Collection of EDO impressions: Difference between revisions

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== [[1edo]] ==

: '''Aura''': The framework for all other EDOs. As it offers only 2-limit consonance, all notes belong to the same pitch class, and this can get boring pretty quickly, though admittedly not as boring as if you only had one note to play.

: '''Nicolai''': The harmony of the cavemen.

: '''Keenan''': People ought to write more 2-limit music. (Or not.)

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== [[2edo]] ==

: '''Aura''': This EDO is very simple, offering only the perfect consonance of the octave and perfect dissonance of the tritone. The brute force contrast between the antitonic (my name for the diatonic function of pitches located at or around 600 cents away from the tonic) and the tonic does make for good minimalistic harmonic progression, but to use this to its maximum potential requires some of the same techniques needed to master traditional music theory's Locrian mode, and even then, this EDO's limited note palette only ensures that it gets boring rather quickly.

: '''Bozu''': 0th order diminished. Nothing interesting, too constrained.

: '''Nicolai''': The worse harmony of the cavemen.

: '''Yourmusic Productions''': Contained within 12 and so not worth talking about.

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== [[3edo]] ==

: '''Aura''': This EDO is also quite simple, and relies on the perfect consonance of the octave to obtain resolution, with the dominant harmony consisting only of the two steps surrounding the octave. Like with 2edo, 3edo does make for good minimalistic harmonic progression, but to use it to its maximum potential requires serious skills, and its limited note palette again ensures that it gets boring rather quickly.

: '''Bozu''': Elemental augmented type tuning. Fun for a minute or two, boring after that. Sounds augmented no matter what you play.

: '''Nicolai''': Augmented chord.

: '''Yourmusic Productions''': Contained within 12 and so not worth talking about.

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== [[4edo]] ==

: '''Aura''': This EDO is twice as complicated as 2edo, but no more than that. Again, it relies on the perfect consonance of the octave to obtain any type of resolution, and the brute force contrast between the antitonic and the tonic makes for good minimalistic harmonic progression. This time, however, the pitch directly above the tonic can be used in conjunction with the tonic and the octave to create a surprisingly decent tonic chord- more or less the exact means of obtaining resolution in the strictest forms of traditional music theory's Locrian mode. However, given that there are only two other pitch classes to work with, a chord like this is best saved for the end of a piece. Unlike 2edo, 4edo has more of a melodic structure to work with, but again, this requires skills, and this EDO is liable to get boring rather quickly in the hands of an unskilled composer.

: '''Bozu''': Elemental diminished type tuning. Fun for a minute or two, boring after that. Sounds diminished no matter what you play.

: '''Nicolai''': Diminished chord. It, surprisingly, has interesting melodic movement despite only being four notes.

: '''Yourmusic Productions''': Contained within 12 and so not worth talking about.

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== [[5edo]] ==

: '''Aura''': This EDO is the smallest one commonly used, and is the first one that allows the usage of the fifth above the tonic as part of a resolved tonic harmony, though this admittedly sounds dirty, and furthermore the note a fifth above the dominant acts more like a second than a third in this case. Thankfully, this EDO doesn't take as much skill to work with as the previous three EDOs, and it is not quite as dissonant in terms of its note palette either. Beyond this, and the fact that it provides the framework for the varicant and contravaricant functions, I can't say much more about this EDO than what has already been said by others who have used it, as the only reason I know anything beyond what I've mentioned here is due to observations of others' work on this EDO.

: '''Bozu''': Elemental hyperpent. You can actually play a couple of melodies in the tuning, but it gets exhausted after an hour or two. Good tuning for percussive-melodic instruments like gamelan, woodblock, etc., but it can get grating on its own.

: '''Nicolai''': Equipentatonic. Nothing too original.

: '''Inthar''': Equipentatonic.

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== [[6edo]] ==

: '''Aura''': This EDO requires a mixture of the aforementioned techniques for 2edo and 3edo for proper harmonizing. I'd really like to see someone take on this challenge, especially as there are more options for this EDO than for either 2edo or 3edo- particularly in the realm of melody.

: '''Bozu''': Smallest 2nd order tuning set - augmented in whole steps. There are a number of possibilities, but trying to create any sort of tonal movement is useless, modality is useless, and overall, it's overconstrained.

: '''Nicolai''': Whole tone scale. Take out 4\6 and you have a pentatonic subset of the lydian dominant scale.

: '''Keenan''': Boring as a subset of 12edo, but useful as a very simple 2.9.5.7 temperament. Most of the good 2.9.... scales have 6-note MOSes for this reason.

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== [[7edo]] ==

: '''ArrowHead''': I find 7edo to be great for blowing people's minds since it completely eliminates any concept of "minor" or "major" in the diatonic scale. Everything is neutral.

: '''Aura''': This EDO provides the framework for all the diatonic functions and most of the paradiatonic functions. Beyond that, the fact that all triads are essentially neutral in this EDO, and the fact that this EDO supports Amity, I have very little to comment on.

: '''Bozu''': Elemental hypopent. The experience here is sort of like playing in 5edo, but it's more like a tuning where you have one complete scale to play with. For me, this is the smallest edo with which I would consider composing. But it's still overconstrained when it comes to trying to modulate anything.

: '''Nicolai''': Equiheptatonic. Again, nothing too original.

: '''Inthar''': Equi-diatonic.

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== [[8edo]] ==

: '''Aura''': The only things I knew for a fact about this EDO going in were from my understanding of 4edo- namely that the same techniques available in 4edo are also viable here, with the added bonus of being able to use the Locrian-style tonic harmony in other ways due to there being more available pitch contrasts. It is true that one has to omit the fifth from most chords for harmony in this EDO to be useful, but I have to say I was pleasantly surprised when I found out not only that the antitonic harmony could now be fortified with what is effectively a supermajor third rather than simply another instance of the tonic, but also that the pitch immediately above the antitonic could serve as a good set-up for the antitonic harmony thanks to also having this same supermajor third above the root in the form of the tonic itself. Suffice to say I now have a new xenharmonic trick up my sleeve.

: '''Bozu''': kind of a cool diminished scale, but it suffers from the same problems as other drone-like edo's, in terms of options and constraints.

: '''Nicolai''': First EDO with some kind of quarter tone interval.

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== [[9edo]] ==

: '''Aura''': The only things I know for a fact about this EDO come from my understanding of 3edo, as the same techniques available in 3edo are also viable here. However, I can't say much about the other aspects of this EDO due to lack of other relevant experience on my part.

: '''Bozu''': 3rd order augmented scale. I want to like this tuning, but I can't see any value in it beyond noodling.

: '''Nicolai''': Cool approximation of 7/6. I also consider it something of the parent scale of gamelan music.

: '''Inthar''': The first edo with a superfourth (which shines in 18edo). Still don't know how I melodically feel about this.

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== [[10edo]] ==

: '''Bozu''': Hyperpent with something resembling the chromatic scale. This is the smallest edo set that has anything worthwhile to offer. Constraints are within the critical range where melody, harmony, and chord changes can make some kind of sense. It's not my favourite edo, but it has its own characteristics.

: '''Nicolai''': The first ''actually'' usable EDO. Decent chords & decent melodic ideas. Sevish's ''Vidya'' is a good example of how it can sound.

: '''Inthar''': The first conventional-sounding EDO in that it has both fifths and at least two sizes of seconds. The 7-note neutral third scale is cool.

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:: 2. don't know a lot about it, but 10-note scales are interesting for also being something in which major and minor can share a triad class, which may be of semi-categorical relevance

: '''Yourmusic Productions''': A universe that's recognisable, but everything is distorted and the people have no faces. The merging of 3rds and 6ths removes one of the primary forms of textural expressiveness in 12, leaving it disconcertingly emotionally flat.

: '''Carmen14edo/Bragtime:''' Apparently it's pretty cool.

: '''Bill Sethares:''' ''If God Had Intended Us To Play In Ten Tones Per Octave, Then He Would Have Given Us Ten Fingers''

: '''Deja Igliashon:''' How is nobody talking about how awesome this tuning is for 8:13:14:15 chords? Like if you understand 15-limit JI at all, and you look at the intervals of this tuning, the harmonic series implications should just be slapping you across the face with an ice-cold salmon straight from the river. Lots of big accurate EDOs like 50edo and 60edo get their approximations to the 7th, 13th, and 15th harmonics from 10edo. And jeez, give a blues guitarist a 10edo guitar and she'll absolutely shred it without thinking twice because so many blues guitar gestures work just great in 10edo.

== [[11edo]] ==

: '''Bozu''': This one is one of the three edo's that don't really fit any distinct category, and it shows. In my opinion, it's the second most difficult to use. Lots of possibilities of notes, unlike anything smaller than 9edo, but nothing seems to sound particularly great, not that it sounds particularly awful, either.

: '''Nicolai''': This is probably a good example of where you should use secundal harmony rather than tertial harmony.

: '''Inthar''': The most melodically strong [[smitonic]] edo. The widened seconds and thirds are a vibe in itself.

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== [[12edo]] ==

: '''Aura''': Finally! The EDO I have the most extensive experience with. All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano. It is also from here that I've taken the bulk of my ideas on tonality- including my idea for Treble-Down tonality. I still use this EDO as a basis for forming harmonic and melodic ideas.

