User:Eboone/EDO Impressions: Difference between revisions

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For example, the juxtaposition of the 266.67¢ subminor third (nearly exactly 7/6) and the 400¢ major third (the one from 3edo) is totally jarring. The incredibly acrid fifth also contributes to the general vibe of resonant septimal consonances battling against sour dissonances. It's an ineffable combination of opposing stimuli, giving this edo an unmistakable sound.

9edo is also the first edo to support '''[[mavila]]''' ~~temperament~~, being one of 3 that support it natively in the [[patent val|'''patent val''']]. It's certainly an extreme mavila temperament, but making the fifth any sharper would get rid of the septimal consonances, so this particular way of approaching mavila is truly unique.

9edo is also the first edo to support [[Mavila temperament|'''mavila temperament''']], being one of 3 that support it natively in the [[patent val|'''patent val''']]. It's certainly an extreme mavila temperament, but making the fifth any sharper would get rid of the septimal consonances, so this particular way of approaching mavila is truly unique.

As this edo is right on the border of what I consider to be the macrotonal edos, 1 degree of 9edo has a particular quality to it that makes it sound like a semitone in some contexts and a neutral second in other contexts. My piece ''[https://www.youtube.com/watch?v=1D2_6LsRsPM Elegy of the Willow]'' illustrates this by including many chromaticisms, sometimes in the context of a chromatic scale and sometimes in the context of cadential motion.

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''2×5, 1° = 120¢, Fifth = 720¢ (3\5)''

''Tier: '''A+'''''[[File:10edo groove.mp3|none|thumb|10edo heist theme in ~~'''~~⌄~~'''~~<nowiki>A bish (3|3 mode of 3L 4s)</nowiki>]]

''Tier: '''A+'''''[[File:10edo groove.mp3|none|thumb|10edo heist theme in ⌄<nowiki>A bish (3|3 mode of 3L 4s)</nowiki>]]

Ah yes, the homeland of [[Mosh|'''mosh''']]. 10edo is actually my favorite of the edos less than 12, although 9edo does come pretty close. This edo is the largest one with a singular third, that being the 360¢ submajor third which is extremely close to [[16/13]]. That means this temperament also features a stunning approximation of the [[13/8|'''13th harmonic''']], coming in just 0.53¢ sharp. It also features all of the interseptimal intervals from 5edo, meaning it includes the same approximation of the 7th harmonic, as well as a relatively stable fifth (especially compared to 9edo).

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''Tier: '''S'''''

[[File:17edo demo.mp3|none|thumb|17edo metal in A minor]]

~~placeholder~~

17edo is the first edo after 12edo to have the diatonic scale, and it is the first that demonstrates '''[[Superpyth|superpythagorean temperament]]''', though many would say it is better described as a [[Parapyth|'''parapythagorean temperament''']]. It sports the hard diatonic scale, where the large step is 3 degrees and the small step is 1 degree. This gives melodies a noticeably more "closed in" sound, whereas meantone temperaments make the diatonic scale more open.

The thirds in this temperament are subminor, neutral, and supermajor, with the neutral third being quite close to 11/9 (5.53¢ sharp). The septimal thirds are actually closer to '''[[Noble Intonation|noble]]''' thirds, which are somewhat close to [[13/11]] and [[14/11]]. I am a big fan of the thirds in 17edo because they aren't as extreme as more pure septimal thirds; they form a nice middle ground. The seconds are also very nice. The diatonic semitone being so flat makes diatonic voice leading feel very locked in, the neutral second just sounds great, and the whole tone is slightly sharp of 9/8, juxtaposing with the subminor second and providing variety.

17edo features mosh in its soft form and gramitonic in its hard form. This means 17edo features my entire top 3 favorite mosses, which is absolutely fabulous. I do prefer softer forms of gramitonic (particularly those found in 22edo, 31edo, and 53edo), but it's still great that it's here. Plus, it's always great to experiment with hard and soft forms of mosses.

