V3

User guide
BEFORE WE GET STARTED

Thank you for buying or trying AudioMotors. Your support is greatly appreciated and be sure
that any means we have goes directly into R&D and product enhancement. If you encounter
any problem or simply if you want to give us a feedback, feel free to send us a mail at
[email protected], we will be happy to read from you and/or help you if needed.

Information in this manual is subject to change without notice and does not represent a
commitment on the part of Le Sound. The software described in this manual is furnished
under a license agreement. The software may be used only in accordance of the terms of this
license agreement. It is against the law to copy this software on any medium except as
specifically allowed in the license agreement. No part of this manual may be copied,
photocopied, reproduced, translated, distributed or converted to any electronic or machine-
readable form in whole or in part without prior written approval of Le Sound.

Copyright © 2015 Le Sound

Program Copyright © 2015 Le Sound. All rights reserved.

AudioMotors is a trademark of Le Sound.

Windows is either trademark or registered trademark of Microsoft Corporation. Mac OS X, Audio Units and App
Store are registered trademarks of Apple Inc.. VST is trademark of Steinberg Media Technologies GmbH. RTAS,
AAX and Pro Tools are registered trademarks of Avid Technology Inc.. All other product and company names are
either trademarks or registered trademarks of their respective owner. Unauthorized copying, renting or lending
of the software is strictly prohibited.
Visit Le Sound online at http://lesound.io

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TABLE OF CONTENTS

INTRODUCTON 3
Drive your recordings and imagination 3
System requirements 3

INSTALLATION GUIDE 4
Windows 4
Mac OSX 5
Activation 6

QUICK START GUIDE 7

ANALYSIS / SYNTHESIS TOOLS 10

AudioMotors General Architecture 10
Engine Sound Analysis 11
Engine Sound Synthesis 12
Audio Options 14

OPEN SOUND CONTROL 16

TouchOSC Setup Guide 16
Lemur Setup Guide 17
How to know my computer’s IP address 18
AudioMotors OSC Setup Guide 19
Troubleshooting 20
OSC Implementation Table 20

AUTOMATION 21
STEP-BY-STEP TUTORIAL 23

LICENSE NOTICE 24



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INTRODUCTION

Welcome to AudioMotors! AudioMotors is an analysis/synthesis tool for car engine sounds.

It is an audio plug-in of AAX, Audio Units and VST formats for both Mac OS X and Windows
platforms. It allows you to re-create car engine sounds from a recording. The analysis
algorithm is specially designed to extract the underlying RPM for engine rolling up or rolling
down with slow speed change rate. Based on the extracted RPM, the synthesis algorithm
allows playing the designated RPM sound flawlessly. The provided controls/automation
allow you to scratch the recording the way you like to create new sounds.

Drive your recordings and imagination

AudioMotors is designed to open the possibility of playback (re-synthesis) control of what

you record. For a challenging recording source like car engines, it not only requires
techniques to record but also knowledge to edit. It often happens that the sound recorded
while shooting a video is not satisfying and one needs to edit the sound scene from another
clean recording. For video materials like animation, there is no sound at all and one has to
create the sound scene from ground up.

Our goal is to provide a tool that one can easily re-create car engine sounds from a piece of
recording. Armed with automation, AudioMotors will save you hours of editing into an
efficient gesture and bring you more fun in creating new sounds.

System requirements

AudioMotors comes with the following audio plug-in formats*:

* AAX 32bits is compatible with Pro Tools 10 and AAX 64bits is compatible with Pro Tools 11 and above. Please
refer to Avid for precise system compatibility.

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INSTALLATION

Windows

Double-click on audiomotors*setup.exe (or the one for the trial version) to launch
installation wizard. Click on “Next” to go to the next screen. You have to read and agree to
the End User License Agreement before proceeding. On the following screen you’ll be able to
choose the components you want to install:

- Common files regroups all documentation related to this product

- Databanks – embedded banks of sounds, they are provided as examples/demos of
what you can do with the plugin. Please do not hesitate to try your own recordings!
- VSTi 32-bit will install the 32-bit VST instrument
- VSTi 64-bit will install the 64-bit VST instrument
- AAX 32-bit: the 32-bit version of the AAX plugin for Pro Tools 10.3.5.
- AAX 64-bit: the 64-bit version of the AAX plugin for Pro Tools 11 and 12 exclusively.
This won’t work on older versions of Pro Tools. If you previously installed the 32-bit
version and switched later to Pro Tools 11, don’t forget to uninstall/remove the old
32-bit AAX (you can do the same for all your other 32-bit plugins as only 64-bit AAX
plugins will work on Pro Tools 11 and 12)

The following screens of the installer will allow you to choose custom locations for common
files, VSTi 32 / 64-bit and AAX.

