User:Lucius Chiaraviglio/Keyboard Layout Lab: Difference between revisions
→Charismic-Semitonismic Lumatone mappings: --> Add Diaschismic; →58edo (demonstrated to work but awaiting approval): Got approval (even got the note 0 position right); fill out description |
→56edo (demonstrated to work but awaiting approval): Got approval |
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Added: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 07:09, 2 August 2025 (UTC)<br> | Added: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 07:09, 2 August 2025 (UTC)<br> | ||
Last modified: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 09:24, 6 August 2025 (UTC) | Last modified: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 09:24, 6 August 2025 (UTC) | ||
== Bidia + Diminished + Charismic + Semitonismic Lumatone mappings == | |||
=== 56edo (demonstrated to work) === | |||
[[Bryan Deister]] has demonstrated a [[4L 4s]] (9:5 step ratio) mapping for [[56edo]], in [https://www.youtube.com/watch?v=xkfao6yGKGE ''Curious Light - DOORS (microtonal cover in 56edo)''] (2025). Right + down-right divides the octave into slices of 14\56; as an interval in its own right, this is the same as the minor third of [[12edo]], which functions as ~[[19/16]] and ~[[25/21]] (both being near-just). Down-right alone is 5\56, which is the [[Normal forms#Minimal_form|minimal form]] generator for [[Bidia]]; it functions as the classic diatonic semitone ~[[16/15]], the large septendecimal semitone ~[[17/16]], and the small septendecimal semitone ~[[18/17]], meaning that the charisma [[256/255]] and the semitonisma [[289/288]] are both tempered out; two of them make a rather sharp whole tone ~[[9/8]]; three of them (passing the quarter-octave) make a mildly sharp classic minor third ~[[6/5]], although the afore-mentioned quarter-octave (12edo-style) minor third is easier to reach; in contrast, the near-just classic major third ~[[5/4]] is very easy to reach with just two moves rightwards, and a down-right move from this reaches the moderately flat fourth ~[[4/3]]; two more down-right moves reaches the rather sharp fifth ~[[3/2]]. The efficiency is almost as good as that of the diatonic mapping, with no missed notes and one repeated note per octave; the overall range is somewhat under five octaves, with no notes chopped off by the left and right edges before reaching the end of overall range. The cost of this is that octaves slant downwards. | |||
{{Lumatone EDO mapping|n=56|start=0|xstep=9|ystep=-4}} | |||
Added: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 08:38, 21 August 2025 (UTC)<br> | |||
Last modified: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 10:00, 21 August 2025 (UTC) | |||
== Biyatismic Lumatone mappings == | == Biyatismic Lumatone mappings == | ||
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=== 58edo (demonstrated to work) === | === 58edo (demonstrated to work) === | ||
[[Bryan Deister]] has demonstrated a [[2L 6s]] (14:5 step ratio) mapping for [[58edo]] in [https://www.youtube.com/shorts/7gkRyld5OU8 ''Waltz in 58edo''] (2025). The rightward generator 5\58 functions as the classic | [[Bryan Deister]] has demonstrated a [[2L 6s]] (14:5 step ratio) mapping for [[58edo]] in [https://www.youtube.com/shorts/7gkRyld5OU8 ''Waltz in 58edo''] (2025). The rightward generator 5\58 functions as the classic diatonic semitone ~[[16/15]], the large septendecimal semitone ~[[17/16]], and the small septendecimal semitone ~[[18/17]], meaning that the charisma [[256/255]] and the semitonisma [[289/288]] are both tempered out. The rightward generator is also the [[normal forms|minimal form]] of the [[Diaschismic]] generator, and indeed the [[diaschisma]] 2048/2045 is also tempered out. This generator makes a slew of intervals of reasonable prime limit that are not far from just: two of them make a near-just whole tone ~[[9/8]]; three of them make a mildly flat classic minor third ~[[6/5]]; four of them make a mildly flat undecimal major third ~[[14/11]]; five of them make a near-just classic acute fourth ~[[27/20]]; six of them pass the [[semioctave]] to make a slightly flat greater septimal tritone ~[[10/7]]; seven of them make a slightly flat septimal superfifth ~[[32/21]]; eight of them make a slightly flat tridecimal supraminor sixth ~[[21/13]]; nine of them make a near-just septimal major sixth ~[[12/7]]; and ten of them make an extremely accurate undecimal supraminor seventh ~[[20/11]]. Other common intervals such as the moderately sharp (although high in relative error) classic major third ~[[5/4]], the near-just perfect fourth ~[[4/3]], and the near-just perfect fifth ~[[3/2]] are in very easy reach of the chain of rightward generators, and not very distant from the root note. This may be sufficient compensation for the reverse chroma and the range of only three full octaves (which slope only slightly upward), with large partial octaves being chopped off by the upper left and lower right corners. | ||
