Spectral models provide general representations of sound in which many audio effects can be performed in a very natural and musically expressive way. Based on additive synthesis, these models control many sinusoidal oscillators via a huge number of model parameters which are only remotely related to musical parameters as perceived by a listener. The Structured Additive Synthesis (SAS) sound model has the flexibility of additive synthesis while addressing this problem. It consists of a complete abstraction of sounds according to only four parameters: amplitude, frequency, color, and warping. Since there is a close correspondence between the SAS model parameters and perception, the control of the audio effects gets simplified. Many effects thus become accessible not only to engineers, but also to musicians and composers. But some effects are impossible to achieve in the SAS model. In fact structuring the sound representation imposes limitations not only on the sounds that can be represented, but also on the effects that can be performed on these sounds. We demonstrate these relations between models and effects for a variety of models from temporal to SAS, going through well-known spectral models.

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