Music and Sound Direction

This is a sub-page of Prerelease:Street Fighter 6.

For a fighting game like Street Fighter 6, the Music and Sound Direction of the game is influenced by street and hip-hop culture, and was intended to represent "a new generation for the series" to bring the franchise back to form. For lead composer Yoshiya Terayama and Capcom's Sound Team, they had did their absolute best to put a lot of effort into how it sounds and make the new game a smash hit.

Sound Design and Voice Acting#

Serving as lead sound designers for Street Fighter 6 are Taichi Ezoe, Takeshi Kitamura and Rui Ouchi. Kakunoshin Atsumi oversaw everything related to sound design as a sound director. In order to express what director Takayuki Nakayama wanted in the game, the team worked on building a direction for the sound, adjusting everything between the voices, BGM and sound effects so that everything comes out in a super refined state. As well as Atsumi, additional sound design was handled by Wataru Hama, Shinichiro Nakashima, Gaku Komura, Mitsuhiko Takano, Shinji Amagishi, Taiki Watanabe, Tomoko Otsuka, Masayuki Endou, Masayoshi Umezu, Ryo Inakura, Eric Kung, Kazuyuki Akita, Tomoko Sakihara and Hiroko Yamanaka.

For some of the in-game stages, they also had crowds of their own. Any time you hit a Super Art, time a Perfect Parry, find yourself in Burnout, or otherwise make an exciting play, you'll earn a big cheer from the crowd, just like you would in a real tournament. Crowd voices are there in order to make the battle more exciting, but there were quite a few things the team did for the game in order to make the crowds sound as natural as possible while still keeping their energy. First, they wanted to make sure the crowd reacted at the right times to boost the energy. Fights proceed at a dizzying speed in Street Fighter 6, so Nakashima and the team thought hard about how to time the crowd, the energy with which they react, and their scope. Take this situation for example: punish countering with a drive impact. Doing this in a battle will of course earn its own crowd reaction, but that reaction will change based on how much health you and your opponent have left, as well as what round it happens in. They wanted to capture how important a single Drive Impact can become the longer a fight goes.

Barmaley Steelworks only has men in it's crowd, so the team made sure to include only male voices in the cheers. Fête Foraine's gender ratio on the other hand, is about 50-50. There are also some French speakers mixed in with the crowd to make it feel that you're actually in the country. Dhalsimer Temple's crowd is a bunch of monks uninterested in the fight, so they won't be cheering at all, but the elephants will cheer for you instead. Every stage is a little bit different. Some stages like Genbu Temple, Training Room, Enma's Hollow and Ruined Lab have no crowds, so they don't have cheers. The Macho Ring has a giant crowd, which means it has giant cheers, and the Ranger's Hut has some children's voices mixed in. The team really tried to make sure they all fit well with their stage. Lastly, they made sure the crowds reactions make sense. They can't just ooh and ah the same way at everything. Escape a throw or Punish Counter with a throw and they'll respond with surprise. Bring a Just Parry or Burnout, and the crowd will roar in excitement. No matter what you do, the crowd will respond in turn.

Yoshinori Koike was an audio/music producer and sound manager on the game, and was the project manager and producer of all things sound, writing up sound estimate proposals and contracts, doing administrative work, and oversee the progress of the project. Koike also worked with a bunch of other departments such as motion capture, cutscene animation, facial animation, and localization to discuss budgets and scheduling, and also attended voice recordings with Nakayama and Atsumi, as well as discuss music direction for recording with Terayama. Plus, Koike also occasionally helped Matsumoto with planning promotional material. Koike did everything except making the sound, but basically, it's a job to ensure a working environment where the people who do make the sound are able to focus fully on their work.

Kenta Yamamoto worked as a sound designer, and most of his job is doing character sound effects and voices. It is the sound team's job to do everything regarding the voices of characters, so they have to capture what makes the character great, make the voice lines easily understood during battle, and have them at the right length and match the timing. As they went through finalizing voice lines, the most important is obviously the first point. The series is all about its unique and fun characters, so they want the voices to match the character's personalities and their visuals. The team took inspiration from the script and design documents while trying to use the best of their skills as sound designers in order to get the best voices possible to make the characters shine.