: '''Bozu''': Honestly, the best edo. Not too many notes, not too few. What notes are there sound great. It's the lowest composite hypopent, as well as the lowest composite of augmented and diminished. You can use it to affect major, minor, augmented, and diminished tonalities very well. The only place it truly falls short is anything beyond that. It's not too great at approximating higher order harmonics, nor does it offer any neutral intervals. It'd be sort of silly to think of a beginner musician starting with anything other than this or some form of meantone or JI that 12edo approximates.

: '''Nicolai''': I probably shouldn't have listed this.

: '''Inthar''': Not a bad tuning, all things considered.

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== [[13edo]] ==

: '''Bozu''': To me, this one is the most difficult edo to bend to my will. Like 11edo, it doesn't fit any category, but the tones all just sound off to me.

: '''Nicolai''': Extremely dissonant, but at least the major chord sounds somewhat decent. Not much decent, but its better than nothing.

: '''Inthar''': The archeotonic and oneirotonic scales are good entry points for a beginner, but I much prefer the oneirotonic.

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== [[14edo]] ==

: '''Aura''': I have to admit that I was surprised to learn from others that one can replicate dialtones in this EDO, and it was that knowledge that made me want to incorporate a 159edo-based approximation of it. Suffice to say that based on my work with said approximation, this is a pretty strange EDO overall as you don't have as much of the familiar to rely on.

: '''Bozu''': 2nd order hypopent. It's like the scale from 7edo has some different colours added to its palette. Not super easy to wield, but it does have a nice spacey sound that makes sense to the ears in a weird way.

: '''Nicolai''': Cool chords. People say that its really dissonant, but I don't hear anything out of the ordinary.

: '''Inthar''': Intriguing and spicy tuning.

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== [[15edo]] ==

: '''Bozu''': 3rd order hyperpent, also with the augmented tonalities pasted in. Perhaps one of the most user-friendly edo's, it has a lot to offer, but also makes composers accustomed to 12edo think outside of the box.

: '''Nicolai''': Probably the most popular small EDO. Great chords, good approximation of 6/5, and supports some nice temperaments. Also I kinda introduced Weigel to a Hanson keyboard, and then he made it into his keyboard, so I feel a little happy about telling him about that.

: '''Inthar''': Great tuning for simple but cool alternate-universe 5-limit temperaments such as porcupine and blackwood.

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== [[16edo]] ==

: '''Bozu''': diminished mayhem with extra mayhem. Check out Last Sacrament to see what this bad boy can do. It's not super user-friendly, in my experience, but it has a distinct sound that seems to pervade everything you can put together within its constraints.

: '''Nicolai''': Chromatic version of 9EDO's mavila. Also cool approximation of 7/4.

: '''Inthar''': Decent 5/4~16/13 and good 7/4. Best mavila tuning after 41edo.

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== [[17edo]] ==

: '''Aura''': Like 14edo this EDO is pretty strange as you don't have as much of the familiar to rely on, though it does better than 12edo in some respects. Judging from my experience with the 159edo-based approximation of it, I can surmise that trying to work with Neapolitan-type scales in this EDO makes for an interesting experience.

: '''Bozu''': Totally awesome composite hyperpent. Great fifths, it can sound maqam-ish or western-ish, depending on how you use it. So many possibilities.

: '''Nicolai''': The smallest EDO with more consonant harmony than the previous ones.

: '''Inthar''': Smallest edo that supports both the diatonic scale and (non-degenerate) 10-note neutral-third scales. 17edo Locrian is my favorite (regular diatonic) Locrian and the 17edo fifth is my favorite near-3/2 fifth.

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== [[18edo]] ==

: '''Bozu''': Augmented scale sliced into thirds. Doesn't really offer any sort of semblance of a perfect fourth or fifth, but doesn't seem to be a one-trick pony, either. I'm just not sure what to do with it.

: '''Nicolai''': Nothing particularly interesting in this.

: '''Inthar''': The quintessential dual-fifth edo, with two fifths (667¢ and 733¢) that are almost equally off from 3/2. Supports the dual-fifth MOSes [[oneirotonic]] (as distorted 17edo) and [[3L 4s|smitonic]] (as distorted 19edo). The fifths still sound like fifths, you just have to watch out for commas when viewing 18edo smitonic in a dual-fifth manner. It also offers irregular detunings of 12edo diatonic scales, and a detuning of 12edo itself (the 6L 6s MOS).

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: '''ArrowHead:''' Has a radically different sound than 12edo and is a great alternative tuning to get into when starting out with microtonality and alternate tunings. Somewhat loose diatonic scale, but much tighter pentatonic. However, its sound is much more jarring compared to 31edo or 43edo, and so it can take quite of getting used to.

: '''Aura''': Judging from my experience with the 159edo-based approximation of it, I can surmise that this EDO is a little easier to work with than 17edo, but again, trying to work with Neapolitan-type scales in this EDO makes for an interesting experience.

: '''Bozu''': This is my personal favourite. Composite hypopent, awesome thirds and sixths and a decent fourth and fifth. Kind of leaves somethign to be desired with sevenths and seconds/ninths. Can play well within the western music idiom, and has plenty of tonal options outside of that, but doesn't really offer any of the cool maqam-esque tones of 17edo or any of the weird spacey tones of 14edo. I really think this should be the intermediate step between "standard tuning" (whatever you consider that to be) and "xenharmonic tuning" (whatever you consider that to be). This really sits between those two ideas for me.

: '''Nicolai''': The smallest EDO with a really nice meantone fifth. I consider this the smallest EDO to use if you want to make pop music into microtonal music.

: '''Inthar''': The diatonic scale is useful for relaxing music; the Lydian especially shines. Also good for alternate-universe 5-limit comma pumps, and OK for semaphore.

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== [[20edo]] ==

: '''Bozu''': Hyperpent. On paper, it looks okay, but seems really difficult to use musically.

: '''Nicolai''': Nothing particularly interesting.

: '''Keenan''': More-complicated version of [[blackwood]], not much else. Instead of [5edo interval], minor, major, [5edo interval] it now goes [5edo interval], minor, neutral, major, [5edo interval]. Big deal. I'd choose 15 over 20 any day because it has porcupine.

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== [[21edo]] ==

: '''Bozu''': Excellent composite hyperpent tuning. Tons and tons of possibilities with western-esque and raga-esque tones. Notation starts getting more difficult than 17edo or 19edo.

: '''Nicolai''': Its cool, but again, nothing particularly interesting.

: '''Inthar''': Great [[oneirotonic]] edo with Baroque-sounding semitones and atmospheric neutral thirds and sharp fifths.

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== [[22edo]] ==

: '''Aura''': I have to say that judging from the 159edo-based approximation that I'm using, the pentatonic scales actually sound pretty good, but the fact that this EDO forces its users to explore unfamiliar harmonic territory is a double-edged sword.

: '''Bozu''': Excellent composite hyperpent tuning. Tons and tons of possibilities with western-esque and raga-esque tones. Notation starts getting more difficult than 17edo or 19edo.

: '''Nicolai''': Smallest cool superpyth EDO. I think there's orwell in there, too, but don't quote me on that.

: '''Inthar''': An edo with features of 15edo, 17edo and 19edo. Some scales are good like superpyth, others like pajara I don't like so much.

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== [[23edo]] ==

: '''Bozu''': This one defies my categorization as well as 11edo and 13edo, but with so many options for notes, maybe there is something there. I haven't really deemed this one worth much time investigating. To my ears, after playing with it for a couple of minutes, everything just sounds off, but not weird enough to pique my interest.

: '''Nicolai''': Hyperchromatic version of 9EDO's mavila.

: '''Inthar''': Shimmery oneirotonic. I particularly recommend the Sarlocrian (14141444) oneiro modmos.

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: '''Yourmusic Productions''': Double the complexity, but considerably less than double the number of good-sounding combinations. A lot of extra work for little extra return.

: '''Carmen14edo/Bragtime''': Many people in the microtonal community write it off due to the notoriousness of "quarter tone music", but I'm particularly attracted to the new 12edo-polyphony key changes possible in this tuning.

: '''Deja Igliashon:''' it is an absolute crime that Western academic composers got into 24edo during the period when atonality was in vogue, and approached it with no care or consideration for the wealth of concordant harmonic possibilities it presents. It is absolutely awesome in no-7s 19-limit JI, like just try 0-200-400-550-700-850-1100-1300-1500¢, and tell me it's not doing just as good at approximating 8:9:10:11:12:13:15:17:19, as any other EDOs of similar size or smaller are doing at whatever harmonic series approximations they're known for. 24edo just gives you all kinds of fun ways to tack the 11th and 13th harmonics onto regular 12-tone harmonies, and it really deserves to be recognized for that, not for atonal discordance.

== [[25edo]] ==

: '''Bozu''': Hyperpent. Not really sure what to do with it, honestly. I'd rather use 22edo.

: '''Nicolai''': Great approximation of 5/4, but its another hyperchromatic version of 9EDO's mavila.