{{Lumatone EDO mapping|n=58|start=27|xstep=5|ystep=9}} | {{Lumatone EDO mapping|n=58|start=27|xstep=5|ystep=9}} | ||
Added: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 23:11, 17 August 2025 (UTC)<br> | Added: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 23:11, 17 August 2025 (UTC)<br> | ||
Last modified: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) | Last modified: [[User:Lucius Chiaraviglio|Lucius Chiaraviglio]] ([[User talk:Lucius Chiaraviglio|talk]]) 08:40, 21 August 2025 (UTC) | ||
== Compton-related rank 3 temperament Lumatone mappings == | == Compton-related rank 3 temperament Lumatone mappings == | ||
Latest revision as of 10:00, 21 August 2025
Although I am not an instrument player (although I do admit to having been a bad player of the violin for over 15 years during my early life), I have been intrigued by instrument design from the point of view of usability. So here are various experimental keyboard layouts (currently all Lumatone, but that is due to availability rather than philosophy) that I have collected after seeing them demonstrated by others (with links to demonstration videos whenever possible), plus some that I have created (often inspired by the ones I have collected) in case someone wants to give them a test drive.
Moved here from Musical Mad Science: Lucius Chiaraviglio (talk) 06:54, 28 March 2025 (UTC)
Augmented + Immunity Lumatone mappings
39edo (demonstrated to work)
Bryan Deister has used a Porcupine-inspired layout for 39edo, as demonstrated in 39edo jam (2025). To take advantage of the fact that 39edo is at the intersection of Augmented and Immunity, the rightward generator is 5\39, half of a 6/5 minor third as 12/11 ~ 11/10 (but much closer to 12/11). This enables a MODMOS derived from 1L 6s by shrinking the large step from 9\39 to 8\39 and expanding one of the small steps from 5\39 to 6\39, to enable chords such as 12/11 (somewhat sharp, at 5\39) - 6/5 (slightly flat, at 10\39) - 11/8 (near-just, at 18\39) - 3/2 (mildly sharp, 23\39) - 18/11 (moderately sharp, at 28\39) - 9/5 (near-just, at 33\39). Playing this chord uses almost the same geometry of depressed keys as that for playing a diatonic scale in a diatonic mapping (but has a very different sound effect), save when proceeding to the next octave. The range is slightly over 6 octaves overall (which slant moderately downwards), but with the first and last octaves missing some notes due to clipping in the upper left and lower right corners of the layout. The range is just under four octaves (which slant upwards mildly), with no missed notes and one repeated note in each octave.
Added: Lucius Chiaraviglio (talk) 06:50, 1 May 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 06:30, 2 May 2025 (UTC)
Augmented (Triforce) + Bohpier Lumatone mappings
33edo (demonstrated to work)
Bryan Deister has demonstrated two mappings for 33edo that function for the temperaments Augmented (Triforce, 33d val, 3L 3s scale with 7:4 step ratio) and Bohpier (33cd val, 8L 1s scale with 4:1 step ratio). The down-right (forward chroma version) or rightward (reverse chroma version) generator is a somewhat flat Alpharabian tendoneutral second ~12/11 which can be stacked to get several consonant intervals; however, some of them map inconsistently. Two of these generators make a near-just neogothic minor third ~13/11, mapped consistently. Three of these generators make a near-just septimal major third ~9/7 by sound, but the mapping only works if 9/7 is constituted as (3♭ × 3♯) ÷ 7 or as 9 ÷ 7♭ (33d val). Four of these generators make a near-just lesser septimal tritone ~7/5, mapped consistently (patent val or 33cd val). Six of these generators make a flat classic major sixth ~5/3 by sound, but the mapping only works if 5/3 is constituted as 5♭ ÷ 3 (33c val). Seven of these generators make a near-just classic minor seventh ~9/5 by sound, but the mapping only works if 9/5 is constituted as (3♭ × 3♯) ÷ 5 or as 9 ÷ 5♭ (33c val). The range is a bit over six octaves in the forward chroma version or five octaves in the reverse chroma version; in both cases, the octaves slope moderately downwards resulting in a vertical wraparound.
