return of the four on the floor because it is evident it is an accent clap.

As is pleasantly anticipated at the one minute fifty three position the bass drum does join the clap to form the popular accented four on the floor, after one last cackle which seems to act cleverly as an orchestral crash to announce the change this time. The result is the mix becomes even more danceable and enters the realm of old skool. The melodic percussion without the cackle is clearer and now serves the role well of answering the warehouse music style lead.

At the two minute twenty four position the conclusion to the mix begins with departure of both bass drum and clap, interestingly enough this change sounds ok although no sound or cymbal is used to announce it. After which point the reduced arrangement of simply bass, lead and melodic percussion continue with a subtle human sounding snare pattern up to the two minute thirty nine seconds position at which point the arrangement changes abruptly again to simply percussion and clap, and again at the two minute fifty four position where the clap is substituted for a human sounding wooden drum pattern an electronic bleep where there was once a subtle snare, eventually ending at the three minute five seconds position.

To evaluate the mix as a whole it is very skilfully put together and a generally very interesting listen. There is the possible issues from an academic or musically technical judgement with respect to abrupt changes but this is fundamentally minimal techno and one of my favourite records of the pioneering days of dance music 'Zombie Nation' has such abrupt changes near the beginning where parts of the drum arrangement enter without indication by cymbal, but it does not spoil the enjoyment of the record and perhaps such technicalities are open a debate.

So my final score consists of the following factors, variation=10, catchiness=9, arrangement=10, mastering, delay etc. and instrument positioning=10, Use of drum rolls or sound effects to announce changes=9, musical structure=10, general musical skill=10. The overall result is 9 out of 10 for a very sophisticated and fun minimal techno production, that flows well.

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Mix Info:I Belong to You 2:28mins @128BPM Rock

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Song to my little daughter, who also is starring the song. She was about 6 months old at the time of recording (using a mobile phone)

US2K Review: This begins immediately with the vocal 'I belong to you', 'Every Step I do', 'I belong to you', 'Always With You' with free style sounding bass and snare pattern and some lose lead guitar blasts over a chugging bass guitar line. There is a split second break and drum fill, cymbal which introduces a more steady bass drum and melodic rhythm guitar section, which seems to sound like a chorus. This theme continues to the thirty six seconds position, with a snare pattern being added along the way after a short bridge beginning with the bass drum leaving the song and a duet between the guitar and vocals forming to restate the musical theme. The bass drum returns when the snare pattern begins. The vocals change during this point to form a verse section with the words 'Come For a Moment to Talk With Me', 'Come For a Moment to Walk With Me'.

After the verse section variations of the chorus vocals and guitar return with some heavier faster sounding snare hits and a crash to add energy to the arrangement. This chorus theme finishes around the one minute eight seconds point in the song.

On the completion of the chorus an extended middle eight style bridge begins with some different deeper vocals and an alternative guitar section over a more free style human sounding snare pattern. The middle eight continues to a short lead guitar solo before yet another different vocal and guitar melody is used to progress the listener to a final alternative version of the chorus. This chorus finishes on a short guitar solo beginning at the minute twenty two seconds position. In my opinion an extra crash would have assisted this finish.

So my final score consists of the following factors, variation=8, catchiness=8, arrangement=9, mastering, delay etc. and instrument positioning=8, Use of drum rolls or sound effects to announce changes=7, verse chorus structure=10, general musical skill=9, Vocals and Singing=7. My overall score for this competent rock song is 8 out of 10.

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Mix Info:World Drifter 5:53mins @151BPM Techno Trance

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quick hot beats and tunes will make you drift, I hope it's not going too fast and will fly off the road (lol)

US2K Review: Due to the back log I am starting a new style of review from tonight until I can catch up' Listening to this again makes me think it is more techno than trance. So to the review, it has an extremely addictive techno introduction hook, driven by a four on the floor, builds up nicely, skilfully growing in excitement with the use of evolving instrument layers up to the 58 second position, only interrupted by an effective short bridge half way.

