After 5 years and 2 months of work, I expect 3D sound!
Eh? GT3 had 3D sound...
You'll never get that with mics, ever, it's not the same as a human ear dynamic range wise. And after the mics and compressors, and digital audio/game processing (which definitely won't be using 64 bits or more of precision) which weakens the effect some more, it comes out of your speakers, which are even worse for most people, who play it through tiny TV speakers and weak amps.
You only get that in real life
Quite right!
Here's a standard recording mic, dynamic range of < 120 dB depending on where the noise floor is). The practical limit for most commercial microphones is apparantly around 125 dB - the human ear is typically capable of distinguishing 140 dB - live orchestral music usually sits in an 80 dB
range, pop music rarely exceeds 15 dB and can be as low as 1 dB (screw you, compression!!).
32-bit (amplitude) precision equates to just shy of 193 dB - it's more than adequate for music and games. (Formula is 20 log (2^n) with n being number of bits, and logarithm is base-10) The only reason that extra precision of 64-bit would be required is for extra-sonic reproduction, that is, what the sound
feels like: ultra high frequencies and real, sub-sonic earth shaking, since they both require serious power to be felt...
Nice! But that's one tuned mofo, I spotted the exhaust manifold and thought "uh-oh" - 750 NA horses is gonna sound fat!
One thing a game will never do properly is all those short sharp jabs of throttle sounds. Games tend to focus on the sustained sounds, because that's all they can realisticly replicate. A real car is much like a musical instrument, they can have infinite permutations in sound.
The only way they have come close to the articulation of a real instrument, is by creating digital models of what happens in a real instrument and turn it into computer code and process the sound in real time with inputs from the player controlling the model, instead of using samples, which are frozen and static. They have gotten fairly close to a real piano doing this, with all the expression you can get.
LFS sorta goes that route, but it's not sophiscated enough, and it requires a lot of CPU grunt to do it well. You'd have to model all the internal parts of the engine, combustion cycle and the exhaust path etc and how the gases flow through the various components and the resonances they pick up etc
You're totally right about the stabs, the recordings are all of "steady-state conditions", give or take a bit of "noise", whilst its the transitions that really give an engine character (in my mind), especially when throttle response improves, as in a race engine.
And the direct synthesis method has many challenges - I'm working on a way to model the noise through the valve ports at the moment, but not really made too much progress

my
CFD skills vastly outweigh my 3D modeling ability, and that's saying something!!
LFS is half-way sophisticated enough, I'm certain that with a decent pulse sound (which I may be able to stumble across in time, by modeling) it would sound authentic enough.
I understand what you're saying and see your point, but if a little mic from a video camera can capture "that" sound, why can't professional grade mics and sound engineers do it?
For example, this is taken with a video camera, yet captures that "angry" V8 sound from the Aston Martin V8 Vantage...
Lots of high frequency clipping from that poor little mic. Makes it sound like a fire-spitting dragon, but we lose mid and especially low-range definition. 👎