Forward chroma
Demonstrated in 33edo riff (2025).
Reverse chroma
Demonstrated in 33edo jam (2025).
Added: Lucius Chiaraviglio (talk) 07:09, 2 August 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 09:24, 6 August 2025 (UTC)
Bidia + Diminished + Charismic + Semitonismic Lumatone mappings
56edo (demonstrated to work)
Bryan Deister has demonstrated a 4L 4s (9:5 step ratio) mapping for 56edo, in Curious Light - DOORS (microtonal cover in 56edo) (2025). Right + down-right divides the octave into slices of 14\56; as an interval in its own right, this is the same as the minor third of 12edo, which functions as ~19/16 and ~25/21 (both being near-just). Down-right alone is 5\56, which is the minimal form generator for Bidia; it functions as the classic diatonic semitone ~16/15, the large septendecimal semitone ~17/16, and the small septendecimal semitone ~18/17, meaning that the charisma 256/255 and the semitonisma 289/288 are both tempered out; two of them make a rather sharp whole tone ~9/8; three of them (passing the quarter-octave) make a mildly sharp classic minor third ~6/5, although the afore-mentioned quarter-octave (12edo-style) minor third is easier to reach; in contrast, the near-just classic major third ~5/4 is very easy to reach with just two moves rightwards, and a down-right move from this reaches the moderately flat fourth ~4/3; two more down-right moves reaches the rather sharp fifth ~3/2. The efficiency is almost as good as that of the diatonic mapping, with no missed notes and one repeated note per octave; the overall range is somewhat under five octaves, with no notes chopped off by the left and right edges before reaching the end of overall range. The cost of this is that octaves slant downwards.
Added: Lucius Chiaraviglio (talk) 08:38, 21 August 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 10:00, 21 August 2025 (UTC)
Biyatismic Lumatone mappings
68edo (demonstrated to work)
Bryan Deister has used a Biyatismic (Zeus) layout with a 7L 1s scale (9:5 step ratio) for 68edo, as demonstrated in microtonal improvisation in 68edo (2025). The rightward generator 9\68 is a combination of the Alpharabian tendoneutral second ~12/11 and the undecimal submajor second ~11/10, and two of these make a near-just classic minor third ~6/5, with the biyatisma (121/120) being tempered out. The chroma of the scale (4\68, upwards on this layout) is the near-just diptolemaic chromatic semitone ~25/24, and is convenient to use as a second generator (even though such is not required to avoid contorsion) to access other consonant intervals quickly, although sometimes with strange preferences built in — for instance, the septimal whole tone ~8/7 is much easier to reach (at 13\68) than the Pythagorean whole tone ~9/8 (which requires a substantial vertical reach at 12\68), while the septimal minor third ~7/6 (at 15\18) is a much longer vertical reach than the classic minor third ~6/5 (at 18\68), and the septimal major third ~9/7 is a much longer vertical reach (at 25\68) than the classic major third ~5/4 (at 22\68). Fortunately the fourth (~4/3, at 28\68), the Axirabian paramajor fourth (~11/8, at 31\68), the Axirabian paraminor fifth (~16/11, at 37\68) and fifth (~3/2, at 40\68) are all easy to reach as long as they do not go through a vertical wraparound (as happens to the fourth in the bass octave). The range is four octaves plus two notes, and octaves slope upwards — not severely, but a vertical wraparound is unavoidable if note 0 is placed to get complete octaves as defined to reach from note 0 to note 0.
