User:FloraC/Fumica's edo impressions: Difference between revisions

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== Diesis-size ==

* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of harmonic 15~~, which is~~ way too sharp, as I prefer a flat tuning of 15 or at least no sharper than 12edo's~~, so as~~ to improve its stability as a consonant major seventh. Other than that it is pretty good. B-tier.

* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of harmonic 15 tuned way too sharp, for I prefer a flat tuning of 15 or at least no sharper than 12edo's to improve its stability as a consonant major seventh. Other than that it's pretty good. B-tier.

* 28 – Potentially useful as every other step of 56edo. D-tier.

* 29 – The first edo that sounds like Pythagorean tuning with distinct chromatic and diatonic semitones, by which I mean most contemporary 12edo music will sound alright if retempered to this through dominant. The patent-val interpretation is pretty underwhelming. Otherwise it's a good framework as every other step of 58edo and every third step of 87edo. C-tier.

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* 34 – This is to 17edo what 24edo is to 12edo. While 17edo is often good enough, this offers some more sophisticated solutions such as tetracot. Even the harmonics 7 and 11, commonly cited as poor in this edo, are convincing enough to me, since when I worked with modus I never felt the out-of-tune-ness at all, unlike with porcupine. A-tier.

* 35 – Potentially useful as every other step of 70edo. D-tier.

* 36 – The idea of adding third tones to plain 12edo music is interesting~~. However~~ none of my attempts have been successful as I generally find them to sound forced. I think this edo is more difficult to use than it appears. C-tier.

* 36 – The idea of adding third tones to plain 12edo music is interesting, but none of my attempts have been successful as I generally find them to sound forced. I think this edo is more difficult to use than it appears. C-tier.

* 37 – Potentially useful as every other step of 74edo. Besides that, it has a good 2.5.7.11.13 subgroup interpretation, tho I have no idea how harmony in this subgroup is supposed to work. D-tier.

* 38 – This is to 19edo what 24edo is to 12edo. On paper it adds decent approximation to harmonics 11, 17, and 19~~. In~~ practice ~~however,~~ I never had a situation where I felt I needed these additional notes when working with 19edo. C-tier.

* 38 – This is to 19edo what 24edo is to 12edo. On paper it adds decent approximation to harmonics 11, 17, and 19, but in practice I never had a situation where I felt I needed these additional notes when working with 19edo. C-tier.

== Comma-size ==

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…

* 46 – The second essential comma-level edo. Five more notes than 41edo, offering the distinction of two types of neutral intervals at the cost of a narrower septimal diesis. As an eighth-tone system, it has a true quartertone. Best as a 2.3.5.7.11.17.23 subgroup temperament. A-tier.

* 48 – More appropriate as an interval category scheme than anything else. C-tier.

…

* 53 – The third essential comma-level edo. This one is kinda overrated. The best thing about it is the distinction of 15/13 and 13/10 from nearby septimal intervals, which neither 41- nor 46edo does. What bugs me is that the fifth feels undertempered for pretty much every purpose, and while the 5-limit approximation is praiseworthy the rest deserves more love. Compared to 41- or 46edo, it feels slack and doesn't convey a sense of tightly packed well-compromisedness. A-tier.

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 == Diesis-size ==
-* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of harmonic 15, which is way too sharp, as I prefer a flat tuning of 15 or at least no sharper than 12edo's, so as to improve its stability as a consonant major seventh. Other than that it is pretty good. B-tier.
+* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of harmonic 15 tuned way too sharp, for I prefer a flat tuning of 15 or at least no sharper than 12edo's to improve its stability as a consonant major seventh. Other than that it's pretty good. B-tier.
 * 28 – Potentially useful as every other step of 56edo. D-tier.
 * 29 – The first edo that sounds like Pythagorean tuning with distinct chromatic and diatonic semitones, by which I mean most contemporary 12edo music will sound alright if retempered to this through dominant. The patent-val interpretation is pretty underwhelming. Otherwise it's a good framework as every other step of 58edo and every third step of 87edo. C-tier.
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 * 34 – This is to 17edo what 24edo is to 12edo. While 17edo is often good enough, this offers some more sophisticated solutions such as tetracot. Even the harmonics 7 and 11, commonly cited as poor in this edo, are convincing enough to me, since when I worked with modus I never felt the out-of-tune-ness at all, unlike with porcupine. A-tier.
 * 35 – Potentially useful as every other step of 70edo. D-tier.
-* 36 – The idea of adding third tones to plain 12edo music is interesting. However none of my attempts have been successful as I generally find them to sound forced. I think this edo is more difficult to use than it appears. C-tier.
+* 36 – The idea of adding third tones to plain 12edo music is interesting, but none of my attempts have been successful as I generally find them to sound forced. I think this edo is more difficult to use than it appears. C-tier.
 * 37 – Potentially useful as every other step of 74edo. Besides that, it has a good 2.5.7.11.13 subgroup interpretation, tho I have no idea how harmony in this subgroup is supposed to work. D-tier.
-* 38 – This is to 19edo what 24edo is to 12edo. On paper it adds decent approximation to harmonics 11, 17, and 19. In practice however, I never had a situation where I felt I needed these additional notes when working with 19edo. C-tier.
+* 38 – This is to 19edo what 24edo is to 12edo. On paper it adds decent approximation to harmonics 11, 17, and 19, but in practice I never had a situation where I felt I needed these additional notes when working with 19edo. C-tier.
 == Comma-size ==
@@ Line 55: / Line 55: @@
 …
+* 46 – The second essential comma-level edo. Five more notes than 41edo, offering the distinction of two types of neutral intervals at the cost of a narrower septimal diesis. As an eighth-tone system, it has a true quartertone. Best as a 2.3.5.7.11.17.23 subgroup temperament. A-tier.
+* 48 – More appropriate as an interval category scheme than anything else. C-tier.
+…
+* 53 – The third essential comma-level edo. This one is kinda overrated. The best thing about it is the distinction of 15/13 and 13/10 from nearby septimal intervals, which neither 41- nor 46edo does. What bugs me is that the fifth feels undertempered for pretty much every purpose, and while the 5-limit approximation is praiseworthy the rest deserves more love. Compared to 41- or 46edo, it feels slack and doesn't convey a sense of tightly packed well-compromisedness. A-tier.