The first time I encountered this edo, it was placed next to its arch rival (which shall be revealed) in the same style. I thought it was pretty obvious that 17edo sounded worse, but that's because it was played in a piano timbre. Sure, it can sound quite beautiful in a piano timbre, as is shown in [https://www.youtube.com/watch?v=gaYvK9OBHK0 ''The Bedoginning''] by Woyten (one of my favorite pieces), but have a listen to the acoustic version of the [https://www.youtube.com/watch?v=WCedVC3Sl04 con moto] of ''Twelve Microtonal Etudes for Electronic Music Media'', arranged by Matthew Sheeran. When I showed this to my brother who had little experience with microtonal music, he literally thought it was in 12edo even after I told him it wasn't. Even I had a hard time telling until the middle section (1:42 in the video) began and I heard that diatonic semitone.

This edo really lends itself well to music that I can only describe as "bouncy," like the Blackwood etude. I feel that meantone temperaments suffer in this regard, while pythagorean and superpyth temperaments thrive. Overall, this is one of my absolute favorite edos, and one that I will surely continue to use in the future. But will it win against its meantone rival in a smackdown?!

=== [[18edo]] ===

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''Tier: '''B+'''''

[[File:18edo demo.mp3|none|thumb|18edo brass quintet in B♭ ~~anti-major (?)~~]]

[[File:18edo demo 2.mp3|none|thumb|18edo brass quintet in B♭]]

placeholder

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''Tier: '''S'''''

[[File:19edo demo.mp3|none|thumb|19edo lofi in C major]]

~~placeholder~~

19edo is the next edo after 17edo to have the diatonic scale, and it is the first that really demonstrates meantone. Specifically, it is very close to '''1/3-comma meantone''' with [[eigenmonzo]] 6/5, so the minor third of this edo is only 0.15¢ flat of 6/5. This is the best approximation of 6/5 among all edos on this page. The approximation of 5/4 is also relatively decent, coming in 7.36¢ flat. This particular flat major third has a marvelous quality (pun intended), as it comes extremely close to '''[[56/45]]'''. It's a very distinct and beautiful major third that really makes this edo shine.

The fifth is also quite marvelous (pun still intended), as it comes extremely close to '''[[112/75]]'''. These "marvelous" intervals truly define how this edo feels in the 5-limit, giving it a sound that, in a way, feels even purer than 5-limit just intonation. The soft diatonic scale also melds very well with these slightly flat intervals, giving the temperament a nostalgic quality.

Now.. the septimal intervals. If you just look at 19edo as a 5-limit system, then it is absolutely amazing and certainly rivals 12edo and 31edo. But that isn't all we have here. There are septimal intervals too, and they are... intriguing. It took a while for them to grow on me, but if you stop trying to hear them as perfect approximations of 7/6, 9/7, 7/4 etc. (which they absolutely aren't), their true beauty begins to shine through.

Anyway, the subminor third is even flatter than the one in 14edo, landing right in the middle of the interseptimal region between 9/7 and 7/6. In fact, I'd say it's an inframinor third. Likewise, the supermajor third lands right in the interseptimal region between 9/7 and 21/16, albeit closer to 9/7. The inframinor third really doesn't have a septimal sound at all, and neither does the abysmal approximation of the 7th harmonic (21.46¢ flat), but the supermajor third does come close enough to 9/7 for it to have a septimal quality. The thing is, it's even sharper than the septimal supermajor third, which is already a bit of an extreme sound to get used to, so it ends up being a harsh sound in certain contexts.

With that being said, these intervals are still beautiful. This is technically the first edo with a '''harmonic 7th chord''', and even though it really doesn't sound a whole lot like 4:5:6:7 because of how bad the approximation of the 7th harmonic is, it still has a unique and interesting sound with a warm quality. Plus, it still works better than the native dominant 7th chord in terms of voice leading. The inframinor third is a bit reminiscent of the interseptimal second-third in 5n-edos, but without nearly as much ambiguity about whether it's a second or a third.