Added: Lucius Chiaraviglio (talk) 06:33, 30 July 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 12:18, 4 August 2025 (UTC)
Blackwood + Diminished Lumatone mappings
20edo (demonstrated to work)
Bryan Deister has used a Diminished 4L 4s (4:1 step ratio) mapping for 20edo that also functions as a Blackwood mapping, as demonstrated in 20edo prelude (2025). In this mapping, the octave can be interpreted as being divided into five parts (Blackwood temperament) or 4\20 or four parts of 5\20 (Diminished temperament). Octaves slope, as expected for a Blackwood mapping, but with plenty of repeated vertical notes, and the range is a bit over 5½ octaves.
Added: Lucius Chiaraviglio (talk) 19:34, 11 August 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 23:18, 11 August 2025 (UTC)
Compressed Skwares (Fibotonic) Lumatone mappings
20edo (demonstrated to work)
Bryan Deister has used a compressed Skwares) 2L 1s (7:6 step ratio) mapping for 20edo, as demonstrated in 20edo groove (2025). In the version of Skwares used for this, instead of substantially sharpening the undecimal major third ~14/11 (or even a septimal major third ~9/7) to get a diatonic fourth ~4/3 (by stacking and octave-reducing four generators), the undecimal major third (7\20) is near-just, and the fourth is very flat at 480 ¢ (corresponding to the Blackwood sharp fifth at 720 ¢). Octaves are nearly level (sloping down very gradually), and the range is a bit over 11 octaves, which suggests dividing the keyboard into zones for different instruments.
Added: Lucius Chiaraviglio (talk) 23:13, 11 August 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 07:00, 13 August 2025 (UTC)
Cantonismic Lumatone mappings
64edo (demonstrated to work)
Bryan Deister has demonstrated a Cantonismic (flipped and rotated diatonic) mapping of 64edo in microtonal improvisation in 64edo (2025). In this mapping, the rightward generator 7\64 is mapped as a slightly sharp tridecimal supraminor second ~14/13, and the cantonisma (10985/10976) is tempered out, so that three of them make a fairly sharp classic major third ~5/4, and eight of them make a near-just undecimal neutral seventh ~11/6; note that apart from ~5/4, these ratios depending upon partial cancellation of errors in the harmonics as represented by 64edo. The rightward generator is actually the short step of the easiest scale to play on this layout (provided that the scale is positioned not to go through a vertical wraparound), with the down-right step being 10\64, which corresponds to the patent (not direct approximation) whole tone ~9/8, thus enabling a rotated diatonic scale. Octaves alternate between far and near superimposed on an overall slant away over the range of three whole octaves (having no missing notes) plus a fourth octave that has some notes chopped off by the right edge, and some fragmented note sequences in the upper left and lower right corners. A side effect of the alternation of octaves is that accessing the fourth and fifth can be easy or hard depending upon not only the root note, but also the octave — for instance, in the middle and mid-right octaves, 27\64 and 37\64 are both easily reached from 0\64, but in the second full octaves, they same interval requires a long finger stretch if the root note is greater than 0, and the rotated diatonic scale goes through a vertical wraparound (and moving note 0 would simply cause other root notes to have the same problem in some of the octaves).
Added: Lucius Chiaraviglio (talk) 07:51, 26 July 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 10:52, 28 July 2025 (UTC)
Diaschismic + Charismic + Semitonismic Lumatone mappings
58edo (demonstrated to work)
Bryan Deister has demonstrated a 2L 6s (14:5 step ratio) mapping for 58edo in Waltz in 58edo (2025). The rightward generator 5\58 functions as the classic diatonic semitone ~16/15, the large septendecimal semitone ~17/16, and the small septendecimal semitone ~18/17, meaning that the charisma 256/255 and the semitonisma 289/288 are both tempered out. The rightward generator is also the minimal form of the Diaschismic generator, and indeed the diaschisma 2048/2045 is also tempered out. This generator makes a slew of intervals of reasonable prime limit that are not far from just: two of them make a near-just whole tone ~9/8; three of them make a mildly flat classic minor third ~6/5; four of them make a mildly flat undecimal major third ~14/11; five of them make a near-just classic acute fourth ~27/20; six of them pass the semioctave to make a slightly flat greater septimal tritone ~10/7; seven of them make a slightly flat septimal superfifth ~32/21; eight of them make a slightly flat tridecimal supraminor sixth ~21/13; nine of them make a near-just septimal major sixth ~12/7; and ten of them make an extremely accurate undecimal supraminor seventh ~20/11. Other common intervals such as the moderately sharp (although high in relative error) classic major third ~5/4, the near-just perfect fourth ~4/3, and the near-just perfect fifth ~3/2 are in very easy reach of the chain of rightward generators, and not very distant from the root note. This may be sufficient compensation for the reverse chroma and the range of only three full octaves (which slope only slightly upward), with large partial octaves being chopped off by the upper left and lower right corners.
