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You can't do that, really, with recorded samples. That will have to be procedurally generated from data, and emulated via a few parameters (generated from the geometry you described) and then thrown through some Digital Signal Processing ("synth") to get the desired effect. It's piss-easy for fictitious, no-name aftermarket stuff, but doing the same for the production items is tricky - recordings are required.
The same applies to overrun effects. Somebody said that, without them, it all sounds repetitive. Using pre-recorded overrun sounds is not going to fix this adequately, certainly not for every car. Again, procedural generation is the key here.
I'm not overly worried. I "know" (like I knew we would get day / night
) that Kaz and his team have an ideal that they're working towards, but just as with weather, AI, day / night, "customisation" - they're not going to implement it properly until they can be satisfied it works properly. Throw in the fact that they've used first principles to derive a new tyre model, and we can be sure that at some point in the future, a fully procedural car engine sound synthesiser will be present in the GT series, and will be a revelation in terms of its flexibility and "immersiveness" - the problem of fidelity, i.e. whether it actually sounds like car A, or B, will still be prominent; but the tools to hand are much more flexible this way. Tuned cars will be absolutely fantastic, though.Mr. Whippy is a breath of fresh air on this topic. Finally someone who listens to the sound, and not to what their imagination has conjured up in order to fill in the gaps and satisfy the pre-formed expectation in their mind. His conclusions on recordings vs. "matched" substitutes / synth were something I also arrived at when playing GT2. I've not looked at game sound the same way since - that is, I don't allow myself to be satisfied with "cheats" and half-arsedness.
On balance though, there are as you quite rightly said, lots of GT cars that sound a bit poor.
