Street Fighter 4 Sounds
Street Fighter 4 Sound Effects
Street Fighter 4 Soundtrack
Street Fighter 4 Sounds Resource

April 3, 2009 8:00 AM | jeriaska

[Continuing his excellent 'Sound Current' series on video game audio for GameSetWatch, Jeriaska tracks down the sound director and composer for Capcom's fighting game rebirth Street Fighter IV to chat about classic soundtracks, character-themed audio, and... bagpipes in a fighting game?]

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For Street Fighter IV on the Xbox 360, a GameFAQs message board topic titled 'SF4 sound effects?' Hideyuki Fukasawa (深澤秀行) is a sound composer for Capcom best known for his work on the company's seventh console generation fighting games (Street Fighter IV, Marvel vs. Capcom 3 and Street Fighter X Tekken) Interestingly enough, Fukasawa's earliest known contribution to the video game industry was for a Capcom-related album, as he arranged 'The Judgment Day' (aka Gill's theme from. SFIV Akuma Shoush Sound Effect, SFIV Akuma Shoush Sound FX, Street Fighter Sounds, SF4 Sound Effects, Akuma Sound Effects, Akuma Sound FX, Street Fighter 4 Sound FX, SFIV Audio MP3, Soundboard Street Fighter IV.

Often when more than one sound creators participates on a given game soundtrack, the designers retreat to their separate corners to focus on their individual approaches to the audio.

Street Fighter 4 Sounds

For the soundtrack to Street Fighter IV however, sound director Masayuki Endou and composer Hideyuki Fukasawa were hardly isolated in their methods. Their involvement in developing the way the fighting game sounds might be described as the endeavor of a tag team.

In this informal conversation with the sound creators, Endou and Fukasawa share details on their collaborative process, which can be traced back to several of Capcom's popular action series.

The designers reflect on the challenges of finding regional instruments to match the international setpieces of the Street Fighter combatants, the struggle to provide a contemporary feel to melodies that fans have known by wrote for years, and the effort to choreograph songs and sound effects to increase the drama of the game's fights, medleys and animated cutscenes.

Composer Hideyuki Fukasawa & Sound Director Masayuki Endou

GameSetWatch: Endou-san, Fukasawa-san, thank you for joining us for this discussion of the sounds of Street Fighter IV. Can you describe your roles on the production of the game title?

Masayuki Endou: I was in charge of sound direction and sound design.

Hideyuki Fukasawa: My job was composing songs, arranging and programming audio.

GSW: When was it that you first began work on Street Fighter IV?

Endou: The project itself got going three or four years ago, while sound production started just about two years ago. Does that sound right?

Street Fighter 4 Sound Effects

Fukasawa: I remember just two years back the producer, [Yoshinori] Ono, got things rolling on the main production.

GSW: At that time, what was determined as the central concept behind this new installment of the long-running franchise?

Endou: This was going to be a new beginning, but not in terms of a remake. The concept was to reinterpret the series for this current generation of game hardware. We felt the realism of Resident Evil 5's sound design would not necessarily work for Street Fighter. Rather, we were looking for a balance between the hyper-realism of foley art and taking liberties with combat effects that were further from reality. These can have a degree of dramatic force, especially when they are familiar from previous installments. We were looking for a mix of sounds that were both nostalgic and fresh.

Fukasawa: For my part, I started off by bringing to this game what I personally wanted to hear. In arranging previous themes, my mission was to make the new versions reflect a very modern style, while bringing out new sources of drama in the story of each character and their locales.

**Past Collaborations and Preparation**

GSW: What sorts of objectives were driving your work on the Street Fighter IV soundtrack?

Endou: For both the music tracks and sound effects, we thought a lot about what would have an emotional impact. Choreography was very important. While we could rest assured that Fukasawa-san's songs sounded great, we knew the effect would be compromised if the timing were off.

Fukasawa: Endou-san's direction was essential. I can get so wrapped up in my own musical tastes that I lose sight of what the player expects from the soundtrack. That was the advantage of working with an insightful director.

In all honesty, my goal in joining this project was to avoid getting beaten up by fans for having mangled their favorite themes. (laughs) Essentially, what I needed to do for the soundtrack to be a success became clear early on. I wanted to establish a new paradigm for the music style that had legs and would last throughout the coming decade.
GSW: On which projects have you collaborated together previously?

Endou: Fukasawa-san and I just happen to wind up on the same projects, like Chaos Legion, Onimusha, and Monster Hunter Frontier. From the mail we receive, some fans seem to think it was planned that way. Regardless, we seem to work well together as a team.

On this project, the game was for new gen hardware, so much of the audio was created with surround sound in mind. While I offered some direction, Fukasawa-san composed the individual tracks, which I then mixed to be optimized for 5.1-channel sound systems. His sessions were prepared with the mix in mind, so there was useful continuity between our roles.

Fukasawa: At times it feels like Endou-san and I shared the same childhood memories. At one point we discovered that we both happened to have the same obscure 12-inch vinyl records in our collections. These common interests help us communicate, which is of great value in working together on projects.

GSW: What kind of research went into giving the game an international musical palette?

Fukasawa: I listened to a lot of folk songs and popular music from Russia for that one theme. While the beat has a house and techno feel to it, Russian folk songs helped form the melody. Another important part of the background research involved immersing myself in the music of Street Fighter. My iPod was packed with fighting game tracks, and they brought to my attention the strong melody lines and well crafted arrangements that have characterized these games.

**Personal Perspectives on the Characters**
GSW: What characteristics did you feel were important to lend the stage music of the handful of characters that are new to Street Fighter IV?

Endou: A guideline that we kept in mind was to let each song act symbolically. That might not be expressed through the main melody. It could be as simple as a motif within the song that operates as a thematic hook, giving it a symbolic power. In terms of crafting songs that left a strong impression on the player, we felt that Street Fighter IV should share this characteristic as its common bond with Street Fighter II.

For instance, C.Viper brings to mind a sense of speed. Abel is complemented by a sorrowful melody with strength of force. El Fuerte's theme is as catchy as the fighter is hot-blooded. Rufus rides a motorcylce, so his song exudes that freewheeling spirit. Seth is plagued by despair and chaos. Gouken shares similar and opposing motifs with Gouki. Each of thes

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