Also, something that is easily overlooked in meantone temperaments is how they soften dissonant intervals. ''[https://www.youtube.com/watch?v=Vfj39Fc6X8w Sunrise]'' by HEHEHE I AM A SUPAHSTAR SAGA (an absolutely beautiful piece) illustrates this in the 2nd bar with a spicy B♭maj7(♯11,♯15) chord, yet it doesn't sound spicy at all (to me) because the augmented fifteenth is stretched compared to, say, 12edo. ''[https://www.youtube.com/watch?v=Xpujgr-0QTc Prelude for playing No. 1]'' by Tapeworm Saga also shows many of the capabilities of 19edo, even implementing some undecimal harmony.

Oh, and this edo doesn't just feature the diatonic mos. It also features semiquartal in its hard form, a rather popular mos (especially in this edo). I don't really mess with it, but it is there. Anyway, this edo is absolutely amazing for lofi. It doesn't have the same sort of "out of tune" vibe as 15edo, but the unique way this edo handles the 5-limit works very well in the style.

That's why I went with a lofi beat for the demo, which illustrates pretty much everything I mentioned. The 2nd bar features a CM7(9,𝄪11), showing how the supermajor third can light up a chord even when it's not built from the root. The 4th bar features a Dh7(♭9,13), showing how the interseptimal harmonic 7th chord sounds with extensions. The 6th bar features a G♭M7(♯9,13), a chord that sounds way different and much more dissonant in 12edo because of the augmented triad buried within the structure. The seventh bar features an absolutely ethereal F♭(9,11), which is basically just the first five notes of the F♭ major scale, so it would definitely sound much more dissonant in 12edo (especially with the eleventh in the melody).

Anyway, that's 19edo. Love it or hate it, it is a truly stunning edo that stands alone in its field until 31edo shows up. But will it win against its superpyth rival in a smackdown?!

=== 17edo vs 19edo Smackdown ===

Alright, time for the smackdown. Just looking at how much I wrote, it seems like I'll be handing it to 19edo, but 17edo definitely isn't done here. Let's see what happens if I swap the edos for the demos I wrote!

Since 17edo is superpyth and 19edo is meantone, I couldn't exactly translate between the two seamlessly, preserving the notation. Sometimes I prioritized voice leading, and sometimes I prioritized the nature of the harmony, whether that meant totally altering the quality of a chord or not.

==== 17edo demo retuned ====

[[File:17edo demo but in 19edo.mp3|none|thumb|17edo metal demo retuned to 19edo]]

I'm just going to be honest, this is blatantly worse. Some of the voice leading doesn't really translate, particularly in the case of sus4 voicings. In 17edo, C is 1 degree above B, but in 19edo, they are 2 degrees apart, so the falling melody in the left hand of the piano loses some of its effect in the 19edo version. Bar 5 really does open up in this version, with the minor third being so much higher than in 17edo, but I can't really say that's a good thing. It's not bad, but I definitely prefer the darker quality of the noble minor third over the classic minor third in this particular context.

Bar 4 is totally ruined. It's meant to feel like a monster coming from the floor and dragging you down into G minor through strange, dissonant voice leading, and 17edo nails this perfectly. 19edo fails on the 2nd beat because of the ridiculously pure D major triad being used in place of the D neutral triad in the original. There really isn't any better substitute, so this is a sound that 19edo simply cannot emulate. '''17edo wins this round!'''

