User:CompactStar/EDO impressions - Revision history

CompactStar at 06:59, 5 June 2024

2024-06-05T06:59:19Z

← Older revision		Revision as of 06:59, 5 June 2024
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	~~Disclaimer: Don't expect my opinions to be very informed, I am not a microtonal composer.~~

	[[1edo]]: Nothing much to say for this one. Percussion needs to take the center stage in any 1edo music. If you want to use an equal temperament with very large step sizes, I recommend a nonoctave one such as [[1edf]] (they have far more diversity).

	~~[[2edo]]: There is the contrast between the 2 notes, but with nothing else, it barely amounts to anything.~~

	[[3edo]]: Has a somewhat higher level of practicality than the other ultra-small 12edo subsets, with a mild consonance (the major third) and mild dissonance (minor sixth) available. The major third can be used as a dyad here. But it's still very difficult to avoid from sounding stale.

	~~[[4edo]]: 3edo but minor, essentially. I'm unsure if it can be called any better than 3edo, being a downgrade in terms of consonance, although there are slightly more options for melody.~~

	[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.

	[[6edo]]: By far the most popular of the 12edo subsets, it has a very directionless sound unless the type of brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just mediocre to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).

	[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

	Disclaimer: Don't expect my opinions to be very informed, I am not a microtonal composer.		Disclaimer: Don't expect my opinions to be very informed, I am not a microtonal composer.

CompactStar at 06:59, 5 June 2024

2024-06-05T06:59:03Z

← Older revision		Revision as of 06:59, 5 June 2024
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	[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.		[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

	[[8edo]]:		Disclaimer: Don't expect my opinions to be very informed, I am not a microtonal composer.

			[[1edo]]: Nothing much to say for this one. Percussion needs to take the center stage in any 1edo music. If you want to use an equal temperament with very large step sizes, I recommend a nonoctave one such as [[1edf]] (they have far more diversity).

			[[2edo]]: There is the contrast between the 2 notes, but with nothing else, it barely amounts to anything.

			[[3edo]]: Has a somewhat higher level of practicality than the other ultra-small 12edo subsets, with a mild consonance (the major third) and mild dissonance (minor sixth) available. The major third can be used as a dyad here. But it's still very difficult to avoid from sounding stale.

			[[4edo]]: 3edo but minor, essentially. I'm unsure if it can be called any better than 3edo, being a downgrade in terms of consonance, although there are slightly more options for melody.

			[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.

			[[6edo]]: By far the most popular of the 12edo subsets, it has a very directionless sound unless the type of brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just mediocre to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).

			[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

			[[8edo]]: This is an EDO system that is known for its dissonance, which is true but probably not to the extent to justify its reputation. You can in fact use tertian hermony here, but it will not be very "rooted"–the "minor" triad [0 2 5] can, in certain contexts, like a major triad with the third in the bass, and vice versa for the "major" triad [0 3 5]. The 5\8 interval will only be a mild dissonance unless you are using a timbre in which both the second and third harmonics have a strong presence.

CompactStar at 06:35, 5 June 2024

2024-06-05T06:35:18Z

← Older revision		Revision as of 06:35, 5 June 2024
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	[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.		[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.

	[[6edo]]: By far the most popular of the 12edo subsets, it has a very directionless sound unless the type of ~~very~~ brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just ~~boring~~ to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).		[[6edo]]: By far the most popular of the 12edo subsets, it has a very directionless sound unless the type of brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just mediocre to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).

	[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.		[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

	[[8edo]]:		[[8edo]]:

CompactStar at 06:35, 5 June 2024

2024-06-05T06:35:01Z

← Older revision		Revision as of 06:35, 5 June 2024
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	[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.		[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.

	[[6edo]]: By far the most popular of the 12edo subsets, it has ~~quite~~ a directionless sound unless the type of very brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just boring to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).		[[6edo]]: By far the most popular of the 12edo subsets, it has a very directionless sound unless the type of very brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just boring to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).

	[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.		[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

	[[8edo]]:		[[8edo]]:

CompactStar at 06:34, 5 June 2024

2024-06-05T06:34:30Z

← Older revision		Revision as of 06:34, 5 June 2024
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	[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.		[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.

	[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. ~~Works~~ well for atonal music.		[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just boring to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).

	[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.		[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

	[[8edo]]:		[[8edo]]:

CompactStar at 07:33, 17 May 2024

2024-05-17T07:33:50Z

← Older revision		Revision as of 07:33, 17 May 2024
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	[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. Works well for atonal music.		[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. Works well for atonal music.

