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Possibly the main interest composers find in sound synthesis is the ability to define sound in its subtlest details, up to the behavior of every spectral component. Such a level of precision is typically achieved by explicitly controlling a very large number of parameters, but this kind of approach has the disadvantage of being extremely unintuitive and slow. In this document I will present some sound synthesis techniques I employed within a large-scale musical project I undertook in 2011. I will also present the graphical environment I have developed for controlling sound synthesis (mainly additive synthesis) in Max, as it is strictly related to the way I conceived the music itself, and the kind of aural and aesthetical problems I wished to face.