==== 19edo demo retuned ====

[[File:19edo demo but in 17edo.mp3|none|thumb|19edo lofi demo retuned to 17edo]]

Perhaps it's unfair that I chose a style that works well in literally any edo, because this actually sounds very good. The previous demo is in a minor key, so 19edo sounds more open (and thus uncharacteristic, in my opinion), whereas this one is in a major key, so 17edo sounds more open. And I must say, something really is lost when attempting to translate 19edo's 5-limit consonances into whatever 17edo is. It just feels less locked in; it's a bit more "gritty." It still sounds really cool, but the marvelousness of 19edo really aids this track more than the crudeness of 17edo. In other words, we're looking for consonant dissonances, not just dissonances.

The magic of bar 7 is totally stripped away, because whereas 19edo softens the minor ninth dissonance between the third and eleventh, 17edo accentuates it. Bar 4 also sounds way different, because the chord itself is way different. What used to be a Dh7(♭9,13) is now a Dnm7(⌄9,13), and although the neutral chord does sound pretty cool, I prefer the harmonic 7th. Bar 2 loses its ethereality because the extreme supermajor third is replaced with the more tame noble major third. And, in general, the voice leading just feels less satisfying when the step size is larger.

With that being said, however, the 17edo version definitely doesn't sound nearly as bad as the 19edo metal. The noble major third is an entire quarter-tone wider than the marvelous major third, giving the 17edo version a totally different sound that really can't be emulated in 19edo. Still, I do prefer the original for the way it softens the dissonant intervals, so '''19edo wins this round!'''

==== Verdict ====

Of course, retuning two 8-bar loops isn't going to decide which edo is better. This is just a fun experiment I thought I'd do, and I must say that '''17edo wins this showdown!''' The utter lack of neutral intervals in 19edo is why I ended up going with 17edo, but I do commend the 5-limit purity and interseptimal ethereality present in 19edo. At the end of the day, there really isn't a way to compare these in any objective sense because they're so different. They are both absolutely amazing edos considering their size!

By the way, this isn't the only showdown. Stay tuned... (pun intended)