Default installation paths

Common files and databanks: “C:\Program Files\LeSound”
64-bit VSTi plug-in: “C:\Program Files\Vstplugins”
64-bit AAX plug-in: “C:\Program Files\Common Files\Avid\Audio\Plug-Ins”

You may have to install Microsoft Visual C++ redistributables. If you don’t have them already
installed on your computer, select “Yes” when the installer asks you if you want to install the
package. Otherwise, you can click on “No”. The installation is then complete.

Mac OS X

Double-click on audiomotors*setup.pkg (or the one for the trial version) to launch
installation wizard. Please read and accept the End User License agreement in order to
proceed. By default, the installer is set on “automatic” mode and you won’t have anything to

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do, but you can also choose a “custom” installation mode and you’ll be able to select which
component you want to install and where to install it. The different choices are:

- Common files – regroups all documentation related to this product

- Databanks – embedded banks of sounds, they are provided as examples/demos of
what you can do with the plug-in. Please do not hesitate to try your own recordings!
- VSTi 32 / 64-bit will install the VST instrument
- AudioUnit 32 / 64-bit will install the Audio Unit instrument (for Logic and other
compatible hosts)
- AAX 32 / 64-bit will install the AAX plugin for Pro Tools 10 (32-bit) and 11 or 12 (64-
bit).

Default installation paths

Common files and databanks: “/Applications/LeSound”
64-bit VSTi plug-in: “/Library/Audio/Plug-Ins/VST”
64-bit AUi plug-in: “/Library/Audio/Plug-Ins/Components”
64-bit AAX plug-in: “/Library/Application Support/Avid/Audio/Plug-Ins”

Note: With the exception of RTAS, the VSTi, AUi and AAX plugins are universal binaries. This
means your host will automatically load the right version, depending on its architecture. For
example, if you launch Pro Tools 10, it will load the 32-bit AAX and if you launch Pro Tools 11
or 12, it will see the 64-bit AAX.

Activation

AudioMotors uses iLok license activation. When you purchase AudioMotors, an iLok license is
associated and you need to transfer it to your iLok. Please enter your iLok account name
while registering Le Sound.

If you encounter any problem with the activation process, please don’t hesitate to send us an
email at [email protected].

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QUICK START QUIDE

H A I J B

M L E C F D G K

Loading and previewing a sound file

Click Load File I to load a sound file of WAV or AIFF format. The analysis is then launched
automatically and the spectrogram A of the sound file is displayed with the extracted RPM
curve H overlaying on top. While the mouse cursor is moving within the spectrogram display,
the RPM, frequency (Hz), and time (Second) information is displayed at the right-upper
corner of the spectrogram. Click “Play” J to preview the loaded sound file.

Engine settings B

Cylinder count is the total number of cylinders of the engine. Rev. per firing is the number of
revolutions needed for a firing event. For a two-stroke engine is 1, for a four-stroke engine is
2, and for a six-stroke engine is 3. Setting correct engine information will result in the best

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synthesis quality. Harmonic factor allows the correction of the harmonic number of RPM
curve H relative to the fundamental frequency. Grain factor could sometimes improve the
synthesis quality.

RPM mode C

Select RPM control mode and click Start in the Main control panel G to synthesize engine
sounds of the designated RPM. By directly dragging the RPM tachometer in the RPM panel C,
you can control the synthesis by the desired RPM.

Drive mode D

Select Drive control mode and click Start in the Main control panel to simulate
acceleration/deceleration and engine load changes for the selected car model. The Throttle
Mode allows switch between Drive (with load simulation) and Rev (without load simulation).

Drive/RPM settings E

The freeze size is used to control the neighborhood around the target RPM that are to be re-
synthesized. If the analyzed RPM of the recoding shows rapid variation, it is recommended
to set it small. The RPM pitch switch is used to normalize (on) or not (off) the pitch of the
synthesized sound w.r.t. the target RPM. The RPM factor allows modifying the displayed
RPM.