At the 1 minute position there is a major change where an instrument that sounds like a cross between a flute and an acid lead instrument plays some answering melodies. This instrument repeats this answering melody a few times before by changing its role to play intense stabs on top of the accent claps. This is already excellent at this point and reminding me of The Prodigy' s 'One Love' or 'Speedway' or 'The Energy'. After a short drop of the drums with the intense stabs continuing the techno theme used for the introduction returns to the mix this time sounding a bit more acid and becoming increasingly more like 'Speedway' or 'The Energy' by 'The Prodigy'. The mix continues in this way with a few drops of the beat and intense climbs and falls, bleeps as would be found in any respectable early 'Prodigy' record.

The mix finally ends cleanly after the five minute 53 position with one play of the answering melody. 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=7, musical structure=10, general musical skill=10. My overall score for this excellent techno trance record is 10 out of 10.

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Mix Info:Night Spheres (Chillout Mix) 7.05mins @105BPM Chillout Ambient

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For more information about Data Collaborate, visit the following sites!

Jamendo Homepage

US2K Review: This mix begins with some mellow pads and some very wonderful atmospheric wilderness/water brook sounds including frogs, wind or waves. Around the twenty-five second mark a pulsing techno bass-line enters the mix. Although techno in nature it is still subtle enough not to disturb the mix too much. The bass line leads the listener to a whistle sound in the distance around the forty two second position and then some percussive synth sounds at the fifty-two seconds position. The mix can get away from being a wee bit repetitive due to the atmosphere and the length of the underlying loop being quite large. The listener journey' s further to an ethereal haunting melody line around the one minute twenty seven position not dissimilar to those used by the Orb in Blue room but without the whale sounds, an amazing record in its time. The melody line answers itself at the one minute forty three second position, shortly after which some percussion enters the mix on the right-hand stereo position, which sounds like it is human played instead of sequenced. The percussion is slowly faded in, moving into the centre reaching full strength around the three minute position. Around the four minute mark some of the sound scape from the right hand stereo position starts to form an occasional percussion line itself. Yes this mix is seriously living up to its name now, "Night Spheres" as in ufos, so orb like it is unbelievable, so relaxing and tranquil. The haunting melody line or whistles are re-introduced periodically to keep the mix interesting up to the six minute forty second position at which point a conclusion is indicated by all percussion being faded out, although the departure of the bass-line has already given a clue to this. Around the six minute position the pads and waves are left to finish the mix, with the final sound of what could be rain, which ends a little too abruptly at the seven minute four second position. That sound would have been nice had it tailed out to reverb/delay echo reflections to enhance the atmosphere.

My evaluation of this mix is that it simply but effectively structured, and that the mixing and production is very skilful to maintain interest over a full seven minutes. The use of atmospheric sounds and the way elements of the mix fade in and out or move round the stereo-field is a really fascinating experience. There is a haunting hook line to re-entice the listener when needed and appropriate variation. The laid-back techno bass-line and mellow pads are superb.

This mix seriously reminds me of the orb during the nineties when they were at their height. What will be interesting to find out is if this is a one hit wonder, and if Data Collaborate can produce other mixes of this quality without them sounding too much like this one. The orb deteriorated eventually, I guess they ran out of ideas or lived in the life of a signed artist a bit too much.

This could have scored 10 out of 10 but partly because of the abrupt sudden end which was a bit of a “no no” in an atmospheric production of this nature. I end my productions suddenly sometimes when I am in ‘churn them out mode’ due to lack of inspiration but I then produce better mixes with proper endings to redeem myself. Also a surprise in mix was needed, possibly in the form of different a bridge section. The orb once used a radio program announcement to this, but the copyright royalties would be prohibitive this for an unsigned artist unfortunately. I would encourage Data Collaborate to remix some of my orb-like productions. My final score is 9 out of 10 for a very high quality ambient production that would be excellent in a chill-out zone of a rave, really nice work. Anyone who was/is a fan of the Orb will love this mix!

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