: '''Inthar''': Theoretically useful for antidiatonic and "[[sixix]]" smitonic, but the antidiatonic is too hard (because the large step starts sounding like a third to me) and the smitonic is too soft.

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== [[26edo]] ==

: '''Bozu''': Composite hypopent. This has some really cool possibilities and some pretty good consonant intervals, but doesn't seem (in my experience) to get too much love from xenharmonic composers. Dave Trombly has done some text-to-music stuff with it that shows how even randomly-generated notes and intervals sound quite musical, but other than that, I haven't really come across any in-depth projects exploring it. My own noodling around with it makes me think that it'd be pretty easy to use. Maybe there are better options for many specific approaches, though.

: '''Nicolai''': The step-sibling of the meantone series. Its twice of 13EDO though, so the closest approximation of 5/4 is still trash. 14/11 is cool, though, so lets use that.

: '''Inthar''': Cool lydian. Also adds a perfect fifth and a 7/4 to 13edo's good approximations of 11/8 and 13/8; worth exploring for that reason alone.

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: '''ArrowHead''': Criminally underrated and underutilised for what it is. Fifths are very bright and shimmery but not wolf-like, though the 222.2 ¢ greater major second is about the widest the major whole tone can be pushed before it starts sounding neutral. Its major thirds are familiar and minor thirds are much more forgiving than 22edo, and it has a very good 13th harmonic. Overall a great place to explore xenharmony.

: '''Aura''': Not going to lie, given how underexplored this EDO is, I felt it necessary to try working with a 159edo-based retuning of it. Judging from my experience with that, it should suffice to say that working with Superlocrian in this EDO is another interesting experience.

: '''Bozu''': Comte hyperpent. Another one with tons of usable tonal possibilities that seems to get little actual use.

: '''Nicolai''': Amazing approximations of intervals like 7/6, 6/5, 5/4 (but its the same as 12EDO), 3/2, 5/3, and 7/4. Its weird how it manages to work this much with being a power of 3.

: '''Inthar''': Great underexplored edo, with solid harmony and scales. Better than 19edo on the 2.3.5.7.13 subgroup. This is the point where rank-2 theory starts to be ''very'' insufficient for fully exploring the possibilities.

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== [[29edo]] ==

: '''Bozu''': Awesome fifths and great overall set of usable tones with some really unstable-sounding ones in between. I think this is a great intermediate-difficulty not-too-many-notes-but-kind-of-a-lot tuning set.

: '''Nicolai''': Similar to 27EDO, but this is a bit better since the fifth is a little bit better compared to 27EDO.

: '''Inthar''': Very cool diatonic scale.

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== [[30edo]] ==

: '''Bozu''': Hyperpent. Augmented. Meh, too many seemingly useless intervals.

: '''Yourmusic Productions''': Whole tone + Blackwood. Like 24, mainly just adds more ways to sound bad compared to 15 and not worth the hassle.

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: '''ArrowHead''': The first non-12edo tuning I knew about, I got interested in it through Baroque and Renaissance music due to it being an excellent representation of quarter-comma meantone. Personally, I think this is the best alternative tuning for most non-classical Western musicians to use. It's especially good for contemporary worship music and songs with largely pentatonic melodies such as Hillsong's ''Highlands''. The number of notes is not overly unwieldy (though it is pushing the limits of practicality on guitars and basses), and the differences between its sound and 12edo's sound are big enough that people will notice (and therefore they might actually care) but not so big that it sounds jarring like 19edo can be (and often is).

: '''Aura''': Working with Superlocrian in this EDO is again interesting, but it's easier to do with this EDO than with 27edo.

: '''Bozu''': This is sort of the gold standard of meantone tuning. Composite hypopent. Great thirds and fifths and everything else used to make western-esque music, and also some really nifty other spicier options. Very user-friendly. If you start with 12edo and go to 19edo and like it, this would be the obvious next recommendation. My only complaint here is that we are starting to get into the territory of having too many notes to easily perform on a guitar or standard black-and-white-key two row keyboard. Going with subsets at this point is beneficial, but those provide new challenges.

: '''Nicolai''': Meantone quarter tones.

: '''Inthar''': Meantone plus 7-limit intervals, diesis rubs and galaxy-brain enharmonic harmony. The canonical septimal meantone edo.

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== [[32edo]] ==

: '''Bozu''': Composite hyperpent. Diminished. Kind of user-antagonistic on first impression. Not picking up anything of striking value.

: '''Nicolai''': Same as 27 & 29EDO, but the fifth now is sharper than 27EDO.

: '''Yourmusic Productions''': Like all pure powers of 2, unusually bad for it's size.

== [[33edo]] ==

: '''Bozu''': Composite hypopent. Augmented. Same impression as 32edo, except maybe even less valuable.

: '''Nicolai''': 11EDO, but with a better fifth.

: '''Yourmusic Productions''': Interesting, but another one that's too big to explore properly without better equipment, and nothing I've heard yet has really managed to do it justice.

== [[34edo]] ==

: '''Bozu''': Composite hyperpent. Offers the same as 17edo, except more stable modal tones. This one is a gem. I have no idea how to handle notation, though, but it's one of the most useful.

: '''Nicolai''': 17EDO, but now there's a good third.

: '''Inthar''': 17EDO, but now there's a good third and a diesis. The oneirotonic is different and sounds less diatonic because there are neutral thirds instead of major thirds. Great for kleismic and pseudo-5-limit JI.

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== [[35edo]] ==

: '''Aura''': Interestingly enough, this EDO has a heptatonic scale that consists of the following steps- 5\35, 7\35, 14\35, 21\35, 26\35, 30\35, 35\35. I found this scale while trying to find a good scale to use in a 159edo-based approximation of this EDO. All in all, this particular scale has a quality mostly evocative of something akin to Dorian mode despite obvious tuning differences that seem to give a sort of middle ground between the 5edo qualities and the 7edo of this EDO. So much for some of the claims of some other microtonalists about this one...

: '''Bozu''': Smallest amphipent edo (both hyperpent and hypopent).

: '''Nicolai''': You either get 5EDO or 7EDO, there is no middle.

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== [[40edo]] ==

: '''Bozu''': Amphipent diminished. Can't really find a good use for this one.

== [[41edo]] ==

: '''Aura''': Using Ultralocrian mode in this EDO is a challenge, but apparently quite well worth it.

: '''Bozu''': Lots of notes, but all of the bases seem to be covered. Probably the only edo between 35 and 49 worth all of the trouble of dealing with so many notes.

: '''Nicolai''': Smaller version of 53EDO.

: '''Inthar''': This and more accurate tunings are essentially low-complexity JI.

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== [[43edo]] ==

: '''ArrowHead''': By far my favourite alternative tuning for non-classical Western music where 12edo's enharmonics aren't critical, and perhaps the most optimal meantone tuning. It has the fifths tuned flat and major thirds tuned sharp with almost exactly the same deviation from just intonation on both of them and the minor third is tuned flat by twice that amount. It's also good for microtonality involving higher-order harmonic complexes since it approximates most of the intervals involving 7, ''and'' 11, ''and'' 13 well. However, with so many notes, in practice it's best suited for keyboards (Lumatone ''et al''). For guitar and bass players, I don't even think it's practical to put 87 frets on any real-world guitar or bass of reasonable size; at this point I think most guitar or bass players who want to use 43 would go fretless.

: '''Bozu''': Hypopent composite. Looks great on paper, but is a lot of notes and is either difficult to use or perhaps not as good in practice as it ought to be.

: '''Nicolai''': The other step-sibling of meantone.

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== [[46edo]] ==

: '''Bozu''': Hyperpent composite. Same thing where it looks great on paper, but I feel underwhelmed noodling around with it.

: '''Inthar''': Great parapyth tuning, if you want your major thirds to be 14/11 instead of the more dissonant 17edo major thirds.

: '''Nicolai''': You either get 5EDO or 7EDO, but there is a middle.

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== [[49edo]] ==

: '''Bozu''': Amphipent with two different choices of crummy fifths. Not really obviously useful, in my opinion.

== [[50edo]] ==

: '''ArrowHead''': I think this is the optimal tuning for most music with largely pentatonic melodies, since having the major third be slightly flat (2–4¢) helps bring out the greater contrast between the whole tones and minor third without sounding jarring like 19 can. Keyboard players can play this on the Lumatone or any other isomorphic keyboard. Putting 101 frets on a guitar or string bass, on the other hand, is a different story, so ultimately 31edo is more practical, especially for contemporary worship musicians who don't often deal with much complex music.

: '''Bozu''': This is a great option for meantone. Notations seems to be less of a pain, but 53edo is almost better in every way.

: '''Nicolai''': I consider this an optimal meantone EDO, due to a wealthy collection of notes here.

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== [[60edo]] ==

: '''Bozu''': 12edo, with each note sliced into five pieces. Not a bad option, except for the myriad of notes to navigate.

== [[65edo]] ==

: '''Bozu''': There are so many tonal options, but many of them are very useful. Maybe this could rival 53edo for versatility. There are some limitations, though.