When only a part of the sound is of interest, you can select the synthesis region by dragging
the Region Trim cursors: the upper-side cursor masks from the beginning and the lower-side
cursor masks from the end. The synthesis will exclude the masked regions.

Scratch mode F

Select Scratch control mode and click Start to synthesize the designated time position. You
can control the scratch time position by dragging the slider. There are two Scratch Settings E
that adapt to engine-rolling sound (pitched) and tire-rolling sound (unpitched).

Real-time control K

Transpose allows changing the pitch of the synthesized engine sound. This is useful for
producing unavailable RPMs in the recording and creative sound design. Randomize allows
producing slight pitch variations. This sometime helps to add a bit more liveliness of the
synthesized sound. Adapt is a control for smooth sound transition. Smaller values sometimes
improve for idle engine sounds (very low RPM).

Status bar

The status bar M displays the information of the sound file and tool tips.

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ANALYSIS / SYNTHESIS TOOLS

AudioMotors General Architecture

AudioMotors comprises two parts of processing: (1) analysis and (2) synthesis. Given an
engine sound recording, AudioMotors first analyzes the RPM at each short-time instant. The
analysis result is then used for synthesis.

A B

C F D G

The panels marked by yellow frames display the essential information and controls: The
spectrogram A(time-frequency representation), the engine information B and the main
synthesis controls C F D G.

The remaining panels are for synthesis control settings and real-time transformation.

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Engine Sound Analysis

Click Load File and select a recording of WAV or AIFF format (other formats are currently not
supported) that you would like to work with. The analysis will launch automatically once the
selected file is confirmed. The analysis time may vary according to the length of the recording
and your computer specifications. For a 24bit/48kHz stereo sound file of one minute, the
analysis usually takes a blink to finish.

When the analysis is done, AudioMotors will show the signal’s spectrogram with a red curve.
The spectrogram is a two-dimension time-frequency plot. Every point in the spectrogram
shows the energy at the corresponding time (seconds) and frequency (Hz). The spectrogram
is a useful representation of a sound signal for identifying different components/events in
the sound. As car engine sounds are rather periodic (harmonic), the harmonics are situated
with regular frequency distance. You should be able to identify strong energy time-frequency
points forming clear spectral lines that correspond to the harmonics.

The overlaying RPM curve is plot with a scale that allows easy verification of the analysis
results with the spectrogram. A good detection shall follow well the frequency evolution of
the harmonics of engine sounds. If there are regions that do not appear to have good
estimation, you may use the trim tools located right below the spectrogram.

At the upper-right corner of the spectrogram shows RPM, frequency (Hz) and time (second)
while the mouse moves around within the spectrogram. If you have access to the RPM
information of the recording, you may select the region of good detection result to work
with.

AudioMotors provides setting engine information for great analysis and

synthesis results. If you know the engine type in advance, you can refer to
automobile manufactures for the cylinder count and the number of
revolutions per firing event. For a two-stroke engine (often seen in
motorcycles), its rev. per firing is 1. For a four-stroke engine (most cars),
its rev. per firing is 2. For six-stroke engine, its rev. per firing is 3. Notice
that engine specification sometimes uses the number of firings per
revolution which results in 1, 0.5 and 0.333, respectively. This parameter
is used as a correction factor for the analyzed RPM. It is meant for a more
realistic control and it is less related to the synthesis quality.

Since the analysis algorithm does not always detect correctly, the provided harmonic factor
allows simple correction. The default analysis proposes the harmonic factor with the “*”
symbol. If you are familiar with signal analysis, you may be able to tell the right harmonic
factor by means of examining the corresponding harmonic number of the detected RPM
curve in red. Otherwise, we recommend you to switch among different values and listen to
the synthesis sounds. Sometimes the harmonic factor that is theoretically correct does not
produce the most promising result you may then try to improve further with grain factor.

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Engine Sound Synthesis

To preview the sound file, click Play File to playback the file from the beginning to the end.
You can stop it by clicking it again during playback. AudioMotors provides three synthesis
modes: Drive mode, RPM mode and Scratch mode. Drive mode synthesizes engine sound by
means of simulating engine-load variations for various car models; RPM mode synthesizes
engine sounds through the RPM meter control; Scratch mode synthesizes engine sounds
through time position control.

Drive mode
Select Drive control mode and click Start in the Main
control panel to simulate the acceleration, deceleration
and engine load changes for the selected car model.