The second point is intended to ensure the player is able to easily recognize what is going on during a fight. Basically, the team wanted the player to be able to understand what move is being used based on the voice line that plays. Based on the strength of the move used, most special moves have not only different animations and properties, but also different voice lines. Yamamoto worked with the battle team in order to have voices change when guarding moves of different strengths as well. An example of this is Ryu's Hashogeki. Having an opponent block a light or medium one will leave him open for a counterattack, but he'll be safe when a heavy is blocked, so they wanted the player to recognize when they should counterattack and when they should hang back based on the voice line that they hear. It was also important to find a good balance for Luke's Flash Knuckle in one instance where they thought the team hit this balance. The move's animations change a lot based on which version you use, with even more iterations based on if you charged the move or got the timing right, so they had a lot to consider. In the end, they decided to create voice lines for charged light, medium, and heavy variations, as well as one for getting the timing right. Getting a perfect Flash Knuckle changes its properties quite a lot, so the team wanted it to be clear when the player succeeded. As a quick aside, Luke was a character Yamamoto was assigned to, as he had lots of memories of discussing his different animations and model.

The third point is all about matching the voices up with the controls. It's important that the team made sure both the animations and voice lines have similar lengths, as having a good match helps makes the characters satisfying to play. Having a voice that last longer than the animation feels unnatural; just imagine a character still giving a big yell of exertion well after they've actually hit the enemy. This is why the team tried and made sure that a voice line finishes completely before the player can start another move. This doesn't always work because of particularly quick moves, but it's something they always have in mind, and the team tried their best to limit any lines that went long in an unnatural way. It's similar with timing the moves to start with the animation. If the voice line's peak misses the point where the character should be exerting the most energy, you lose a lot of the fun of controlling that character. Timing things is one of the most important jobs the team had, really. It's why they were fiddling with them all the way up to the end, and spent lots of time playing against each other, trying to find the perfect timing for each line. They had tried to make sure to bring out the best in the character through their voice, make battles easy to understand, and make sure the voice lines match their animations.

Nakayama first explained the overall plan, quickly followed by worrying if the team could get it all done in time. For both the art and sound, Nakayama said he "wanted it to feel like hip-hop". He wanted to try something challenging for this new game, and said "There aren't any hardline rules in hip-hop, but if you kind of follow stuff that surrounds the word, it gets hard to match the BGM with the intensity of the game". Atsumi remembered that it "was really struggling with how to incorporate that aspect into the work".

Studio engineers consisted of Takashi Moriguchi and Ryota Takei. The lead sound programmer was Masahiko Minami, and Daisuke Mizuno was the sound tool programmer. Assistant audio producers are Taichi Kamata, Taro Yamaoka, and Yuki Nagata. Setsuo Yamamoto, Ryo Yoshii, Kojiro Yagami and Yuichi Kuno also helped with the game's sound design. Kenji Kojima was the manager of the game's sound programming team, which consists of Yuki Komoto, Takahiro Kitagawa, Goki Shirozu, Kohei Iwahori, Honoka Nakayama, Shigetoshi Natsukari, Genta Miyashita, Yuki Sodesaki, Itsuki Inoue, Hitoki Oka and Sora Takida.

The sound FX production for Street Fighter 6 was done at Forcewick Sound Design Co., Ltd., as well as at Inspion, Inc. and Tonic Function ltd. Arata Iwashina did the cinematic sound design production at Phononscore. Masaya Kitada and Anri Kitagaki were foley artists, assisted by Morimi Sato and Hiroshi Shimofusa. Tadaharu Sato and Keiichi Momose were the re-recording mixers, with Takahiro Fujishima serving as the foley mixer. Chiaki Tachikawa, Fumihito Hayakawa and Sadaaki Nishinoo were the studio coordinators.