Added: Lucius Chiaraviglio (talk) 23:11, 17 August 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 08:40, 21 August 2025 (UTC)
Due to this page getting too large, moved these to Various rank-3 temperament Lumatone mappings.
Contents of this section moved to separate page: Lucius Chiaraviglio (talk) 05:57, 21 June 2025 (UTC)
Devichromic Lumatone mappings
This has proliferated, and thus has been moved to its own Devichromic Lumatone mappings page.
Contents of this section moved to separate page: Lucius Chiaraviglio (talk) 06:50, 31 May 2025 (UTC)
Diaschismic Lumatone mappings
70edo (demonstrated to work)
The 6L 4s mapping is meant to get as many notes as possible onto the space available on existing Lumatones, rather than attempting to fit any particular temperament, although it is a type of mapping supported by Diaschismic. This mapping gets three full octaves and the better part of another octave, with no missed notes and a moderate slope. Bryan Deister has demonstrated this mapping in microtonal improvisation in 70edo (2025).
Added: Lucius Chiaraviglio (talk) 10:55, 22 May 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 07:00, 24 May 2025 (UTC)
90edo (demonstrated to work)
Bryan Deister has demonstrated the Diaschismic-Charismic 10L 2s mapping for 90edo (with 8:5 step ratio), in microtonal improvisation in 90edo (20025). The rightward generator 8\90 is a semitone that functions as both ~16/15 and ~17/16 (the charisma 256/255 is tempered out). Splitting the octave in half (the diaschisma 2048/2025 is tempered out) enables this generator to produce the mapping without contorsion. The range is about 2⅔ octaves with no missed notes, with a mild upward slope.
Added: Lucius Chiaraviglio (talk) 22:10, 26 July 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 11:25, 28 July 2025 (UTC)
Diatonicized Chromaticism + Kleischismic + Cassandra (Garibaldi) Lumatone mappings
94edo (demonstrated to work)
Bryan Deister has demonstrated the 11L 2s mapping of 94edo in microtonal improvisation in 94edo (2025). In the application of this temperament to this mapping, the rightward step corresponds to a stack of two quite accurate ~16/11 generators (51\94, and the octave complement is ~11/8, at 43\94) after octave-reduction, making this a mapping closely related to the Diatonicized Chromaticism used extensively by Ivan Wyschnegradsky in his 24edo compositions. The rightward step can also be made by going down by the octave-complemented generator (39\94, ~11/8) and semioctave-reducing. This makes it a mapping for 11-limit (or higher) Kleischismic (substituting the normal generator ~35/24 with the simpler ~11/8, which 94edo represents more accurately), although this yields an extremely soft 10L 2s scale (step ratio 8:7, currently off the right edge of the scale tree) instead of 11L 2s. Similarly, if one uses the highly accurate ~4/3 (39\94, octave complement ~3/2 as 55\94) and stacks two of these, the result is a rightward double step, making this mapping also work for Garibaldi and its 11-limit (or higher) extension Cassandra (although with some vertical wraparound challenges as noted following). A diatonic scale, or better yet a Ptolemy's intense diatonic (Zarlino) scale appears possible to do using both hands, although the octave slope causes the wraparound point to change with octave. The range is a bit under three octaves, and the octaves slope up, which puts the third note 0 at the far edge (although it does repeat at the near edge). A possibility for addressing this (not shown here) is to set note 0 is set to a point on the left edge half way between its current location and the lower left corner (to get note 0 two octaves higher to be 3/4 of the way up); this results in a skipped note 1 in the lowest note 0 to note 0 octave, but if one is willing to assign one key to a non-isomorphic position, the note 92 in the lower left corner (from the octave below the lowest note 0) could be reassigned to the missing note 1.