There are 7 models available: Moto (motorcycle), City

(city car), Family (family car), Lux (lux car), RV, Trucks,
Sports (sports car) and Formula 1. Throttle Mode allows
switch between “Drive” (with load simulation) and “Rev” (without load simulation).

RPM mode
The RPM mode synthesis can be controlled by dragging the
RPM tachometer. Given a RPM value, AudioMotors will
search for the time instant of the closest RPM and re-
synthesize the engine sounds around its neighborhood
defined by freeze size in seconds.

Drive/RPM settings
The region trim tools allow masking a part of the beginning
(upper-cursor) and the end (lower-cursor) of the recording.
Accordingly, the masked region will not be used for the synthesis.

When one works with AudioMotors in Drive/RPM

mode, the tachometer may display a red zone in the
tachometer representing the RPMs that are not
available in the recording. By means of masking the
unwanted regions, the available RPMs in the
tachometer will adapt automatically to the region you
want to work with.

When you find the synthesis not promising, please carefully adjust freeze size (in seconds):
making it smaller will result in more coherent cycles but may become repetitive and

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unnatural, making it larger will result in more vivid sounds but may become rough and
unnatural. RPM pitch on/off switch is used to normalize the pitch of synthesized sounds w.r.t.
the given RPM.

Notice that the Drive/RPM mode is designed to work with engine recordings of
monotonically increasing (run up) or decreasing (run down) RPM.

Monotonically increasing RPM curve

Scratch mode
The scratch mode synthesis can be controlled by
dragging the slider in the “SCRATCH MODE” panel. It
works like scratching a vinyl record as the position
cursor scratch through the recording. The masked
region by trim tools does not apply to scratch mode.

Notice that this mode is especially useful for

synthesizing the regions that RPM mode cannot control
properly: (1) un-pitched region and (2) wrong detection
region. It is also useful for working with the recordings
that contain several run ups and run downs.

There are two modes for Scratch: (1) Engine-rolling sound is designed for scratching highly
pitched sounds like engine sounds. (2) Tire-rolling sound is designed for scratching un-
pitched sounds with amplitude modulations like tire rolling sounds.

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Notice that this mode is especially useful for synthesizing the regions that RPM mode cannot
control properly: (1) un-pitched region and (2) wrong detection region. It is also useful for
working with the recordings that contain several run ups and run downs.

un-pitched un-pitched

Real-time control
There are three real-time parameter controls for all control mode
synthesis: Transpose, Randomize and Adapt.

Transpose is a global pitch control. It allows transposing the output

synthesis sounds from 0.1 to 4. Use it as a creative tool to transform the
car engine sounds into something else (boats, fans, drills, etc.).

Randomize randomizes the transposition of the output synthesis sound to give more
liveliness. It is between 0 and 1: smaller values will constrain the transposition to a smaller
range and larger values will allow larger transposition range.

Adapt is a smoothness control of synthesis sounds. It is between 0 and 1. By default, the

smoothest synthesis setting (=1) is recommended. If you find the synthesis not producing a
complete cycle, you may tweak this parameter smaller to see if the cycle can be recovered.

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Audio Options

Click Menu to access advanced settings “Audio options”. Playback options is related to
transport control. When the link option is enabled, the Start button of AudioMotors will be
linked to the play button of the host sequencer. When you launch the host’s playback (hit the
space key of the keyboard), it will trigger AudioMotors to synthesize in Drive, RPM or Scratch
mode.

The second option is for the RPM range displayed in the tachometer. When the Automatic
option is enabled, the tachometer will display the range between the minimum and
maximum of available RPMs in the recording. When the Manual option is enabled (by
default), you can modify manually the RPM limits that AudioMotors synthesizes. This allows
AudioMotors to synthesize the RPMs that are not available in the recording (marked as red
zone in the tachometer).

This plugins can be used with the Open Sound Control (OSC) protocol. Please refer to the
next chapter to find out how to take advantage of your OSC enabled device to control
AudioMotors.

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OPEN SOUND CONTROL
AudioMotors is an OSC friendly plugin, meaning that you can use any OSC enabled device or
software you want to control it. We also provide fully functional templates for TouchOSC
users on iPad.

You can find the files on http://lesound.io/related-downloads/

TouchOSC Setup Guide

The following guide covers the installation and configuration of TouchOSC on iPad for
AudioMotors.
TouchOSC is an OSC app available on the App Store. Search it in the App Store or go to
hexler.net to download it on your computer. Once the app is installed, please plug your iPad,
start iTunes and go to your device’s “Apps” tab Scroll to the File Sharing section where you
will find a list of Apps. Select TouchOSC from this list and a new list of TouchOSC related
document should appear. You can now add the AudioMotors template by dropping it into
that list or by clicking the Add button.