As in Street Fighter IV and Street Fighter V, many English and Japanese voice actors (both new and returning) lend their voices to their respective characters. While some that have voiced characters in previous entries since IV and V (such as Aleks Le, Caitlin Glass, Kyle Hebert, etc.) continued to reprise their roles, many new ones had to voice their own characters, or had replaced a character's previous voice actor/actress completely (David Matranga replaced Reuben Langdon, Jennie Kwan replaced Laura Bailey, Ray Chase replaced Travis Willingham, etc.). Several play-by-play and color commentators also lent their own voices into the game for the new real-time commentary feature (in which a selection of commentators watch the in-game actions in real-time while giving comments throughout the match). The launch commentators were Jeremy "Vicious" Lopez, Aru, Steve "Tasty Steve" Stout, James "jchensor" Chen, Thea Trindad (Zelina Vega), Kosuke Hiraiwa, H.E. Demon Kakka, and Hikaru Takahashi, with Naevis and Amaki Pururu being post-launch commentators. The in-game announcer in Street Fighter 6 was voiced by Larry Herron, as Nakayama wanted the game's announcer to be more hype-inducing than previous mainline games in the series had.

Music Direction#

As part of the new direction for the game's soundtrack, Yoshiya Terayama was the lead composer for all three modes of Street Fighter 6, with more BGM being added in future post-launch updates for the game. He was in charge of supervising the overall BGM and music production. Things such as what sounds should play at what timing to make an interesting melody is what he thought about when creating the songs so that everything comes out nice when played in the game. Multiple composers are involved in creating the soundtrack, and he supervised all of it so that the team can "really create the world of the game through music", all the while giving each composer their own unique touch for it. In the Developer's Column section of the Buckler's Boot Camp site, he had this to say about the feel of the game's soundtrack for World Tour, Fighting Ground and Battle Hub.

When I first joined the team, I was still fumbling around about how to create the music for the new game. Street Fighter 6 has a big hip-hop art style, and I love hip-hop music, and I'm influenced by that genre and its offshoots. So I went and tried to make something that sounded like it was a fighting game, like it was Street Fighter, like it was a Capcom game, and mix that all together to create something wholly unique for it. Each of the three modes has their own art style and gameplay, and we made sure to also have that clear separation with the music. Doing that allows us to expand the world of Street Fighter into something much bigger. However, expanding too much on the initial concept will allow things to spiral out of control, so first I concentrated on creating music that sort of symbolizes each mode. So in the game when you're choosing which mode to play and move the cursor, the music changes, and sort of gives you an idea of the concept of each mode. World Tour has a modern, city sound, and generally stays up-tempo. It makes extensive use of processed samples for brass and vocals, etc. to create a city-like sound. Fighting Ground's image has an underground street feel to it. The tempo is close to traditional hip-hop. So my thoughts were to compose music that revolves around the big booming synth bass. The Battle Hub is based on jazzy arrangements, creating an atmosphere of a place where you can connect with people in real-time.- Yoshiya Terayama

Terayama remembered it was very difficult to make it sound like Street Fighter-esque music while at the same time being true to hip-hop. The basic tempo and rhythm are inspired by hip-hop, but there are also times where they went off the beaten path to achieve something closer to a Street Fighter sound. On top of that, when fans think of hip-hop, they think of rap, so Terayama was also worried about the lyrics. At an early stage, the team were thinking about the overall balance of the game, and instead of adding rap everywhere, they only added it to the places they felt it had meaning (such as in Ed's theme "König oder Feigling"). They put rap into places where they needed some sort of intention, because the scene called for it. But Terayama definitely remembered where they started off with just instrumentals and were kind of feeling that they wanted to add rap because just expressing something through the battle wasn't enough.

When he made the Stage Battle theme for the Training Room stage, from the moment he composed it, he had a personal breakthrough and felt, "Yes! Just the instrumental will be fine here!". The music evolves into various genres as you progress in the game, but since there is an original source for each mode, you can feel a sense of cohesiveness, wanting to hear what parts were you consciously aware of specifically. According to him, the game's soundtrack was influenced by hip-hop culture and intended to represent "a new generation for the series". As well as Terayama, GRP, Shigeyuki Kameda, Yasumasa Kitagawa, Tom Fox and Marshall Smith (of The Sound Room), Daniel K. Solovitz, Chris B. Harris, Katsuhisa Asari, Kameyama Tomoki, Haruki Yamada and Sebastian Schwartz contributed to the soundtrack. Rocco 808, Randy Marx, L I O, Cecilia Stalin, Vaughn Faison, Gabby Byrd, Jayy Starr, Blumio and Ryoji Yamamoto contributed to perform the original vocal songs for the game's soundtrack. When producer Shuhei Matsumoto was asked why his team selected hip-hop for the game's main theme, he responded this:

Whether it's the intro of Street Fighter, the characters quoted by famous rappers, or the art you see on the streets, we're aware that Street Fighter is a perfect match for street and hip-hop culture. And with Street Fighter 6, we pushed it to the forefront, and you can feel that flavor throughout the in-game sounds as well.- Shuhei Matsumoto

For GRP (who was known for his beats), he collaborated with Yoshiya Terayama to work on the game's main vocal theme; "Not On the Sidelines", which features vocals by Rocco 808 and Randy Marx. An early version of this track was first used in the game's teaser trailer, and on June 9, 2023, the music video for it was premired on Rolling Stone's Twitch channel, directed by Ross Harris, and also guest featured Benny Diar and Sumi Oshima. The music video version of the track was also used in Chunithm Verse as part of a limited-time collaboration with the game that ran from January 6th, 2025 until February 5th, 2025.

He and Terayama both later worked on "Reinvent the Game"; which features vocals by Randy Marx, that was used in the Fighting Ground while selecting the versus match settings and characters, and heading into the battle. Three different variations of the track were made.

Then, they worked on "LEGEND"; which serves as the official vocal theme for the Capcom Pro Tour and features vocals by Rocco 808, Randy Marx and Jayy Starr. The music video for it was released on December 3, 2023.

For the vocal theme song of Kimberly's Level 3 Super Art "Bushin Ninjastar Cypher", Terayama brought in Vaughn Faison and Gabby Byrd to work on it.

Yasumasa Kitagawa worked on "All Over the World", which was used in World Tour and features vocals by L I O and Cecilia Stalin.

Tomoki Kameyama brought in Ryoji Yamamoto to work on "Over the FIGHTERS", which was used in the Aokigahara area in one of Mai's master missions. An instrumental remix of the track was also used in-game, and the music video for "Over the FIGHTERS (Karaoke version)" was released on March 4, 2025.

After that, Yamamoto and Yoshiya Terayama worked on a second original track, "The Song of the Streets"; which was used in Metro City at the Mike Haggar Memorial Stadium area in one of C. Viper's master missions, given it's Japanese festival feel. Like "Over the FIGHTERS", an instrumental version of the track was also used in-game.

With the inclusion of Zangief's Outfit 4, the heavy metal band Cavalera Conspiracy made "Piledriver", an original track for the game. It arranges a portion of Zangief's Street Fighter II theme ("Soviet (Zangief)") by Yoko Shimomura, originally from Street Fighter II: The World Warrior.

Rather than arranging motifs, all the theme songs for the characters are based on new compositions. Matsumoto said: "We have incorporated the styles of the characters themselves along with the essence of the countries they originate from. I hope people will play and experience how we have incorporated these elements into the Street Fighter universe".

Each theme uses DJ deck record scratches and male/female vocal sounds, as well as the instrument samples of each country that both go well for each character represented in the game's roster. For example, Ryu's theme "Viator", E. Honda's theme "Kumadori", and Akuma's theme "Shura" all use Japanese instruments, while Jamie's theme "Mr. Top Player" uses Asian-Chinese instruments. Terayama asked:

When it comes to the music, we incorporate the culture and art of each country we represent. This may be a bit off-topic, but if you were to ask how we incorporate the artistic elements of each country into the music, the instruments and techniques used are so important because they remind us of the history and culture of each country, and we try to make that mesh with the art direction of Street Fighter 6.- Yoshiya Terayama

The music for Street Fighter 6 is intended to be unique in that it is in the lineage of the series while also representing a new generation for the series. The World Tour mode features Metro City, which includes elements that will please fans of the Final Fight series. Beginners will enjoy a fresh gaming experience, and fans of the previous games will be able to experience the classic atmosphere throughout the game.