== [[72edo]] ==

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== [[87edo]] ==

: '''Bozu''': 29edo with each interval sliced into three. You can do some nifty stuff with it, but the number of notes is too crazy to cover much with midi unless you choose a subset. Pushing a continuum beyond this.

== [[94edo]] ==

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== [[159edo]] ==

: '''Aura''': This is the best EDO I've worked with, hands down. After finishing the list of JI equivalents of the various steps of this EDO, I have since found that not only is 159edo very good for those who like to make more just versions of the more familiar kinds of things you see in 24edo, but is also very capable of approximating the steps of many lower EDOs within five cents, making for some decent retunings of some of the more commonly used EDOs such as 22edo, 31edo, and even 41edo. Based on this discovery alone, and the fact that I managed to pull off multiple songs that people really seem to like- namely "[[:File:Space Tour.mp3|Space Tour]]" and "[[:File:Welcome to Dystopia.mp3|Welcome to Dystopia]]"- I'd have to say that 159edo is not just a superset of 53edo, but rather, an EDO that is quite full of surprises. I imagine at this point that some would ask me why I don't just use JI, and the answer is that even a Mega-EDO like 159edo is considerably more simple than JI, as you have to account for a lot of unnoticeable commas in JI- a near-pointless endeavor as virtually nobody can hear such small differences in pitch.