Added: Lucius Chiaraviglio (talk) 21:39, 28 May 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 06:56, 30 May 2025 (UTC)
Moved here from Various other Lumatone mappings page: Lucius Chiaraviglio (talk) 07:15, 31 May 2025 (UTC)
Diatonicized Chromaticism via Rotated Antidiatonic
37edo (demonstrated to work)
Bryan Deister has demonstrated a rotated antidiatonic (2L 5s) mapping in 37edo (2025), using the Mavila (sub-)fifth (21\37) as a generator. This yields a range of over five octaves, although the note 0 positions alternate between middle and near/far. (In the demonstration video, active keys on the Lumatone are cut back at both the left and right edges to yield exactly five octaves.) With this mapping, notes of the 11L 2s scale line up in pairs of row segments (of 6\37 offset from each other by the large MOSstep 3\37, and cut by the small MOSstep 2\37), which may make this mapping attractive for users wishing to play Ivan Wyschnegradsky's Diatonicized Chromatic scale in a tuning system different from 24edo, while still retaining respectable (though not full piano) range.
Added: Lucius Chiaraviglio (talk) 07:22, 9 July 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 18:30, 9 July 2025 (UTC)
62edo (demonstrated to work)
Bryan Deister has demonstrated a Godzilla Lumatone mapping for 62edo in microtonal improvisation in 62edo (2025), with scale 5L 4s with 10:3 step ratio, which also has easy provision for dividing the near-just septimal minor seventh ~7/4 (50\62) into five equal parts each functioning as a meantone whole tone (~9/8, ~10/9, and ~19/17) (10\62 is right by one key), which is naturally useful in its own right for mixing the common practice sound in with the xenharmonic sounds. A logical implication of splitting the ~7/4 into five meantone whole tones is that the near-just classic major third ~5/4 is very easily accessible as two of these divided generators, and the only slightly flat lesser septimal tritone ~7/5 is easily accessible as three of them. As convenient as this rightward generator is, it would produce a contorted mapping if not for a second generator; the upwards generator 7\62 is convenient for this as a a tridecimal neutral second that functions as both ~12/13 and ~13/14 (the buzurgisma/dhanvantarisma 169/168 is tempered out); backing off from ~7/4 by two of these generators gives the fifth (the flat ~3/2 shared with 31edo), while backing off from ~7/5 by two of these generators gives a moderately flat classic minor third ~6/5. Octaves slant down moderately, and the range is just under 4⅓ octaves with no missed notes and no repeated notes.
Added: Lucius Chiaraviglio (talk) 21:00, 22 July 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 07:18, 24 July 2025 (UTC)
82edo (demonstrated to work)
Bryan Deister has demonstrated a 8L 6s mapping of 82edo. Being even 82edo supports a semioctave period, with the diagassormisma (3042/3025) being tempered out in the patent val or the kalisma (9801/9800) being tempered out in the 82e val; this enables it to use the (somewhat sharp) septimal major third ~9/7 (as 30\82) as a generator (which would be contorted down to 41edo with a whole octave period), in a temperament like Soothsaying or Divination, but using the septimal major third as a generator instead of the classic major third ~5/4. (Since 82edo also supports actual Soothsaying in its patent val and actual Divination in its 82e val, it is also possible to use generator 26\82, the somewhat flat ~5/4, although the resulting 6L 4s scale is a bit more tricky to play using this layout.) The range is about 2¾ octaves with no missed notes, and the octaves slant down. Template:Lumatone EDO mapping
Added: Lucius Chiaraviglio (talk) 11:45, 15 July 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 05:24, 16 July 2025 (UTC)
Meantone Lumatone mappings
m-Chromatic Lumatone mappings
81edo (demonstrated to work)
Bryan Deister has demonstrated the m-chromatic (7L 5s with 8:5 step ratio) mapping for 81edo in ''microtonal improvisation in 81edo (2025). The rightward generator 8\81 functions as ~15/14 and ~16/15; six of them make the alternate sharp fifth. The down-right generator 5\81 functions as ~23/22 and ~24/23; two of them make an Alpharabian tendoneutral second (~12/11); four of them make the near-just octave-reduced 19th harmonic ~19/16; eleven of them make a near-just classic minor sixth ~8/5. The patent fifth 47\81 is four rightward generators plus three down-right generators. All that said, the patent fifth itself works perfectly well as a generator of the 7L 5s scale, as well as for the entire layout, as befits (rank-2) Meantone, so that the use of dual generators is a matter of convience rather than a requirement. The range is just over three octaves, with no missed notes, and the octaves slant down moderately.