Fighting games can be appreciated in their own unique ways, and with this game's soundtrack, the sound team's goal was to create music that everyone can enjoy and groove out to. Terayama said: "It would make me so happy if people see this as an evolution of the franchise."

No doubt. You are really free to decide how you want to enjoy Street Fighter, and it doesn’t matter how strong you are competitively. The most important thing is to like Street Fighter, which is why we are evolving with Street Fighter 6 to make it easier to play and enjoy.- Shuhei Matsumoto

The music of the game is heavily influenced by hip-hop culture, as it respects and blends the melodious game music that has been passed down through the series with the various musical elements derived from hip-hop culture. A couple good examples of how Street Fighter has shown its hip-hop influences are the graffiti in the intro cinematic in the original Street Fighter as well as the hip-hop sounds of Street Fighter III. Matsumoto asked: "After all, Street is in the title. Graffiti, dance, rap, and DJ sounds — I want to include all four of these major elements firmly in Street Fighter 6. As Terayama-san said, there is a lot of pressure to take on new challenges. But the members of the Street Fighter 6 development team have been so creative that they have been able to overcome that pressure. And our director, [Takayuki] Nakayama-san, is just the best. Street Fighter 6 is the result of our efforts to create what we wanted to do. We are grateful for the awesome response we’ve received from everyone so far."

This time, as a major challenge, we are renewing the theme songs of the characters. We have created music based on the concept of what it would be like if each of the characters appeared on the streets. Since music throughout the series has been loved by many, we feel pressure to create something new, rather than just a new arrangement.- Yoshiya Terayama

According to Kameda, "there's a rule that the composer who made the track gets to decide on the name for character themes", though he had seen people suggesting otherwise sometimes on the internet. Each character's original theme in Street Fighter 6 has it's own unique feel for them.

• Luke's theme "Taking Aim" is a new composition of his theme from Street Fighter V: Champion Edition by Yoshiya Terayama, and was described of him taking his PMC work to "train up on your martial arts".

• Chun-Li's theme "Not A Little Girl" is composed by Yasumasa Kitagawa, and reflects "her philosophical approach to life".

• Ryu's theme "Viator" is composed by Shigeyuki Kameda, and takes not much influence on the character's themes in previous games before Street Fighter 6. It was described of him continuing to "feel the journey he has been on and his enthusiasm for the new one awaiting for him" in the game.

• Jamie's theme "Mr. Top Player" is composed by Shigeyuki Kameda, and was described of him going to "experience his devotion to keeping his community in Chinatown safe". In discussing it, Kameda replied:

Next is our handsome breakdancing kung fu master Jamie! The title of his theme comes just from his confident personality, Mr. Top Player. I don't have any fun little facts about this title, but it does make me think of something that happened during development. For most tracks in SF6, the concept and feel of the song were left up to the individual composers, but for this particular track, we had someone from planning come and sit in on the music meeting. They told us that a new character they were planning was: from Hong Kong, used Drunken Fist, was good at breakdancing, and played the trumpet as a hobby. They asked us if we thought we could fit one or two of those concepts, to which we replied immediately, "Absolutely! We'll make sure to get all of them in!" I think we could feel how excited the team was about this character, and that kind of excitement is infectious. So we came up with something with a breakdance rhythm, some Chinese-style instrumentation here and there, topped off with some big beautiful brass instruments just like they asked! "But what about the drunken fist part?" I can just hear you thinking it! Don't worry, we didn't forget! Character themes change when characters reach low health, so for Jamie we put a flanger on the drums in the song in order to give it a drunken feel! Trippy, right? Not only that, when his Drink Level is maxed out during the final round of a fight, the feeling of the song changes completely to really bump up the intensity of the match!- Shigeyuki Kameda

• Guile's theme "Sharpened Sonic" is composed by Yoshiya Terayama, and "represents his takeoff to a new journey".

• Kimberly's theme "Ninjastar Pop" is composed by Yoshiya Terayama, and reflects "her modern take on traditional ninja techniques - or in other words, what a Ninjastar is made of".