== External Sources ==

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 == [[1edo]] ==
-: '''Aura''': The framework for all other EDOs.  As it offers only 2-limit consonance, all notes belong to the same pitch class, and this can get boring pretty quickly, though admittedly not as boring as if you only had one note to play.
+: '''Aura''': The framework for all other EDOs. As it offers only 2-limit consonance, all notes belong to the same pitch class, and this can get boring pretty quickly, though admittedly not as boring as if you only had one note to play.
 : '''Nicolai''': The harmony of the cavemen.
 : '''Keenan''': People ought to write more 2-limit music. (Or not.)
@@ Line 9: / Line 9: @@
 == [[2edo]] ==
-: '''Aura''': This EDO is very simple, offering only the perfect consonance of the octave and perfect dissonance of the tritone.  The brute force contrast between the antitonic (my name for the diatonic function of pitches located at or around 600 cents away from the tonic) and the tonic does make for good minimalistic harmonic progression, but to use this to its maximum potential requires some of the same techniques needed to master traditional music theory's Locrian mode, and even then, this EDO's limited note palette only ensures that it gets boring rather quickly.
+: '''Aura''': This EDO is very simple, offering only the perfect consonance of the octave and perfect dissonance of the tritone. The brute force contrast between the antitonic (my name for the diatonic function of pitches located at or around 600 cents away from the tonic) and the tonic does make for good minimalistic harmonic progression, but to use this to its maximum potential requires some of the same techniques needed to master traditional music theory's Locrian mode, and even then, this EDO's limited note palette only ensures that it gets boring rather quickly.
-: '''Bozu''': 0th order diminished.  Nothing interesting, too constrained.
+: '''Bozu''': 0th order diminished. Nothing interesting, too constrained.
 : '''Nicolai''': The worse harmony of the cavemen.
 : '''Yourmusic Productions''': Contained within 12 and so not worth talking about.
@@ Line 16: / Line 16: @@
 == [[3edo]] ==
-: '''Aura''': This EDO is also quite simple, and relies on the perfect consonance of the octave to obtain resolution, with the dominant harmony consisting only of the two steps surrounding the octave.  Like with 2edo, 3edo does make for good minimalistic harmonic progression, but to use it to its maximum potential requires serious skills, and its limited note palette again ensures that it gets boring rather quickly.
+: '''Aura''': This EDO is also quite simple, and relies on the perfect consonance of the octave to obtain resolution, with the dominant harmony consisting only of the two steps surrounding the octave. Like with 2edo, 3edo does make for good minimalistic harmonic progression, but to use it to its maximum potential requires serious skills, and its limited note palette again ensures that it gets boring rather quickly.
-: '''Bozu''': Elemental augmented type tuning.  Fun for a minute or two, boring after that.  Sounds augmented no matter what you play.
+: '''Bozu''': Elemental augmented type tuning. Fun for a minute or two, boring after that. Sounds augmented no matter what you play.
 : '''Nicolai''': Augmented chord.
 : '''Yourmusic Productions''': Contained within 12 and so not worth talking about.
@@ Line 23: / Line 23: @@
 == [[4edo]] ==
-: '''Aura''': This EDO is twice as complicated as 2edo, but no more than that.  Again, it relies on the perfect consonance of the octave to obtain any type of resolution, and the brute force contrast between the antitonic and the tonic makes for good minimalistic harmonic progression.  This time, however, the pitch directly above the tonic can be used in conjunction with the tonic and the octave to create a surprisingly decent tonic chord- more or less the exact means of obtaining resolution in the strictest forms of traditional music theory's Locrian mode.  However, given that there are only two other pitch classes to work with, a chord like this is best saved for the end of a piece.  Unlike 2edo, 4edo has more of a melodic structure to work with, but again, this requires skills, and this EDO is liable to get boring rather quickly in the hands of an unskilled composer.
+: '''Aura''': This EDO is twice as complicated as 2edo, but no more than that. Again, it relies on the perfect consonance of the octave to obtain any type of resolution, and the brute force contrast between the antitonic and the tonic makes for good minimalistic harmonic progression. This time, however, the pitch directly above the tonic can be used in conjunction with the tonic and the octave to create a surprisingly decent tonic chord- more or less the exact means of obtaining resolution in the strictest forms of traditional music theory's Locrian mode. However, given that there are only two other pitch classes to work with, a chord like this is best saved for the end of a piece. Unlike 2edo, 4edo has more of a melodic structure to work with, but again, this requires skills, and this EDO is liable to get boring rather quickly in the hands of an unskilled composer.
-: '''Bozu''': Elemental diminished type tuning.  Fun for a minute or two, boring after that.  Sounds diminished no matter what you play.
+: '''Bozu''': Elemental diminished type tuning. Fun for a minute or two, boring after that. Sounds diminished no matter what you play.
 : '''Nicolai''': Diminished chord. It, surprisingly, has interesting melodic movement despite only being four notes.
 : '''Yourmusic Productions''': Contained within 12 and so not worth talking about.
@@ Line 30: / Line 30: @@
 == [[5edo]] ==
-: '''Aura''': This EDO is the smallest one commonly used, and is the first one that allows the usage of the fifth above the tonic as part of a resolved tonic harmony, though this admittedly sounds dirty, and furthermore the note a fifth above the dominant acts more like a second than a third in this case.  Thankfully, this EDO doesn't take as much skill to work with as the previous three EDOs, and it is not quite as dissonant in terms of its note palette either.  Beyond this, and the fact that it provides the framework for the varicant and contravaricant functions, I can't say much more about this EDO than what has already been said by others who have used it, as the only reason I know anything beyond what I've mentioned here is due to observations of others' work on this EDO.
+: '''Aura''': This EDO is the smallest one commonly used, and is the first one that allows the usage of the fifth above the tonic as part of a resolved tonic harmony, though this admittedly sounds dirty, and furthermore the note a fifth above the dominant acts more like a second than a third in this case. Thankfully, this EDO doesn't take as much skill to work with as the previous three EDOs, and it is not quite as dissonant in terms of its note palette either. Beyond this, and the fact that it provides the framework for the varicant and contravaricant functions, I can't say much more about this EDO than what has already been said by others who have used it, as the only reason I know anything beyond what I've mentioned here is due to observations of others' work on this EDO.
-: '''Bozu''': Elemental hyperpent.  You can actually play a couple of melodies in the tuning, but it gets exhausted after an hour or two.  Good tuning for percussive-melodic instruments like gamelan, woodblock, etc., but it can get grating on its own.
+: '''Bozu''': Elemental hyperpent. You can actually play a couple of melodies in the tuning, but it gets exhausted after an hour or two. Good tuning for percussive-melodic instruments like gamelan, woodblock, etc., but it can get grating on its own.
 : '''Nicolai''': Equipentatonic. Nothing too original.
 : '''Inthar''': Equipentatonic.
@@ Line 42: / Line 42: @@
 == [[6edo]] ==
-: '''Aura''': This EDO requires a mixture of the aforementioned techniques for 2edo and 3edo for proper harmonizing.  I'd really like to see someone take on this challenge, especially as there are more options for this EDO than for either 2edo or 3edo- particularly in the realm of melody.
+: '''Aura''': This EDO requires a mixture of the aforementioned techniques for 2edo and 3edo for proper harmonizing. I'd really like to see someone take on this challenge, especially as there are more options for this EDO than for either 2edo or 3edo- particularly in the realm of melody.
-: '''Bozu''': Smallest 2nd order tuning set - augmented in whole steps.  There are a number of possibilities, but trying to create any sort of tonal movement is useless, modality is useless, and overall, it's overconstrained.
+: '''Bozu''': Smallest 2nd order tuning set - augmented in whole steps. There are a number of possibilities, but trying to create any sort of tonal movement is useless, modality is useless, and overall, it's overconstrained.
 : '''Nicolai''': Whole tone scale. Take out 4\6 and you have a pentatonic subset of the lydian dominant scale.
 : '''Keenan''': Boring as a subset of 12edo, but useful as a very simple 2.9.5.7 temperament. Most of the good 2.9.... scales have 6-note MOSes for this reason.
@@ Line 52: / Line 52: @@
 == [[7edo]] ==
 : '''ArrowHead''': I find 7edo to be great for blowing people's minds since it completely eliminates any concept of "minor" or "major" in the diatonic scale. Everything is neutral.
-: '''Aura''': This EDO provides the framework for all the diatonic functions and most of the paradiatonic functions.  Beyond that, the fact that all triads are essentially neutral in this EDO, and the fact that this EDO supports Amity, I have very little to comment on.
+: '''Aura''': This EDO provides the framework for all the diatonic functions and most of the paradiatonic functions. Beyond that, the fact that all triads are essentially neutral in this EDO, and the fact that this EDO supports Amity, I have very little to comment on.
-: '''Bozu''': Elemental hypopent.  The experience here is sort of like playing in 5edo, but it's more like a tuning where you have one complete scale to play with.  For me, this is the smallest edo with which I would consider composing.  But it's still overconstrained when it comes to trying to modulate anything.
+: '''Bozu''': Elemental hypopent. The experience here is sort of like playing in 5edo, but it's more like a tuning where you have one complete scale to play with. For me, this is the smallest edo with which I would consider composing. But it's still overconstrained when it comes to trying to modulate anything.
 : '''Nicolai''': Equiheptatonic. Again, nothing too original.
 : '''Inthar''': Equi-diatonic.
@@ Line 64: / Line 64: @@
 == [[8edo]] ==
-: '''Aura''': The only things I knew for a fact about this EDO going in were from my understanding of 4edo- namely that the same techniques available in 4edo are also viable here, with the added bonus of being able to use the Locrian-style tonic harmony in other ways due to there being more available pitch contrasts.  It is true that one has to omit the fifth from most chords for harmony in this EDO to be useful, but I have to say I was pleasantly surprised when I found out not only that the antitonic harmony could now be fortified with what is effectively a supermajor third rather than simply another instance of the tonic, but also that the pitch immediately above the antitonic could serve as a good set-up for the antitonic harmony thanks to also having this same supermajor third above the root in the form of the tonic itself.  Suffice to say I now have a new xenharmonic trick up my sleeve.