=== Micro-Semitonal EDO Recap ===

@@ Line 141: / Line 141: @@
 For example, the juxtaposition of the 266.67¢ subminor third (nearly exactly 7/6) and the 400¢ major third (the one from 3edo) is totally jarring. The incredibly acrid fifth also contributes to the general vibe of resonant septimal consonances battling against sour dissonances. It's an ineffable combination of opposing stimuli, giving this edo an unmistakable sound.
-edo is also the first edo to support '''[[mavila]]''' temperament, being one of 3 that support it natively in the [[patent val|'''patent val''']]. It's certainly an extreme mavila temperament, but making the fifth any sharper would get rid of the septimal consonances, so this particular way of approaching mavila is truly unique.
+edo is also the first edo to support [[Mavila temperament|'''mavila temperament''']], being one of 3 that support it natively in the [[patent val|'''patent val''']]. It's certainly an extreme mavila temperament, but making the fifth any sharper would get rid of the septimal consonances, so this particular way of approaching mavila is truly unique.
 As this edo is right on the border of what I consider to be the macrotonal edos, 1 degree of 9edo has a particular quality to it that makes it sound like a semitone in some contexts and a neutral second in other contexts. My piece ''[https://www.youtube.com/watch?v=1D2_6LsRsPM Elegy of the Willow]'' illustrates this by including many chromaticisms, sometimes in the context of a chromatic scale and sometimes in the context of cadential motion.
@@ Line 161: / Line 161: @@
 ''2×5, 1° = 120¢, Fifth = 720¢ (3\5)''
-''Tier: '''A+'''''[[File:10edo groove.mp3|none|thumb|10edo heist theme in <sup>'''⌄'''</sup><nowiki>A bish (3|3 mode of 3L 4s)</nowiki>]]
+''Tier: '''A+'''''[[File:10edo groove.mp3|none|thumb|10edo heist theme in <sup>⌄</sup><nowiki>A bish (3|3 mode of 3L 4s)</nowiki>]]
 Ah yes, the homeland of [[Mosh|'''mosh''']]. 10edo is actually my favorite of the edos less than 12, although 9edo does come pretty close. This edo is the largest one with a singular third, that being the 360¢ submajor third which is extremely close to [[16/13]]. That means this temperament also features a stunning approximation of the [[13/8|'''13th harmonic''']], coming in just 0.53¢ sharp. It also features all of the interseptimal intervals from 5edo, meaning it includes the same approximation of the 7th harmonic, as well as a relatively stable fifth (especially compared to 9edo).
@@ Line 277: / Line 277: @@
 ''Tier: '''S'''''
 [[File:17edo demo.mp3|none|thumb|17edo metal in A minor]]
-placeholder
+edo is the first edo after 12edo to have the diatonic scale, and it is the first that demonstrates '''[[Superpyth|superpythagorean temperament]]''', though many would say it is better described as a [[Parapyth|'''parapythagorean temperament''']]. It sports the hard diatonic scale, where the large step is 3 degrees and the small step is 1 degree. This gives melodies a noticeably more "closed in" sound, whereas meantone temperaments make the diatonic scale more open.
+The thirds in this temperament are subminor, neutral, and supermajor, with the neutral third being quite close to 11/9 (5.53¢ sharp). The septimal thirds are actually closer to '''[[Noble Intonation|noble]]''' thirds, which are somewhat close to [[13/11]] and [[14/11]]. I am a big fan of the thirds in 17edo because they aren't as extreme as more pure septimal thirds; they form a nice middle ground. The seconds are also very nice. The diatonic semitone being so flat makes diatonic voice leading feel very locked in, the neutral second just sounds great, and the whole tone is slightly sharp of 9/8, juxtaposing with the subminor second and providing variety.
+edo features mosh in its soft form and gramitonic in its hard form. This means 17edo features my entire top 3 favorite mosses, which is absolutely fabulous. I do prefer softer forms of gramitonic (particularly those found in 22edo, 31edo, and 53edo), but it's still great that it's here. Plus, it's always great to experiment with hard and soft forms of mosses.
+The first time I encountered this edo, it was placed next to its arch rival (which shall be revealed) in the same style. I thought it was pretty obvious that 17edo sounded worse, but that's because it was played in a piano timbre. Sure, it can sound quite beautiful in a piano timbre, as is shown in [https://www.youtube.com/watch?v=gaYvK9OBHK0 ''The Bedoginning''] by Woyten (one of my favorite pieces), but have a listen to the acoustic version of the [https://www.youtube.com/watch?v=WCedVC3Sl04 con moto] of ''Twelve Microtonal Etudes for Electronic Music Media'', arranged by Matthew Sheeran. When I showed this to my brother who had little experience with microtonal music, he literally thought it was in 12edo even after I told him it wasn't. Even I had a hard time telling until the middle section (1:42 in the video) began and I heard that diatonic semitone.