• Juri's theme "ÅrachniD**" is composed by Shigeyuki Kameda, and was described as her being "like a spider, trapping her prey in a web of allure", and that it "will hypnotize even the strongest of wills" if you dare. In discussing it, Kameda replied:

Juri, my queen! That's right, it's ÅrachniD**. The spider tattoo-bearing, Feng Shui Engine using femme fatale's theme. There were lots of suggestions for what to call this one, but in the end we decided on a name with "Å", to represent Juri's right eye, and "**" to represent her left, the Feng Shui Engine itself. Bring it all together and you get ÅrachniD**! Don't forget the special characters though, or Juri may not be too happy with you!- Shigeyuki Kameda

• Ken's theme "Spirit Of The Flame" is composed by Yoshiya Terayama, and reflects "his drive to clear his name and to keep his family from harm".

• Blanka's theme "zilra zilra" is composed by Shigeyuki Kameda, and was described as "the perfect tune to listen to while on an upbeat tour in the Amazon hosted by Blanka himself".

• Dhalsim's theme "The Great Sunlight" is composed by Yoshiya Terayama, and was described of him hoping to "look deep within yourself to find inner peace".

• E. Honda's theme "Kumadori" is composed by Shigeyuki Kameda, and "represents the vivid makeup kabuki actors wear on stage".

• Marisa's theme "Pankration" is composed by Shigeyuki Kameda, and was described of her desiring to "bask in the glory of the fight and imagine a roaring crowd around you".

• Manon's theme "Walk With Grace" is composed by Yoshiya Terayama, and was described of her dreaming to "strut your model moves on the catwalk" with her fashion.

• Dee Jay's theme "All Right!" is composed by Daniel K. Solovitz and Chris B. Harris, and was described of him hoping to "grab a drink, and lay down in the sand on the beaches of Jamaica".

• JP's theme "The Plunderer" is composed by Yoshiya Terayama, and was described of him planning to "strategize his next investment".

• Zangief's theme "R.E.D." is composed by Shigeyuki Kameda, and was described as "a tune that can amp up an audience for a wrestling match".

• Lily's theme "Diosa Del Sol" is composed by Shigeyuki Kameda, and was described that it "evokes the cheerful feeling of strolling around the Thunderfoot Settlement".

• Cammy's theme "OverTrip" is composed by Shigeyuki Kameda, and was described that it's "fit for a special agent", and reflects "her resolve to always see things through to the end".

• Rashid's theme "The Turbulent Wind" is composed by Yoshiya Terayama and Katsuhisa Asari, and was described that he can let the sound of it "play in your parkour lessons or your livestreams".

• A.K.I.'s theme "Poisonous Passion" is composed by Yoshiya Terayama, and was described of her hoping to "get obsessed over her master's style before the poison takes over".

• Ed's theme "König oder Feigling" is composed by GRP, with lyrics written and performed by German-born rapper Blumio. It was described that it reflects "the struggle he must face: to be a king or a coward". While making this track, GRP did the music first, before Blumio had to wear headphones in the recording studio to make his lines in-sync with the BGM.

• Akuma/Gouki's theme "Shura" is composed by Shigeyuki Kameda, and was described of him desiring to "feel the rhythm of the Satsui no Hado surging through your veins". It received a remixed arrangement for his SiRN counterpart in the Battle Hub's Giant Attack event, going by the nickname of "Asura".

• M. Bison/Vega's theme "Undying Desire" is composed by Yoshiya Terayama, and was described of him hoping to "feel his deathless yearning for power". It also received a remixed arrangement for his SiRN counterpart in the Battle Hub's Giant Attack event, going by the nickname of "Infinite Desire", which is composed by Tomoki Kameyama.

• Terry's theme "Kurikinton SF6 Arrange" as it's name implies, is a new jazzy composition of his America stage theme from Fatal Fury 2/Special by Yoshiya Terayama and Katsuhisa Asari, and was described of him continuing to "experience his fighting passion and fun-loving attitude".

• Mai's theme "Enryuujin SF6 Arrange" is a new composition of her Nippon stage theme from Fatal Fury 2/Special by Yasumasa Kitagawa, and was described of her getting inspired by the essences of "the beating of butterfly wings, the swoosh of fans, and the roar of fire".

