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This is fantastic! Glad to see Ace Attorney getting more love lately. Everyone did an awesome job with the performance and arrangement, but I really gotta give props for the violin and flute in this mix. So great, love this.

Started off with some weird vibes, but man did this ReMix really hit the nail on the head for giving the questioning theme an energetic yet tense feeling. The background vocals are great and tied things together. This is very well done.

What did you think? Post your opinion of this ReMix.

You put this mix together from no musical background?  That's a bold effort; respect! :) When I saw "90s house" and "Dreamer" in the same post, I was ready to brace myself to hear the melodies in that style - but little would I know that all you took from the source was the opening arpeggios, and then you ran with it for five minutes.  It's as valid as an arrangement approach as ever, but stretching it out into a guns-blazing track for that long, with hardly any opportunities to breakdown and build back up, makes it tiresome to listen to. I understand that you were aiming for this progressive / dream house direction, but the best advice that I can give you is to listen to a lot of commercial reference tracks of this same genre - preferably radio edits when necessary, and definitely not club mixes - and pay attention to the textures' shaping over time.  You were on the right lines with textural variation, but dynamic shaping and a look into envelopes sound like the next big step. The production techniques also need improvement.  The first thing I noticed was that master low-pass at 10k hz of all places.  If the idea of emulating 90s House for you similarly meant emulating the average MP3 file of the era, I could understand, but the 10k+ range ideally is where your higher-toned instrumentation should go, particularly your cymbal selection and any other similarly toned sounds.  However you decided to make that frequency cut, please undo it - you'll get a cleaner sound without it, and the reference tracks certainly don't have cuts like that. Similarly, Brad also mentioned the overwhelming sub-frequencies as well.  I used an EQ analyzer to high-pass the file and that did take the edge off - but it's all on you to balance the rest.  Assuming this is your first musical project, I would suggest balancing out all the percussion pieces and SFX first, then get the bass to sit in, then the melody, then the pads, and finally any pitched rhythm parts.  Keep them all under 0dB both as individual instruments and on the master, and then you could do the rest with experimenting with your master chain and seeing what else works. Not a bad start at all.  I like the vibes here, and I'm all for a trance arrangement like this to make its way onto the front page - but for this to get there, it needs more TLC in the mixing department, as well as a further look into the writing so that it doesn't drag like it's currently doing now.  I'm seeing potential, so please keep at it. NO

This is one of my fave sources from the OG Streets of Rage!  You've definitely hit a chord with me, no pun intended. So, obviously the arrangement is very meat and potatoes - started off as a straight-forward metal cover, though the shoutout to the SoR1 theme at 1:37-1:48, the additional strings, the guitar harmonies and the ominous closure in the final reprisal were beautifully done.  Arrangement-wise, it's hit a solid direction that stayed fresh all the way through. I do love your guitar tone going into this - and considering what you said about recording your parts, downtuning it and feeding it through an amp sim, it sounds a lot like an actual 7-string, so kudos on the idea.  Though, as much as I love the production-based ambition, this does have flaws.  As Brad mentioned, the bass has a very awkward EQ shift that sounds like it's trying to be a Chapman Stick even though it feels too tinny to do so.  I wouldn't have minded going in for an ordinary pick bass rather than the direction you're going in there, but if you're able to resolve the tinniness another way, by all means go for it. And then there's the drums.  Yes, to a casual ear, these would be hard-hitting - but I noticed the machine-like constant velocities and writing.  Larry already touched upon the former, but for me, what I want to emphasize is the same two-bar groove - down to the kick, snare and open hi-hat placements - getting copy-pasted with only some minor variations on fills, a couple of ride cymbal breaks (0:51-1:00 and 2:17-2:26) and the tom breakdown at 1:20-1:29.  With fills also mirrored between sections and in similar places, I had come to the conclusion that this component of the track is underwhelming and needs some revision before I could see it get posted. I really want to see this track get out there, Andy.  I did mention my gripes with the bass shaping and I hope you're able to address it at some point, but for me, the stale drums were the biggest dealbreaker and I hope you're able to go back into this project and vary up those grooves.  Please send it back - there's never enough Streets on OCR! :) NO (resubmit)