+: '''Aura''': The only things I knew for a fact about this EDO going in were from my understanding of 4edo- namely that the same techniques available in 4edo are also viable here, with the added bonus of being able to use the Locrian-style tonic harmony in other ways due to there being more available pitch contrasts. It is true that one has to omit the fifth from most chords for harmony in this EDO to be useful, but I have to say I was pleasantly surprised when I found out not only that the antitonic harmony could now be fortified with what is effectively a supermajor third rather than simply another instance of the tonic, but also that the pitch immediately above the antitonic could serve as a good set-up for the antitonic harmony thanks to also having this same supermajor third above the root in the form of the tonic itself. Suffice to say I now have a new xenharmonic trick up my sleeve.
 : '''Bozu''': kind of a cool diminished scale, but it suffers from the same problems as other drone-like edo's, in terms of options and constraints.
 : '''Nicolai''': First EDO with some kind of quarter tone interval.
@@ Line 77: / Line 77: @@
 == [[9edo]] ==
-: '''Aura''': The only things I know for a fact about this EDO come from my understanding of 3edo, as the same techniques available in 3edo are also viable here.  However, I can't say much about the other aspects of this EDO due to lack of other relevant experience on my part.
+: '''Aura''': The only things I know for a fact about this EDO come from my understanding of 3edo, as the same techniques available in 3edo are also viable here. However, I can't say much about the other aspects of this EDO due to lack of other relevant experience on my part.
-: '''Bozu''': 3rd order augmented scale.  I want to like this tuning, but I can't see any value in it beyond noodling.
+: '''Bozu''': 3rd order augmented scale. I want to like this tuning, but I can't see any value in it beyond noodling.
 : '''Nicolai''': Cool approximation of 7/6. I also consider it something of the parent scale of gamelan music.
 : '''Inthar''': The first edo with a superfourth (which shines in 18edo). Still don't know how I melodically feel about this.
@@ Line 90: / Line 90: @@
 == [[10edo]] ==
-: '''Bozu''': Hyperpent with something resembling the chromatic scale.  This is the smallest edo set that has anything worthwhile to offer.  Constraints are within the critical range where melody, harmony, and chord changes can make some kind of sense.  It's not my favourite edo, but it has its own characteristics.
+: '''Bozu''': Hyperpent with something resembling the chromatic scale. This is the smallest edo set that has anything worthwhile to offer. Constraints are within the critical range where melody, harmony, and chord changes can make some kind of sense. It's not my favourite edo, but it has its own characteristics.
 : '''Nicolai''': The first ''actually'' usable EDO. Decent chords & decent melodic ideas. Sevish's ''Vidya'' is a good example of how it can sound.
 : '''Inthar''': The first conventional-sounding EDO in that it has both fifths and at least two sizes of seconds. The 7-note neutral third scale is cool.
@@ Line 98: / Line 98: @@
 :: 2. don't know a lot about it, but 10-note scales are interesting for also being something in which major and minor can share a triad class, which may be of semi-categorical relevance
 : '''Yourmusic Productions''': A universe that's recognisable, but everything is distorted and the people have no faces. The merging of 3rds and 6ths removes one of the primary forms of textural expressiveness in 12, leaving it disconcertingly emotionally flat.
 : '''Carmen14edo/Bragtime:''' Apparently it's pretty cool.
 : '''Bill Sethares:''' ''If God Had Intended Us To Play In Ten Tones Per Octave, Then He Would Have Given Us Ten Fingers''
 : '''Deja Igliashon:''' How is nobody talking about how awesome this tuning is for 8:13:14:15 chords? Like if you understand 15-limit JI at all, and you look at the intervals of this tuning, the harmonic series implications should just be slapping you across the face with an ice-cold salmon straight from the river. Lots of big accurate EDOs like 50edo and 60edo get their approximations to the 7th, 13th, and 15th harmonics from 10edo. And jeez, give a blues guitarist a 10edo guitar and she'll absolutely shred it without thinking twice because so many blues guitar gestures work just great in 10edo.
 == [[11edo]] ==
-: '''Bozu''': This one is one of the three edo's that don't really fit any distinct category, and it shows.  In my opinion, it's the second most difficult to use.  Lots of possibilities of notes, unlike anything smaller than 9edo, but nothing seems to sound particularly great, not that it sounds particularly awful, either.
+: '''Bozu''': This one is one of the three edo's that don't really fit any distinct category, and it shows. In my opinion, it's the second most difficult to use. Lots of possibilities of notes, unlike anything smaller than 9edo, but nothing seems to sound particularly great, not that it sounds particularly awful, either.
 : '''Nicolai''': This is probably a good example of where you should use secundal harmony rather than tertial harmony.
 : '''Inthar''': The most melodically strong [[smitonic]] edo. The widened seconds and thirds are a vibe in itself.
@@ Line 117: / Line 117: @@
 == [[12edo]] ==
-: '''Aura''': Finally!  The EDO I have the most extensive experience with.  All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano.  It is also from here that I've taken the bulk of my ideas on tonality- including my idea for Treble-Down tonality.  I still use this EDO as a basis for forming harmonic and melodic ideas.
+: '''Aura''': Finally! The EDO I have the most extensive experience with. All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano. It is also from here that I've taken the bulk of my ideas on tonality- including my idea for Treble-Down tonality. I still use this EDO as a basis for forming harmonic and melodic ideas.
-: '''Bozu''': Honestly, the best edo.  Not too many notes, not too few.  What notes are there sound great.  It's the lowest composite hypopent, as well as the lowest composite of augmented and diminished.  You can use it to affect major, minor, augmented, and diminished tonalities very well.  The only place it truly falls short is anything beyond that.  It's not too great at approximating higher order harmonics, nor does it offer any neutral intervals.  It'd be sort of silly to think of a beginner musician starting with anything other than this or some form of meantone or JI that 12edo approximates.
+: '''Bozu''': Honestly, the best edo. Not too many notes, not too few. What notes are there sound great. It's the lowest composite hypopent, as well as the lowest composite of augmented and diminished. You can use it to affect major, minor, augmented, and diminished tonalities very well. The only place it truly falls short is anything beyond that. It's not too great at approximating higher order harmonics, nor does it offer any neutral intervals. It'd be sort of silly to think of a beginner musician starting with anything other than this or some form of meantone or JI that 12edo approximates.
 : '''Nicolai''': I probably shouldn't have listed this.
 : '''Inthar''': Not a bad tuning, all things considered.
@@ Line 128: / Line 128: @@
 == [[13edo]] ==
-: '''Bozu''': To me, this one is the most difficult edo to bend to my will.  Like 11edo, it doesn't fit any category, but the tones all just sound off to me.
+: '''Bozu''': To me, this one is the most difficult edo to bend to my will. Like 11edo, it doesn't fit any category, but the tones all just sound off to me.
 : '''Nicolai''': Extremely dissonant, but at least the major chord sounds somewhat decent. Not much decent, but its better than nothing.
 : '''Inthar''': The archeotonic and oneirotonic scales are good entry points for a beginner, but I much prefer the oneirotonic.
@@ Line 142: / Line 142: @@
 == [[14edo]] ==
 : '''Aura''': I have to admit that I was surprised to learn from others that one can replicate dialtones in this EDO, and it was that knowledge that made me want to incorporate a 159edo-based approximation of it. Suffice to say that based on my work with said approximation, this is a pretty strange EDO overall as you don't have as much of the familiar to rely on.
-: '''Bozu''': 2nd order hypopent.  It's like the scale from 7edo has some different colours added to its palette.  Not super easy to wield, but it does have a nice spacey sound that makes sense to the ears in a weird way.
+: '''Bozu''': 2nd order hypopent. It's like the scale from 7edo has some different colours added to its palette. Not super easy to wield, but it does have a nice spacey sound that makes sense to the ears in a weird way.
 : '''Nicolai''': Cool chords. People say that its really dissonant, but I don't hear anything out of the ordinary.
 : '''Inthar''': Intriguing and spicy tuning.
@@ Line 154: / Line 154: @@
 == [[15edo]] ==
-: '''Bozu''': 3rd order hyperpent, also with the augmented tonalities pasted in.  Perhaps one of the most user-friendly edo's, it has a lot to offer, but also makes composers accustomed to 12edo think outside of the box.
+: '''Bozu''': 3rd order hyperpent, also with the augmented tonalities pasted in. Perhaps one of the most user-friendly edo's, it has a lot to offer, but also makes composers accustomed to 12edo think outside of the box.
 : '''Nicolai''': Probably the most popular small EDO. Great chords, good approximation of 6/5, and supports some nice temperaments. Also I kinda introduced Weigel to a Hanson keyboard, and then he made it into his keyboard, so I feel a little happy about telling him about that.
 : '''Inthar''': Great tuning for simple but cool alternate-universe 5-limit temperaments such as porcupine and blackwood.
@@ Line 164: / Line 164: @@
 == [[16edo]] ==
-: '''Bozu''': diminished mayhem with extra mayhem.  Check out Last Sacrament to see what this bad boy can do.  It's not super user-friendly, in my experience, but it has a distinct sound that seems to pervade everything you can put together within its constraints.
+: '''Bozu''': diminished mayhem with extra mayhem. Check out Last Sacrament to see what this bad boy can do. It's not super user-friendly, in my experience, but it has a distinct sound that seems to pervade everything you can put together within its constraints.
 : '''Nicolai''': Chromatic version of 9EDO's mavila. Also cool approximation of 7/4.
 : '''Inthar''': Decent 5/4~16/13 and good 7/4. Best mavila tuning after 41edo.
@@ Line 175: / Line 175: @@
 == [[17edo]] ==
 : '''Aura''': Like 14edo this EDO is pretty strange as you don't have as much of the familiar to rely on, though it does better than 12edo in some respects. Judging from my experience with the 159edo-based approximation of it, I can surmise that trying to work with Neapolitan-type scales in this EDO makes for an interesting experience.
-: '''Bozu''': Totally awesome composite hyperpent.  Great fifths, it can sound maqam-ish or western-ish, depending on how you use it.  So many possibilities.
+: '''Bozu''': Totally awesome composite hyperpent. Great fifths, it can sound maqam-ish or western-ish, depending on how you use it. So many possibilities.
 : '''Nicolai''': The smallest EDO with more consonant harmony than the previous ones.
 : '''Inthar''': Smallest edo that supports both the diatonic scale and (non-degenerate) 10-note neutral-third scales. 17edo Locrian is my favorite (regular diatonic) Locrian and the 17edo fifth is my favorite near-3/2 fifth.
@@ Line 185: / Line 185: @@
 == [[18edo]] ==
-: '''Bozu''': Augmented scale sliced into thirds.  Doesn't really offer any sort of semblance of a perfect fourth or fifth, but doesn't seem to be a one-trick pony, either.  I'm just not sure what to do with it.
+: '''Bozu''': Augmented scale sliced into thirds. Doesn't really offer any sort of semblance of a perfect fourth or fifth, but doesn't seem to be a one-trick pony, either. I'm just not sure what to do with it.
 : '''Nicolai''': Nothing particularly interesting in this.
 : '''Inthar''': The quintessential dual-fifth edo, with two fifths (667¢ and 733¢) that are almost equally off from 3/2. Supports the dual-fifth MOSes [[oneirotonic]] (as distorted 17edo) and [[3L 4s|smitonic]] (as distorted 19edo). The fifths still sound like fifths, you just have to watch out for commas when viewing 18edo smitonic in a dual-fifth manner. It also offers irregular detunings of 12edo diatonic scales, and a detuning of 12edo itself (the 6L 6s MOS).