• Elena's theme "Beats In My Heart" is a new take on "Beats In My Head", her stage theme in Street Fighter III: 3rd Strike by Yoshiya Terayama with vocals by J'Nique Nicole, and was described that it "inspires her exuberant outlook on life". In making it, Takayuki Nakayama sent a lot of songs from Talkin' Loud by Gilles Peterson to Terayama as a reference. He also thought that Acid Jazz, which has a foundation in funk and soul but also has modern (at the time) elements, would suit the theme.

• Sagat's theme "The Silent Ascetic" is composed by Tomoki Kameyama, and was described that it "reflects his mission to live out his days in the mountains while honing his inner peace". Part of it also interpolates the motif from Sagat's Street Fighter II theme ("Thailand (Sagat)") by Isao Abe, originally from Street Fighter II: The World Warrior.

• C. Viper's theme "Untraceable" is composed by Tomoki Kameyama, and was described that it "reflects her continued mission to hunt down the scraps of Shadaloo". It has a heavy metal and synth-styled feel, and it also interpolates the motif from "Theme of C. Viper" by Hideyuki Fukasawa, originally from Street Fighter IV.

• Alex's theme "Go! Alex! Hope is Born!" was composed and performed by the Japanese anime band JAM Project. Capcom wanted the band to work on a new original song for Alex in this game, and the band agreed on this deal. The lyricist is Masami Okui, the composition is by Hiroshi Kitadani, and Shiho Terada arranged the track.

• His second theme "Jazzy NYC SF6 Arrange" is of course, a brand-new jazzy rearrangement of "Jazzy NYC '99" from Street Fighter III: 3rd Strike by Katsuhisa Asari.

• Ingrid's theme "Cosmic Scale Pretty" is composed by Yoshiya Terayama, with vocals performed by Japanese girl group Suzuki Mob. This track has a synthetic rave feel, and after Terayama had written the lyrics and arranged the music, he brought in the group to provide the singing.

• Yasmine's theme "SIGLA ↑↑ UP!!!" was composed by Mion Matsumura, and was described that it can "focus your energy, and let it fill you with her determination and strong will".

• Arjun's theme "The KroDharma" was described that it "fills the air with dramatic tension to get the blood in your body jumping with violence that will shake the earth".

Terayama, Koyo Sonae and Hiroo Nakano served as music directors. Ben MacDougall (of Liquid Cinema) produced the game's music, which was mixed by multiple award-winning audio engineer IRKO. Kakunoshin Atsumi served as audio director, and Yoshinori Koike was audio producer. Pre-mastering was done by Takashi Moriguchi, and music production was handled at Attic Inc with Chizu Iwaki, Kenji Nakajo, and Charlie Chen serving as coordinators. Studio mixing was done at StudioBeat3, in Los Angeles, CA.

The music recording production for Street Fighter 6 was done at Harmonics International Co., Ltd., where Masako and Koji Suga were music production coordinators. Kei Suzuki played the alto and tenor saxophones, the bass clarinet and flute. Mitsuru Tanaka played on the trumpet and flugelhorn. Tomoki Mitsuka played the trombone, Masumi Konishi was on the acoustic and electric piano, and Shigeki Selizawa was on the acoustic and electric bass. Mayuko Yamaguchi played the vibraphone, and Ryohei Nomura and Yoshitaka Shirane were on drums. Ichiro Fujiya and Orlando le Fleming were on bass, and Kiyoto Konda was on guitar. The recording engineers were Yoshiyuki Watanabe (of Sync Studio), Shigeo Sakurai, Alex Conroy, Kevin Luu and Greg Muzljakovich.

Studio recording was done at ReBirth Inc., The Bunker Studio, The Village Studios, Blue 13 Productions and Onkio Haus, and the mastering was done at Miracle Bus Studio, where Takeshi Inaba was the mastering engineer. Kenta Murakami was assistant recording engineer, and the sound managers are Takeaki Morihara and Yuya Koyari was a recording engineer (alongside Kevin Luu and Alex Conroy). The music coordinators were Chizu Iwaki and Kenji Nakajo, while Kazuyuki Doki was a recording engineer and music production coordinator.