Next you will need to start TouchOSC on your iPad and tap on the OSC row in the Connection
section and turn the Enabled switch on.

The host should be the IP address of the computer running AudioMotors, please scroll to the
next section if you don’t know how to find your IP address. AudioMotors is, by default,
configured to send on port 8000 and receive on port 9001.

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You can of course customize the ports to be used. Please make sure that those ports are not
already occupied by any other process on your computer and to reflect your configuration in
the AudioMotors preferences (see below). Once the configuration is done, go back to the
main menu in TouchOSC and tap the Layout row. The AudioMotors template should appear
in the list, tapping it will make it the current active template.
The TouchOSC configuration is now over you can go back to the main menu and tap the Done
button in the upper-right corner of the iPad.

Lemur Setup Guide

The following guide covers the installation and configuration of Lemur on iPad for
AudioMotors. Lemur is an OSC app available on the App Store, you can search the App Store
or go to liine.net to download it on your computer. Once the app is installed, please plug your
iPad, start iTunes and go to your device’s “Apps” tab Scroll to the File Sharing section where
you will find a list of Apps. Select Lemur from this list and a new list of Lemur related
document should appear. You can now add the AudioMotors template by dropping it into
that list or by clicking the Add button.

Next you will need to start Lemur on your iPad and tap on the gear icon in the upper-right
corner of the screen and tap the More settings… row

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In the OSC section, tap the Add Target and fill the Host field with the IP address of the
computer running AudioMotors, please scroll to the next section if you don’t know how to
find your IP address. The incoming port of the Lemur app is set to 8000 and can’t be
changed, you can only customize the outgoing port which should be set to 9001 if you want
to use AudioMotors’ default port configuration. If you want to use another outgoing port,
just make sure that this port isn’t already used by any other process on your computer and to
reflect your configuration in the AudioMotors preferences. When you’re done, your OSC
Targets should look like this:

Tap the Done button to close the Settings panel and once again tap the gear icon in the
upper-right corner of the screen and tap on the Project row. The AudioMotors template
should appear in the list and tapping it will make it the current active template.

How to know my computer’s IP address

If you’re a Mac user click to the Apple icon on the upper-left corner of the screen and select
System Preferences. Go to the Network button which should be on the third row and your IP
address should appear.

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If you’re a Windows user, click the Start button, open the Control Panel and go to Network
and Internet, then go to Network and Sharing Center. You should see your network under
View your active networks. Click the name of your network next to the Connections label on
the right and then go to Details. Your computer’s IP address should appear in the value
column next to IPV4 IP Address.

AudioMotors OSC Setup Guide

To enable OSC, open AudioMotors preference by clicking the Menu button. Go to the OSC
and check the Enabled box, the Remote IP field and Port should now be editable. The
Remote IP should be the IP Address of your iPad which can be found in the configuration
page of both Lemur and TouchOSC we have seen previously. If you are having trouble finding
this IP you can still open the Settings app on your iPad, go to the Wi-Fi tab and tap the blue
arrow next to the network you’re currently connected. If you configured Lemur or TouchOSC
with our default port values, you shouldn’t need to go any further. Otherwise, make sure you
reflect the exact same port configuration on both the computer and the iPad.

Congratulations! Now you should be able to control AudioMotors with your iPad !

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Troubleshooting

If you followed this guide but still aren’t able to control your AudioMotors, you can try the
following suggestions:

- Try another port configuration.

- Try closing other programs that are currently using your network.
- Try to reboot devices, maybe a process is still bound to the port you’re trying to use.

If you’re still experiencing troubles please do not hesitate to contact us.

OSC Implementation Table

If you want to use another (maybe your own) OSC app or device, AudioMotors should
respond to properly formatted OSC messages. All the values must be float and scaled
between 0 and 1. Here is the table showing the OSC messages for every controllable
parameter.

Parameter OSC Messages

Acceleration fader RPMChangeRate

RPM RPM

Scratch Control ScratchPos

Real-Time Transpose PitchShift

Control Mode ModeSwitch

Start / Stop Button StartDrive

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AUTOMATION

You can automate the following parameters of AudioMotors within your audio sequencer:

- Start : Activate/De-activate RPM mode synthesis.