	[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a xenharmonic but washed-ou and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.		[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a definitely xenharmonic but washed-out and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

	[[8edo]]:		[[8edo]]:

CompactStar at 07:33, 17 May 2024

2024-05-17T07:33:40Z

← Older revision		Revision as of 07:33, 17 May 2024
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	[[4edo]]: 3edo but minor, essentially. I'm unsure if it can be called any better than 3edo, being a downgrade in terms of consonance, although there are slightly more options for melody.		[[4edo]]: 3edo but minor, essentially. I'm unsure if it can be called any better than 3edo, being a downgrade in terms of consonance, although there are slightly more options for melody.

	[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo. The interseptimals are on a weird border region here, 1\5 being either a sharp supermajor second or flat interseptimal, and similarly for 4\5, and they are hard to categorize as anything even with the intricate classifications of microtonality.		[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.

	[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. Works well for atonal music.		[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. Works well for atonal music.

	[[7edo]]: Interesting but I do ~~slightly~~ prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. ~~Analogous to 5edo, the neutral third~~ and ~~sixth are on a border region, in which they are~~ slightly ~~too neutral to~~ sound ~~supraminor or submajor, but too much in the direction of minor or major to properly be in the neutral area~~. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.		[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a xenharmonic but washed-ou and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

	[[8edo]]:		[[8edo]]:

CompactStar at 07:31, 17 May 2024

2024-05-17T07:31:46Z

← Older revision		Revision as of 07:31, 17 May 2024
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	Disclaimer: Don't expect my opinions to be very informed, I am not a microtonal composer.		Disclaimer: Don't expect my opinions to be very informed, I am not a microtonal composer.

	[[1edo]]: Nothing much to say for this one. Percussion needs to take the center stage in any 1edo music. If you want to use an equal temperament with very large step sizes, I recommend a nonoctave one such as [[1edf]] ~~Othey~~ have far more diversity).		[[1edo]]: Nothing much to say for this one. Percussion needs to take the center stage in any 1edo music. If you want to use an equal temperament with very large step sizes, I recommend a nonoctave one such as [[1edf]] (they have far more diversity).

	[[2edo]]: There is the contrast between the 2 notes, but with nothing else, it barely amounts to anything.		[[2edo]]: There is the contrast between the 2 notes, but with nothing else, it barely amounts to anything.

CompactStar at 07:30, 17 May 2024

2024-05-17T07:30:45Z

← Older revision		Revision as of 07:30, 17 May 2024
Line 9:		Line 9:
	[[4edo]]: 3edo but minor, essentially. I'm unsure if it can be called any better than 3edo, being a downgrade in terms of consonance, although there are slightly more options for melody.		[[4edo]]: 3edo but minor, essentially. I'm unsure if it can be called any better than 3edo, being a downgrade in terms of consonance, although there are slightly more options for melody.

	[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo. The interseptimals are on a weird border region here, 1\5 being either a sharp supermajor second or flat interseptimal, and similarly for 4\5.		[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo. The interseptimals are on a weird border region here, 1\5 being either a sharp supermajor second or flat interseptimal, and similarly for 4\5, and they are hard to categorize as anything even with the intricate classifications of microtonality.

	[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. Works well for atonal music.		[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. Works well for atonal music.

CompactStar at 07:28, 17 May 2024

2024-05-17T07:28:23Z

← Older revision		Revision as of 07:28, 17 May 2024
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	[[1edo]]: Nothing much to say for this one. Percussion needs to take the center stage in any 1edo music. If you want to use an equal temperament with very large step sizes, I recommend a nonoctave one such as [[1edf]] Othey have far more diversity).		[[1edo]]: Nothing much to say for this one. Percussion needs to take the center stage in any 1edo music. If you want to use an equal temperament with very large step sizes, I recommend a nonoctave one such as [[1edf]] Othey have far more diversity).

	[[2edo]]: There is the contrast between the 2 notes, but ~~without anything~~ else, it barely amounts to ~~much~~.		[[2edo]]: There is the contrast between the 2 notes, but with nothing else, it barely amounts to anything.

	[[3edo]]: Has a somewhat higher level of practicality than the other ultra-small 12edo subsets, with a mild consonance (the major third) and mild dissonance (minor sixth) available. The major third can be used as a dyad here. But it's still very difficult to avoid from sounding stale.		[[3edo]]: Has a somewhat higher level of practicality than the other ultra-small 12edo subsets, with a mild consonance (the major third) and mild dissonance (minor sixth) available. The major third can be used as a dyad here. But it's still very difficult to avoid from sounding stale.