+This edo really lends itself well to music that I can only describe as "bouncy," like the Blackwood etude. I feel that meantone temperaments suffer in this regard, while pythagorean and superpyth temperaments thrive. Overall, this is one of my absolute favorite edos, and one that I will surely continue to use in the future. But will it win against its meantone rival in a smackdown?!
 === [[18edo]] ===
@@ Line 283: / Line 291: @@
 ''Tier: '''B+'''''
-[[File:18edo demo.mp3|none|thumb|18edo brass quintet in B♭ anti-major (?)]]
+[[File:18edo demo 2.mp3|none|thumb|18edo brass quintet in B♭]]
 placeholder
@@ Line 291: / Line 299: @@
 ''Tier: '''S'''''
 [[File:19edo demo.mp3|none|thumb|19edo lofi in C major]]
-placeholder
+edo is the next edo after 17edo to have the diatonic scale, and it is the first that really demonstrates meantone. Specifically, it is very close to '''1/3-comma meantone''' with [[eigenmonzo]] 6/5, so the minor third of this edo is only 0.15¢ flat of 6/5. This is the best approximation of 6/5 among all edos on this page. The approximation of 5/4 is also relatively decent, coming in 7.36¢ flat. This particular flat major third has a marvelous quality (pun intended), as it comes extremely close to '''[[56/45]]'''. It's a very distinct and beautiful major third that really makes this edo shine.
+The fifth is also quite marvelous (pun still intended), as it comes extremely close to '''[[112/75]]'''. These "marvelous" intervals truly define how this edo feels in the 5-limit, giving it a sound that, in a way, feels even purer than 5-limit just intonation. The soft diatonic scale also melds very well with these slightly flat intervals, giving the temperament a nostalgic quality.
+Now.. the septimal intervals. If you just look at 19edo as a 5-limit system, then it is absolutely amazing and certainly rivals 12edo and 31edo. But that isn't all we have here. There are septimal intervals too, and they are... intriguing. It took a while for them to grow on me, but if you stop trying to hear them as perfect approximations of 7/6, 9/7, 7/4 etc. (which they absolutely aren't), their true beauty begins to shine through.
+Anyway, the subminor third is even flatter than the one in 14edo, landing right in the middle of the interseptimal region between 9/7 and 7/6. In fact, I'd say it's an inframinor third. Likewise, the supermajor third lands right in the interseptimal region between 9/7 and 21/16, albeit closer to 9/7. The inframinor third really doesn't have a septimal sound at all, and neither does the abysmal approximation of the 7th harmonic (21.46¢ flat), but the supermajor third does come close enough to 9/7 for it to have a septimal quality. The thing is, it's even sharper than the septimal supermajor third, which is already a bit of an extreme sound to get used to, so it ends up being a harsh sound in certain contexts.
+With that being said, these intervals are still beautiful. This is technically the first edo with a '''harmonic 7th chord''', and even though it really doesn't sound a whole lot like 4:5:6:7 because of how bad the approximation of the 7th harmonic is, it still has a unique and interesting sound with a warm quality. Plus, it still works better than the native dominant 7th chord in terms of voice leading. The inframinor third is a bit reminiscent of the interseptimal second-third in 5n-edos, but without nearly as much ambiguity about whether it's a second or a third.
+Also, something that is easily overlooked in meantone temperaments is how they soften dissonant intervals. ''[https://www.youtube.com/watch?v=Vfj39Fc6X8w Sunrise]'' by HEHEHE I AM A SUPAHSTAR SAGA (an absolutely beautiful piece) illustrates this in the 2nd bar with a spicy B♭maj7(♯11,♯15) chord, yet it doesn't sound spicy at all (to me) because the augmented fifteenth is stretched compared to, say, 12edo. ''[https://www.youtube.com/watch?v=Xpujgr-0QTc Prelude for playing No. 1]'' by Tapeworm Saga also shows many of the capabilities of 19edo, even implementing some undecimal harmony.
+Oh, and this edo doesn't just feature the diatonic mos. It also features semiquartal in its hard form, a rather popular mos (especially in this edo). I don't really mess with it, but it is there. Anyway, this edo is absolutely amazing for lofi. It doesn't have the same sort of "out of tune" vibe as 15edo, but the unique way this edo handles the 5-limit works very well in the style.
