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

Line 63:

* 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.

* 55 – This edo is out of the optimal range of meantone. Septimal meantone feels dumb here since we know 43edo is sharp enough. It can be used for mohaha, but that feels so similar to 24edo that I'd just go with the latter. D-tier.

…

* 58 – The fourth essential comma-level edo. Being the first edo with full 11-odd-limit distinction, this one is easily adorable. Whereas 41edo tunes the fifth to 24 steps, this edo tunes the fourth to 24 steps, and the implication is its 2.3.5.7.13.29 subgroup is analogous to 41edo's 2.3.5.7.11.19 subgroup. This edo is best as a 2.3.5.7.11.13.29-subgroup system, but it has more to offer. Specifically, the hatmonics 19 and 23 in the 58hi val are surprisingly convincing, and although the 17 doesn't blend quite well it at least looks good on paper. Everything considered, it is virtually the first full 23-limit system. All that bugs me is the minor fact that 11/8 and 7/5 are tuned only one comma apart. A-tier.

* 60 – This edo has a particularly problematic fifth, in that it closes after twelve steps, tempering out the Pythagorean comma. As the first thing I leave meantone is to look for a fifth that leads to a positive Pythagorean comma, this edo is clearly not my thing. C-tier.

* 62 – The ultimate 23-limit meantone tuning. It re-tunes harmonics 13, 17, 19, and 23 for 31edo. I find these additions to 31edo's 11-limit very favorable. A-tier.

@@ Line 63: / Line 63: @@
 * 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.
 * 55 – This edo is out of the optimal range of meantone. Septimal meantone feels dumb here since we know 43edo is sharp enough. It can be used for mohaha, but that feels so similar to 24edo that I'd just go with the latter. D-tier.
+…
+* 58 – The fourth essential comma-level edo. Being the first edo with full 11-odd-limit distinction, this one is easily adorable. Whereas 41edo tunes the fifth to 24 steps, this edo tunes the fourth to 24 steps, and the implication is its 2.3.5.7.13.29 subgroup is analogous to 41edo's 2.3.5.7.11.19 subgroup. This edo is best as a 2.3.5.7.11.13.29-subgroup system, but it has more to offer. Specifically, the hatmonics 19 and 23 in the 58hi val are surprisingly convincing, and although the 17 doesn't blend quite well it at least looks good on paper. Everything considered, it is virtually the first full 23-limit system. All that bugs me is the minor fact that 11/8 and 7/5 are tuned only one comma apart. A-tier.
+* 60 – This edo has a particularly problematic fifth, in that it closes after twelve steps, tempering out the Pythagorean comma. As the first thing I leave meantone is to look for a fifth that leads to a positive Pythagorean comma, this edo is clearly not my thing. C-tier.
+* 62 – The ultimate 23-limit meantone tuning. It re-tunes harmonics 13, 17, 19, and 23 for 31edo. I find these additions to 31edo's 11-limit very favorable. A-tier.