@@ Line 197: / Line 197: @@
 : '''ArrowHead:''' Has a radically different sound than 12edo and is a great alternative tuning to get into when starting out with microtonality and alternate tunings. Somewhat loose diatonic scale, but much tighter pentatonic. However, its sound is much more jarring compared to 31edo or 43edo, and so it can take quite of getting used to.
 : '''Aura''': Judging from my experience with the 159edo-based approximation of it, I can surmise that this EDO is a little easier to work with than 17edo, but again, trying to work with Neapolitan-type scales in this EDO makes for an interesting experience.
-: '''Bozu''': This is my personal favourite. Composite hypopent, awesome thirds and sixths and a decent fourth and fifth. Kind of leaves somethign to be desired with sevenths and seconds/ninths. Can play well within the western music idiom, and has plenty of tonal options outside of that, but doesn't really offer any of the cool maqam-esque tones of 17edo or any of the weird spacey tones of 14edo. I really think this should be the intermediate step between "standard tuning" (whatever you consider that to be) and "xenharmonic tuning" (whatever you consider that to be).  This really sits between those two ideas for me.
+: '''Bozu''': This is my personal favourite. Composite hypopent, awesome thirds and sixths and a decent fourth and fifth. Kind of leaves somethign to be desired with sevenths and seconds/ninths. Can play well within the western music idiom, and has plenty of tonal options outside of that, but doesn't really offer any of the cool maqam-esque tones of 17edo or any of the weird spacey tones of 14edo. I really think this should be the intermediate step between "standard tuning" (whatever you consider that to be) and "xenharmonic tuning" (whatever you consider that to be). This really sits between those two ideas for me.
 : '''Nicolai''': The smallest EDO with a really nice meantone fifth. I consider this the smallest EDO to use if you want to make pop music into microtonal music.
 : '''Inthar''': The diatonic scale is useful for relaxing music; the Lydian especially shines. Also good for alternate-universe 5-limit comma pumps, and OK for semaphore.
@@ Line 207: / Line 207: @@
 == [[20edo]] ==
-: '''Bozu''': Hyperpent.  On paper, it looks okay, but seems really difficult to use musically.
+: '''Bozu''': Hyperpent. On paper, it looks okay, but seems really difficult to use musically.
 : '''Nicolai''': Nothing particularly interesting.
 : '''Keenan''': More-complicated version of [[blackwood]], not much else. Instead of [5edo interval], minor, major, [5edo interval] it now goes [5edo interval], minor, neutral, major, [5edo interval]. Big deal. I'd choose 15 over 20 any day because it has porcupine.
@@ Line 215: / Line 215: @@
 == [[21edo]] ==
-: '''Bozu''': Excellent composite hyperpent tuning.  Tons and tons of possibilities with western-esque and raga-esque tones.  Notation starts getting more difficult than 17edo or 19edo.
+: '''Bozu''': Excellent composite hyperpent tuning. Tons and tons of possibilities with western-esque and raga-esque tones. Notation starts getting more difficult than 17edo or 19edo.
 : '''Nicolai''': Its cool, but again, nothing particularly interesting.
 : '''Inthar''': Great [[oneirotonic]] edo with Baroque-sounding semitones and atmospheric neutral thirds and sharp fifths.
@@ Line 225: / Line 225: @@
 == [[22edo]] ==
 : '''Aura''': I have to say that judging from the 159edo-based approximation that I'm using, the pentatonic scales actually sound pretty good, but the fact that this EDO forces its users to explore unfamiliar harmonic territory is a double-edged sword.
-: '''Bozu''': Excellent composite hyperpent tuning.  Tons and tons of possibilities with western-esque and raga-esque tones.  Notation starts getting more difficult than 17edo or 19edo.
+: '''Bozu''': Excellent composite hyperpent tuning. Tons and tons of possibilities with western-esque and raga-esque tones. Notation starts getting more difficult than 17edo or 19edo.
 : '''Nicolai''': Smallest cool superpyth EDO. I think there's orwell in there, too, but don't quote me on that.
 : '''Inthar''': An edo with features of 15edo, 17edo and 19edo. Some scales are good like superpyth, others like pajara I don't like so much.
@@ Line 235: / Line 235: @@
 == [[23edo]] ==
-: '''Bozu''': This one defies my categorization as well as 11edo and 13edo, but with so many options for notes, maybe there is something there.  I haven't really deemed this one worth much time investigating.  To my ears, after playing with it for a couple of minutes, everything just sounds off, but not weird enough to pique my interest.
+: '''Bozu''': This one defies my categorization as well as 11edo and 13edo, but with so many options for notes, maybe there is something there. I haven't really deemed this one worth much time investigating. To my ears, after playing with it for a couple of minutes, everything just sounds off, but not weird enough to pique my interest.
 : '''Nicolai''': Hyperchromatic version of 9EDO's mavila.
 : '''Inthar''': Shimmery oneirotonic. I particularly recommend the Sarlocrian (14141444) oneiro modmos.
@@ Line 254: / Line 254: @@
 : '''Yourmusic Productions''': Double the complexity, but considerably less than double the number of good-sounding combinations. A lot of extra work for little extra return.
 : '''Carmen14edo/Bragtime''': Many people in the microtonal community write it off due to the notoriousness of "quarter tone music", but I'm particularly attracted to the new 12edo-polyphony key changes possible in this tuning.
-: '''Deja Igliashon:''' it is an absolute crime that Western academic composers got into 24edo during the period when atonality was in vogue, and approached it with no care or consideration for the wealth of concordant harmonic possibilities it presents. It is absolutely awesome in no-7s 19-limit JI, like just try 0-200-400-550-700-850-1100-1300-1500¢, and tell me it's not doing just as good at approximating 8:9:10:11:12:13:15:17:19, as  any other EDOs of similar size or smaller are doing at whatever harmonic series approximations they're known for. 24edo just gives you all kinds of fun ways to tack the 11th and 13th harmonics onto regular 12-tone harmonies, and it really deserves to be recognized for that, not for atonal discordance.
+: '''Deja Igliashon:''' it is an absolute crime that Western academic composers got into 24edo during the period when atonality was in vogue, and approached it with no care or consideration for the wealth of concordant harmonic possibilities it presents. It is absolutely awesome in no-7s 19-limit JI, like just try 0-200-400-550-700-850-1100-1300-1500¢, and tell me it's not doing just as good at approximating 8:9:10:11:12:13:15:17:19, as any other EDOs of similar size or smaller are doing at whatever harmonic series approximations they're known for. 24edo just gives you all kinds of fun ways to tack the 11th and 13th harmonics onto regular 12-tone harmonies, and it really deserves to be recognized for that, not for atonal discordance.
 == [[25edo]] ==
-: '''Bozu''': Hyperpent.  Not really sure what to do with it, honestly.  I'd rather use 22edo.
+: '''Bozu''': Hyperpent. Not really sure what to do with it, honestly. I'd rather use 22edo.
 : '''Nicolai''': Great approximation of 5/4, but its another hyperchromatic version of 9EDO's mavila.
 : '''Inthar''': Theoretically useful for antidiatonic and "[[sixix]]" smitonic, but the antidiatonic is too hard (because the large step starts sounding like a third to me) and the smitonic is too soft.
@@ Line 266: / Line 266: @@
 == [[26edo]] ==
-: '''Bozu''': Composite hypopent.  This has some really cool possibilities and some pretty good consonant intervals, but doesn't seem (in my experience) to get too much love from xenharmonic composers.  Dave Trombly has done some text-to-music stuff with it that shows how even randomly-generated notes and intervals sound quite musical, but other than that, I haven't really come across any in-depth projects exploring it.  My own noodling around with it makes me think that it'd be pretty easy to use.  Maybe there are better options for many specific approaches, though.
+: '''Bozu''': Composite hypopent. This has some really cool possibilities and some pretty good consonant intervals, but doesn't seem (in my experience) to get too much love from xenharmonic composers. Dave Trombly has done some text-to-music stuff with it that shows how even randomly-generated notes and intervals sound quite musical, but other than that, I haven't really come across any in-depth projects exploring it. My own noodling around with it makes me think that it'd be pretty easy to use. Maybe there are better options for many specific approaches, though.
 : '''Nicolai''': The step-sibling of the meantone series. Its twice of 13EDO though, so the closest approximation of 5/4 is still trash. 14/11 is cool, though, so lets use that.
 : '''Inthar''': Cool lydian. Also adds a perfect fifth and a 7/4 to 13edo's good approximations of 11/8 and 13/8; worth exploring for that reason alone.
@@ Line 277: / Line 277: @@
 : '''ArrowHead''': Criminally underrated and underutilised for what it is. Fifths are very bright and shimmery but not wolf-like, though the 222.2&nbsp;¢ greater major second is about the widest the major whole tone can be pushed before it starts sounding neutral. Its major thirds are familiar and minor thirds are much more forgiving than 22edo, and it has a very good 13th harmonic. Overall a great place to explore xenharmony.
 : '''Aura''': Not going to lie, given how underexplored this EDO is, I felt it necessary to try working with a 159edo-based retuning of it. Judging from my experience with that, it should suffice to say that working with Superlocrian in this EDO is another interesting experience.
-: '''Bozu''': Comte hyperpent.  Another one with tons of usable tonal possibilities that seems to get little actual use.
+: '''Bozu''': Comte hyperpent. Another one with tons of usable tonal possibilities that seems to get little actual use.
 : '''Nicolai''': Amazing approximations of intervals like 7/6, 6/5, 5/4 (but its the same as 12EDO), 3/2, 5/3, and 7/4. Its weird how it manages to work this much with being a power of 3.
 : '''Inthar''': Great underexplored edo, with solid harmony and scales. Better than 19edo on the 2.3.5.7.13 subgroup. This is the point where rank-2 theory starts to be ''very'' insufficient for fully exploring the possibilities.
@@ Line 289: / Line 289: @@
 == [[29edo]] ==
-: '''Bozu''': Awesome fifths and great overall set of usable tones with some really unstable-sounding ones in between.  I think this is a great intermediate-difficulty not-too-many-notes-but-kind-of-a-lot tuning set.
+: '''Bozu''': Awesome fifths and great overall set of usable tones with some really unstable-sounding ones in between. I think this is a great intermediate-difficulty not-too-many-notes-but-kind-of-a-lot tuning set.
 : '''Nicolai''': Similar to 27EDO, but this is a bit better since the fifth is a little bit better compared to 27EDO.
 : '''Inthar''': Very cool diatonic scale.
@@ Line 295: / Line 295: @@
 == [[30edo]] ==
-: '''Bozu''': Hyperpent.  Augmented.  Meh, too many seemingly useless intervals.
+: '''Bozu''': Hyperpent. Augmented. Meh, too many seemingly useless intervals.
 : '''Yourmusic Productions''': Whole tone + Blackwood. Like 24, mainly just adds more ways to sound bad compared to 15 and not worth the hassle.
@@ Line 301: / Line 301: @@
 : '''ArrowHead''': The first non-12edo tuning I knew about, I got interested in it through Baroque and Renaissance music due to it being an excellent representation of quarter-comma meantone. Personally, I think this is the best alternative tuning for most non-classical Western musicians to use. It's especially good for contemporary worship music and songs with largely pentatonic melodies such as Hillsong's ''Highlands''. The number of notes is not overly unwieldy (though it is pushing the limits of practicality on guitars and basses), and the differences between its sound and 12edo's sound are big enough that people will notice (and therefore they might actually care) but not so big that it sounds jarring like 19edo can be (and often is).