+That's why I went with a lofi beat for the demo, which illustrates pretty much everything I mentioned. The 2nd bar features a CM7(9,𝄪11), showing how the supermajor third can light up a chord even when it's not built from the root. The 4th bar features a Dh7(♭9,13), showing how the interseptimal harmonic 7th chord sounds with extensions. The 6th bar features a G♭M7(♯9,13), a chord that sounds way different and much more dissonant in 12edo because of the augmented triad buried within the structure. The seventh bar features an absolutely ethereal F♭(9,11), which is basically just the first five notes of the F♭ major scale, so it would definitely sound much more dissonant in 12edo (especially with the eleventh in the melody).
+Anyway, that's 19edo. Love it or hate it, it is a truly stunning edo that stands alone in its field until 31edo shows up. But will it win against its superpyth rival in a smackdown?!
+=== 17edo vs 19edo Smackdown ===
+Alright, time for the smackdown. Just looking at how much I wrote, it seems like I'll be handing it to 19edo, but 17edo definitely isn't done here. Let's see what happens if I swap the edos for the demos I wrote!
+Since 17edo is superpyth and 19edo is meantone, I couldn't exactly translate between the two seamlessly, preserving the notation. Sometimes I prioritized voice leading, and sometimes I prioritized the nature of the harmony, whether that meant totally altering the quality of a chord or not.
+==== 17edo demo retuned ====
+[[File:17edo demo but in 19edo.mp3|none|thumb|17edo metal demo retuned to 19edo]]
+I'm just going to be honest, this is blatantly worse. Some of the voice leading doesn't really translate, particularly in the case of sus4 voicings. In 17edo, C is 1 degree above B, but in 19edo, they are 2 degrees apart, so the falling melody in the left hand of the piano loses some of its effect in the 19edo version. Bar 5 really does open up in this version, with the minor third being so much higher than in 17edo, but I can't really say that's a good thing. It's not bad, but I definitely prefer the darker quality of the noble minor third over the classic minor third in this particular context.
+Bar 4 is totally ruined. It's meant to feel like a monster coming from the floor and dragging you down into G minor through strange, dissonant voice leading, and 17edo nails this perfectly. 19edo fails on the 2nd beat because of the ridiculously pure D major triad being used in place of the D neutral triad in the original. There really isn't any better substitute, so this is a sound that 19edo simply cannot emulate. '''17edo wins this round!'''
+==== 19edo demo retuned ====
+[[File:19edo demo but in 17edo.mp3|none|thumb|19edo lofi demo retuned to 17edo]]
+Perhaps it's unfair that I chose a style that works well in literally any edo, because this actually sounds very good. The previous demo is in a minor key, so 19edo sounds more open (and thus uncharacteristic, in my opinion), whereas this one is in a major key, so 17edo sounds more open. And I must say, something really is lost when attempting to translate 19edo's 5-limit consonances into whatever 17edo is. It just feels less locked in; it's a bit more "gritty." It still sounds really cool, but the marvelousness of 19edo really aids this track more than the crudeness of 17edo. In other words, we're looking for consonant dissonances, not just dissonances.
+The magic of bar 7 is totally stripped away, because whereas 19edo softens the minor ninth dissonance between the third and eleventh, 17edo accentuates it. Bar 4 also sounds way different, because the chord itself is way different. What used to be a Dh7(♭9,13) is now a Dnm7(<sup>⌄</sup>9,13), and although the neutral chord does sound pretty cool, I prefer the harmonic 7th. Bar 2 loses its ethereality because the extreme supermajor third is replaced with the more tame noble major third. And, in general, the voice leading just feels less satisfying when the step size is larger.
+With that being said, however, the 17edo version definitely doesn't sound nearly as bad as the 19edo metal. The noble major third is an entire quarter-tone wider than the marvelous major third, giving the 17edo version a totally different sound that really can't be emulated in 19edo. Still, I do prefer the original for the way it softens the dissonant intervals, so '''19edo wins this round!'''
+==== Verdict ====
+Of course, retuning two 8-bar loops isn't going to decide which edo is better. This is just a fun experiment I thought I'd do, and I must say that '''17edo wins this showdown!''' The utter lack of neutral intervals in 19edo is why I ended up going with 17edo, but I do commend the 5-limit purity and interseptimal ethereality present in 19edo. At the end of the day, there really isn't a way to compare these in any objective sense because they're so different. They are both absolutely amazing edos considering their size!
+By the way, this isn't the only showdown. Stay tuned... (pun intended)
 === Micro-Semitonal EDO Recap ===