Added: Lucius Chiaraviglio (talk) 13:24, 13 July 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 05:43, 15 July 2025 (UTC)
Moved here from Various rank-3 temperament Lumatone mappings: Lucius Chiaraviglio (talk) 05:49, 15 July 2025 (UTC)
Due to this page getting too large, moved these to Various rank-3 temperament Lumatone mappings.
Contents of this section moved to separate page: Lucius Chiaraviglio (talk) 05:57, 21 June 2025 (UTC)
These have proliferated due to the Lumatone wizardry of Bryan Deister, and have gotten their own Marvel and Miracle Lumatone mappings page.
Contents of this section moved to separate page: Lucius Chiaraviglio (talk) 07:15, 31 May 2025 (UTC)
Nessafof (Porwell) mappings
54edo (domonstrated to work)
Bryan Deister has used the Nessafof (Porwell) layout for 54edo, as demonstrated in microtonal improvisation in 54edo (2025). At 7\54, the generator is a near-just septimal neutral second (~35/32), of which 2 make a slightly flat minor third ~6/5 (constituted in 54b), and 11 make a sharp ~8/3 (which corresponds to the 54b flat fifth). The 7L 1s scale (with a step ratio of 7:5) is expanded similar to the expanded Lumatone mapping for porcupine if represented as 7L 1s, but even more expanded. On the one hand, this makes octaves recede rapidly; but on the other hand, this also means that down and right gives a convenient ascending whole tone scale shared with 12edo, although this requires constituting the ~9/8 whole steps as (3♭ × 3♯) / 8. The range is four full octaves.
Added: Lucius Chiaraviglio (talk) 08:25, 8 May 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 05:35, 12 May 2025 (UTC)
Orwell mappings
53edo Doublethink (demonstrated to work)
(This was copied from Lumatone mapping for 53edo, for comparison with future Orwell mappings.)
The 8L 1s mapping has generator 6\53 (13/12 ~ 14/13), and two of them make a fairly accurate ~7/6; six of them make the very accurate ~8/5; and fourteen of them make the extremely accurate ~3/1, making this an alternative Orwell mapping with the generator ~7/6 split in half, or in other words Doublethink. Bryan Deister has demonstrated this mapping in microtonal improvisation in 53edo (2025). The range is a bit over three and a half octaves (sloping upwards), but in the demonstration video it appears less due to use of only 1 MIDI channel, which cuts off notes at both the left and right margins. If enough MIDI channels are used to accommodate all keys on the Lumatone, no notes are missing until the better part of the way through the top partial (more than half) octave.
Added: Lucius Chiaraviglio (talk) 20:12, 24 May 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 19:52, 25 May 2025 (UTC)
Passion Lumatone mappings
61edo (proposed and untested)
The generator is a nominal but very flat ~16/15 (5\61, actually closer to 18/17, but only if constituted as (3♯×3♭)/17); this supports a very hard 10L 1s scale, although the color scheme used in the video does not reflect this. The range is a bit under 4 octaves (and the octaves slant up) with provision of repeated notes, or actually a bit over 4 octaves if one is willing to accept some awkward positions in the left and right extremes of the layout. Template:Lumatone EDO mapping
Added: Lucius Chiaraviglio (talk) 22:28, 28 March 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 20:42, 3 April 2025 (UTC)
Porcupine Lumatone mappings
50edo (demonstrated to work)
Bryan Deister has used a reverse-chroma expanded Porcupine layout for 50edo, as demonstrated in microtonal improv in 50edo (2025). The range is somewhat over 4 octaves, but the octaves ascend so rapidly as to zigzag. (Note that in the video, the upper left corner and whole right end are cut off due to use of only 1 MIDI channel, and the range shown is considerably less than theoretically possible.)
