User:Tristanbay: Difference between revisions

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I'm Tristan Bay, an electronic musician in Portland, Oregon who started getting into microtonality seriously in 2021. I'm not really an expert in anything musical, but often know more or less what I'm doing.

While I find some interest in just intonation, I'm more into EDOs than anything else. In my opinion, equally dividing the octave by the simplest ratio greater than a unison strikes a nice balance between simplicity and versatility in practice. My favorite EDOs greater than 12 are 19, 22, 31, 41, 53, 72, and 270.

While I find some interest in just intonation, I'm more into EDOs than anything else. In my opinion, equally dividing the octave by the simplest ratio greater than a unison strikes a nice balance between simplicity and versatility in practice. My favorite EDOs greater than 12 are 19, 22, 31, 41, 46, 53, 72, and 270.

Why?

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22edo: Super simplistic and warped yet rather consistent representation of undecimal harmony provides tonality that feels novel and exaggerated compared to 12edo.

31edo: Great system for those who still want a relatively standard diatonic scale but want the added benefit of septimal and neutral intervals; it makes working with them quite easy and manageable.

31edo: Great system for those who still want a relatively standard diatonic scale but want the added benefit of septimal and neutral intervals (despite 81/64 being inconsistent); it makes working with them quite easy and manageable.

41edo: Highlights the distinction between Pythagorean, syntonic, and septimal intervals by exaggerating both 81/80 and 64/63. It also works quite well (skip-fretted) on guitar and is consistent in the 15-odd-limit.

46edo: Good, although simplistic, representation of the 13-limit. The only interval in the entire 15-odd-limit it represents inconsistently is 15/13, and only by a little bit. It works great for 13-limit neogothic tunings.

53edo: Takes advantage of the fact that the intervals found just beyond a traditional Pythagorean pentatonic scale are very close to common syntonic intervals by tempering out 32805/32768 (41edo also does this, but 53edo really focuses in on the 5-limit). Generally a good stand-in for syntonic just intonation and also approximates the 13th harmonic well.

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 I'm Tristan Bay, an electronic musician in Portland, Oregon who started getting into microtonality seriously in 2021. I'm not really an expert in anything musical, but often know more or less what I'm doing.
-While I find some interest in just intonation, I'm more into EDOs than anything else. In my opinion, equally dividing the octave by the simplest ratio greater than a unison strikes a nice balance between simplicity and versatility in practice. My favorite EDOs greater than 12 are 19, 22, 31, 41, 53, 72, and 270.
+While I find some interest in just intonation, I'm more into EDOs than anything else. In my opinion, equally dividing the octave by the simplest ratio greater than a unison strikes a nice balance between simplicity and versatility in practice. My favorite EDOs greater than 12 are 19, 22, 31, 41, 46, 53, 72, and 270.
 Why?
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 edo: Super simplistic and warped yet rather consistent representation of undecimal harmony provides tonality that feels novel and exaggerated compared to 12edo.
-edo: Great system for those who still want a relatively standard diatonic scale but want the added benefit of septimal and neutral intervals; it makes working with them quite easy and manageable.
+edo: Great system for those who still want a relatively standard diatonic scale but want the added benefit of septimal and neutral intervals (despite 81/64 being inconsistent); it makes working with them quite easy and manageable.
 edo: Highlights the distinction between Pythagorean, syntonic, and septimal intervals by exaggerating both 81/80 and 64/63. It also works quite well (skip-fretted) on guitar and is consistent in the 15-odd-limit.
+edo: Good, although simplistic, representation of the 13-limit. The only interval in the entire 15-odd-limit it represents inconsistently is 15/13, and only by a little bit. It works great for 13-limit neogothic tunings.
 edo: Takes advantage of the fact that the intervals found just beyond a traditional Pythagorean pentatonic scale are very close to common syntonic intervals by tempering out 32805/32768 (41edo also does this, but 53edo really focuses in on the 5-limit). Generally a good stand-in for syntonic just intonation and also approximates the 13th harmonic well.