 : '''Aura''': Working with Superlocrian in this EDO is again interesting, but it's easier to do with this EDO than with 27edo.
-: '''Bozu''': This is sort of the gold standard of meantone tuning.  Composite hypopent.  Great thirds and fifths and everything else used to make western-esque music, and also some really nifty other spicier options.  Very user-friendly.  If you start with 12edo and go to 19edo and like it, this would be the obvious next recommendation.  My only complaint here is that we are starting to get into the territory of having too many notes to easily perform on a guitar or standard black-and-white-key two row keyboard.  Going with subsets at this point is beneficial, but those provide new challenges.
+: '''Bozu''': This is sort of the gold standard of meantone tuning. Composite hypopent. Great thirds and fifths and everything else used to make western-esque music, and also some really nifty other spicier options. Very user-friendly. If you start with 12edo and go to 19edo and like it, this would be the obvious next recommendation. My only complaint here is that we are starting to get into the territory of having too many notes to easily perform on a guitar or standard black-and-white-key two row keyboard. Going with subsets at this point is beneficial, but those provide new challenges.
 : '''Nicolai''': Meantone quarter tones.
 : '''Inthar''': Meantone plus 7-limit intervals, diesis rubs and galaxy-brain enharmonic harmony. The canonical septimal meantone edo.
@@ Line 307: / Line 307: @@
 == [[32edo]] ==
-: '''Bozu''': Composite hyperpent.  Diminished.  Kind of user-antagonistic on first impression.  Not picking up anything of striking value.
+: '''Bozu''': Composite hyperpent. Diminished. Kind of user-antagonistic on first impression. Not picking up anything of striking value.
 : '''Nicolai''': Same as 27 & 29EDO, but the fifth now is sharper than 27EDO.
 : '''Yourmusic Productions''': Like all pure powers of 2, unusually bad for it's size.
 == [[33edo]] ==
-: '''Bozu''': Composite hypopent.  Augmented.  Same impression as 32edo, except maybe even less valuable.
+: '''Bozu''': Composite hypopent. Augmented. Same impression as 32edo, except maybe even less valuable.
 : '''Nicolai''': 11EDO, but with a better fifth.
 : '''Yourmusic Productions''': Interesting, but another one that's too big to explore properly without better equipment, and nothing I've heard yet has really managed to do it justice.
 == [[34edo]] ==
-: '''Bozu''': Composite hyperpent.  Offers the same as 17edo, except more stable modal tones.  This one is a gem.  I have no idea how to handle notation, though, but it's one of the most useful.
+: '''Bozu''': Composite hyperpent. Offers the same as 17edo, except more stable modal tones. This one is a gem. I have no idea how to handle notation, though, but it's one of the most useful.
 : '''Nicolai''': 17EDO, but now there's a good third.
 : '''Inthar''': 17EDO, but now there's a good third and a diesis. The oneirotonic is different and sounds less diatonic because there are neutral thirds instead of major thirds. Great for kleismic and pseudo-5-limit JI.
@@ Line 323: / Line 323: @@
 == [[35edo]] ==
-: '''Aura''': Interestingly enough, this EDO has a heptatonic scale that consists of the following steps- 5\35, 7\35, 14\35, 21\35, 26\35, 30\35, 35\35.  I found this scale while trying to find a good scale to use in a 159edo-based approximation of this EDO.  All in all, this particular scale has a quality mostly evocative of something akin to Dorian mode despite obvious tuning differences that seem to give a sort of middle ground between the 5edo qualities and the 7edo of this EDO.  So much for some of the claims of some other microtonalists about this one...
+: '''Aura''': Interestingly enough, this EDO has a heptatonic scale that consists of the following steps- 5\35, 7\35, 14\35, 21\35, 26\35, 30\35, 35\35. I found this scale while trying to find a good scale to use in a 159edo-based approximation of this EDO. All in all, this particular scale has a quality mostly evocative of something akin to Dorian mode despite obvious tuning differences that seem to give a sort of middle ground between the 5edo qualities and the 7edo of this EDO. So much for some of the claims of some other microtonalists about this one...
 : '''Bozu''': Smallest amphipent edo (both hyperpent and hypopent).
 : '''Nicolai''': You either get 5EDO or 7EDO, there is no middle.
@@ Line 346: / Line 346: @@
 == [[40edo]] ==
-: '''Bozu''': Amphipent diminished.  Can't really find a good use for this one.
+: '''Bozu''': Amphipent diminished. Can't really find a good use for this one.
 == [[41edo]] ==
 : '''Aura''': Using Ultralocrian mode in this EDO is a challenge, but apparently quite well worth it.
-: '''Bozu''': Lots of notes, but all of the bases seem to be covered.  Probably the only edo between 35 and 49 worth all of the trouble of dealing with so many notes.
+: '''Bozu''': Lots of notes, but all of the bases seem to be covered. Probably the only edo between 35 and 49 worth all of the trouble of dealing with so many notes.
 : '''Nicolai''': Smaller version of 53EDO.
 : '''Inthar''': This and more accurate tunings are essentially low-complexity JI.
@@ Line 360: / Line 360: @@
 == [[43edo]] ==
 : '''ArrowHead''': By far my favourite alternative tuning for non-classical Western music where 12edo's enharmonics aren't critical, and perhaps the most optimal meantone tuning. It has the fifths tuned flat and major thirds tuned sharp with almost exactly the same deviation from just intonation on both of them and the minor third is tuned flat by twice that amount. It's also good for microtonality involving higher-order harmonic complexes since it approximates most of the intervals involving 7, ''and'' 11, ''and'' 13 well. However, with so many notes, in practice it's best suited for keyboards (Lumatone ''et al''). For guitar and bass players, I don't even think it's practical to put 87 frets on any real-world guitar or bass of reasonable size; at this point I think most guitar or bass players who want to use 43 would go fretless.
-: '''Bozu''': Hypopent composite.  Looks great on paper, but is a lot of notes and is either difficult to use or perhaps not as good in practice as it ought to be.
+: '''Bozu''': Hypopent composite. Looks great on paper, but is a lot of notes and is either difficult to use or perhaps not as good in practice as it ought to be.
 : '''Nicolai''': The other step-sibling of meantone.
@@ Line 370: / Line 370: @@
 == [[46edo]] ==
-: '''Bozu''': Hyperpent composite.  Same thing where it looks great on paper, but I feel underwhelmed noodling around with it.
+: '''Bozu''': Hyperpent composite. Same thing where it looks great on paper, but I feel underwhelmed noodling around with it.
 : '''Inthar''': Great parapyth tuning, if you want your major thirds to be 14/11 instead of the more dissonant 17edo major thirds.
 : '''Nicolai''': You either get 5EDO or 7EDO, but there is a middle.
@@ Line 383: / Line 383: @@
 == [[49edo]] ==
-: '''Bozu''': Amphipent with two different choices of crummy fifths.  Not really obviously useful, in my opinion.
+: '''Bozu''': Amphipent with two different choices of crummy fifths. Not really obviously useful, in my opinion.
 == [[50edo]] ==
 : '''ArrowHead''': I think this is the optimal tuning for most music with largely pentatonic melodies, since having the major third be slightly flat (2–4¢) helps bring out the greater contrast between the whole tones and minor third without sounding jarring like 19 can. Keyboard players can play this on the Lumatone or any other isomorphic keyboard. Putting 101 frets on a guitar or string bass, on the other hand, is a different story, so ultimately 31edo is more practical, especially for contemporary worship musicians who don't often deal with much complex music.
-: '''Bozu''': This is a great option for meantone.  Notations seems to be less of a pain, but 53edo is almost better in every way.
+: '''Bozu''': This is a great option for meantone. Notations seems to be less of a pain, but 53edo is almost better in every way.
 : '''Nicolai''': I consider this an optimal meantone EDO, due to a wealthy collection of notes here.
@@ Line 406: / Line 406: @@
 == [[60edo]] ==
-: '''Bozu''': 12edo, with each note sliced into five pieces.  Not a bad option, except for the myriad of notes to navigate.
+: '''Bozu''': 12edo, with each note sliced into five pieces. Not a bad option, except for the myriad of notes to navigate.
 == [[65edo]] ==
-: '''Bozu''': There are so many tonal options, but many of them are very useful.  Maybe this could rival 53edo for versatility.  There are some limitations, though.
+: '''Bozu''': There are so many tonal options, but many of them are very useful. Maybe this could rival 53edo for versatility. There are some limitations, though.
 == [[72edo]] ==
@@ Line 418: / Line 418: @@
 == [[87edo]] ==
-: '''Bozu''': 29edo with each interval sliced into three.  You can do some nifty stuff with it, but the number of notes is too crazy to cover much with midi unless you choose a subset.  Pushing a continuum beyond this.
+: '''Bozu''': 29edo with each interval sliced into three. You can do some nifty stuff with it, but the number of notes is too crazy to cover much with midi unless you choose a subset. Pushing a continuum beyond this.
 == [[94edo]] ==
@@ Line 427: / Line 427: @@
 == [[159edo]] ==
-: '''Aura''': This is the best EDO I've worked with, hands down.  After finishing the list of JI equivalents of the various steps of this EDO, I have since found that not only is 159edo very good for those who like to make more just versions of the more familiar kinds of things you see in 24edo, but is also very capable of approximating the steps of many lower EDOs within five cents, making for some decent retunings of some of the more commonly used EDOs such as 22edo, 31edo, and even 41edo.  Based on this discovery alone, and the fact that I managed to pull off multiple songs that people really seem to like- namely "[[:File:Space Tour.mp3|Space Tour]]" and "[[:File:Welcome to Dystopia.mp3|Welcome to Dystopia]]"- I'd have to say that 159edo is not just a superset of 53edo, but rather, an EDO that is quite full of surprises.  I imagine at this point that some would ask me why I don't just use JI, and the answer is that even a Mega-EDO like 159edo is considerably more simple than JI, as you have to account for a lot of unnoticeable commas in JI- a near-pointless endeavor as virtually nobody can hear such small differences in pitch.
+: '''Aura''': This is the best EDO I've worked with, hands down. After finishing the list of JI equivalents of the various steps of this EDO, I have since found that not only is 159edo very good for those who like to make more just versions of the more familiar kinds of things you see in 24edo, but is also very capable of approximating the steps of many lower EDOs within five cents, making for some decent retunings of some of the more commonly used EDOs such as 22edo, 31edo, and even 41edo. Based on this discovery alone, and the fact that I managed to pull off multiple songs that people really seem to like- namely "[[:File:Space Tour.mp3|Space Tour]]" and "[[:File:Welcome to Dystopia.mp3|Welcome to Dystopia]]"- I'd have to say that 159edo is not just a superset of 53edo, but rather, an EDO that is quite full of surprises. I imagine at this point that some would ask me why I don't just use JI, and the answer is that even a Mega-EDO like 159edo is considerably more simple than JI, as you have to account for a lot of unnoticeable commas in JI- a near-pointless endeavor as virtually nobody can hear such small differences in pitch.
 == External Sources ==