Added: Lucius Chiaraviglio (talk) 07:30, 12 April 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 23:02, 13 April 2025 (UTC)
Ratwolfsmic + Sensi Lumatone mappings
73edo (demonstrated to work)
Bryan Deister has demonstrated the 8L 3s mapping of 73edo in microtonal improvisation in 73edo (2025). The rightward generator is an acute minor second that functions as both ~14/13 and ~27/25 (the ratwoflsma (351/350) is tempered out), and two of them make a mildly flat ~7/6 septimal minor third (the buzzurgisma/dhanvantarisma (169/168) and the ragisma (4375/4374) are tempered out), and three of them make a moderately sharp ~5/4 major third (the cantonisma (10985/10976) and the sensipent comma (78732/78125) are tempered out). The range is slightly over three full octaves, which are nearly level and have no missing notes.
Added: Lucius Chiaraviglio (talk) 16:18, 9 June 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 07:21, 11 June 2025 (UTC)
Reversed-Chroma Compressed Tetracot Lumatone mappings
75edo (demonstrated to work)
Bryan Deister has demonstrated a compressed [[1L 5s mapping of 75edo in microtonal improvisation in 75edo (2025-06-22). This combines the temperament of Tetracot with the idea of the compressed Lumatone mapping for Porcupine, by reversing the chroma. (This also contains the Tetracot 6L 1s scale, but playing that scale in this layout requires backtracking.) This expands the overall range to more than five octaves, but too much so for anything so large as 75edo, thereby causing missed notes (although it demonstrates how such a mapping could shine for a smaller EDO or a hypothetical XL-sized Lumatone that has room for all of the notes).
Added: Lucius Chiaraviglio (talk) 06:23, 29 June 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 00:16, 30 June 2025 (UTC)
Superlimmal Lumatone mappings
80edo (proposed and untested)
Proposed and untested 5L 7s Superlimmal mapping for 80edo. This layout using the generator 9\80 (which functions as ~13/12, ~14/13, and ~27/25) has very efficient use of keys (with no missed notes and just one repeated note per octave), but octaves slope down severely and wrap around even within the span of less than 3½ octaves.
Added: Lucius Chiaraviglio (talk) 07:03, 11 July 2025 (UTC)
Tsaharuk (Schismatic) Lumatone mappings
77edo (demonstrated to work)
Bryan Deister has demonstrated a 7L 2s mapping for 77edo in microtonal improvisation in 77edo (2025). Tsaharuk is a member of the Schismatic family that splits the (highly accurate) fifth (~3/2, as 45\77) into five parts (9\77), which function as lesser tridecimal neutral seconds ~13/12. Two of them (18\77) make a flat minor third ~20/17; three of them (27\77) make a sharp major third ~14/11; and four of them make a near-just tridecimal augmented fourth ~18/13, which serves as the dark generator for the 7L 2s scale in the manner of Mavila, but since it is not mapped as a fourth, it can be stacked to get an actual near-just fourth or fifth (depending upon direction of stacking), needing ten to do so, as in Mabila. The overall range is approximately three and a half octaves (which slope upwards mildly), but each octave is missing a few notes.
Added: Lucius Chiaraviglio (talk) 07:26, 28 June 2025 (UTC)
Last modified: Lucius Chiaraviglio (talk) 09:04, 2 July 2025 (UTC)
Valentine Lumatone mappings
Due to the dreaded "template include too large" error, these have been moved to their own Valentine Lumatone mappings page.
Contents of this section moved to separate page: Lucius Chiaraviglio (talk) 07:39, 12 April 2025 (UTC)
Various other Lumatone mappings
Due to the dreaded "template include too large" error, Other Kit-Bashed Lumatone mappings and Unnamed Temperaments have been moved to their own Various other Lumatone mappings page.
Contents of 2 sections moved to separate page: Lucius Chiaraviglio (talk) 07:01, 12 May 2025 (UTC)