- RPM : RPM control value
- ModeSwitch : Choose from the three different mode (Drive, RPM, Scratch).
- ScratchPos : Time position of the scratch slider.
- PitchShift : global pitch transposition.
- RPMChangeRate : control the acceleration in Drive Mode

Automate AudioMotors in Pro Tools

The following example shows how to setup AudioMotors with Pro Tools for automation.

1. Create an aux track

2. Insert AudioMotors into the Aux Input track.

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3. Click the button below Auto to bring up automation parameters list.

4. Select the parameters you want to automate

5. In the track view, select the parameter by clicking the small triangle and then the “+” sign
to open up and add the automation track.

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6. Edit the automation curve the way you like.

7. Once you launch the host playback (hit the space key of the keyboard), AudioMotors starts
synthesize in automation mode.

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STEP-BY-STEP TUTORIAL
1. Click Load File to load a sound file and preview the file by clicking Play.

2. Set rev. per firing among 1 to 3 and cylinder count if you know exactly the engine type.

3. If the amplitudes at the beginning / end contain fade in/out, or if the analyzed RPM curve
does not follow well the spectral lines in the spectrogram, mask the region by using the
region trim cursors.

4. Select Drive mode in Main section and click Start. Then drag the accel. control slider to
synthesize engine sounds with load variations. Switch among the car models to find what you
like.

5. Select RPM mode in Main section and click Start. Then drag the tachometer knob to
control the synthesis by RPM.

7. If the analyzed RPM curve shows rapid acceleration/deceleration, you may try with smaller
freeze size. On the contrary, you may try larger freeze size if the analyzed RPM is rather
steady (engine idle, fixed rpm). The default synthesis in RPM mode normalizes the pitch w.r.t.
the target RPM. This may sometimes sound unnatural. You can try to switch RPM pitch on/off
and use whichever you prefer.

8. Select Scratch mode in Main section and select the scratch sound type. Then click Start
and drag the slider to re-synthesize wherever you like to scratch in the recording.

9. If the synthesis is not satisfying, you may try different harmonic factor and grain factor for
possible improvements.

Notice Of Use

In order to obtain good synthesis quality, it is recommended to use recordings of car engine
10. If the synthesis sounds too dull in general, you may add a bit of variation by using
rolling up/down slowly.
Randomize in the Real Time section.
For a recording containing both rolling up and rolling down, it is recommended to separate
11. If you have tried all the parameters mentioned above and the synthesized engine sounds
it into different files and load them into separate AudioMotors plug-ins for a better RPM
still do not follow the correct cycles, you may try to reduce the Adapt. This is sometimes
controlled synthesis.
useful for idle engine sounds.
In case the recording contains noisy sound components from vibrations of other parts of
the car, it is recommended to try cycle factor for possible improvements of synthesis
quality.

In case there is fade in/out at the beginning/end of the sound file, it is recommended to
exclude the fade regions.

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LICENSE NOTICE

PFFFT Copyright (c) 2011 Julien Pommier

Based on original fortran 77 code from FFTPACKv4 from NETLIB, authored by Dr Paul Swarztrauber of NCAR, in
1985. As confirmed by the NCAR fftpack software curators, the following FFTPACKv5 license applies to
FFTPACKv4 sources.
FFTPACK license:
Copyright (c) 2004 the University Corporation for Atmospheric Research ("UCAR"). All rights reserved.
Developed by NCAR's Computational and Information Systems Laboratory, UCAR. www.cisl.ucar.edu.
Redistribution and use of the Software in source and binary forms, with or without modification, is permitted
provided that the following conditions are met:
- Neither the names of NCAR's Computational and Information Systems Laboratory, the University Corporation
for Atmospheric Research, nor the names of its sponsors or contributors may be used to endorse or promote
products derived from this Software without specific prior written permission.
- Redistributions of source code must retain the above copyright notices, this list of conditions, and the
disclaimer below.
- Redistributions in binary form must reproduce the above copyright notice, this list of conditions, and the
disclaimer below in the documentation and/or other materials provided with the distribution.
THIS SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING,
BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND
NONINFRINGEMENT. IN NO EVENT SHALL THE CONTRIBUTORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY
CLAIM, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES OR OTHER LIABILITY,
WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION
WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS WITH THE SOFTWARE.

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