Collection of EDO impressions: Difference between revisions

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: '''Carmen14edo/Bragtime:''' For all the hate others have for 12edo, I have love and respect. I believe we microtonal musicians take it for granted, and while it's not the best edo to be the western standard regarding sheer possibilities in this tuning, it's very far from the worst choice imo, and I'd personally choose it as western culture's standard tuning over most all other edos of a similar size.

: '''Deja Igliashon:''' why is no one talking about how good the 8:9:10:12:15:17:19 chords are in this tuning? You can even sneak a 14th harmonic in there at 1000¢ and it won't harsh the sound very noticeably.

: '''Fumica:''' ~~A no-brainer.~~ Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you forget about it and focus on the musical contents instead. S-tier.

: '''Fumica:''' Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you forget about it and focus on the musical contents instead. S-tier.

: '''Vector:''' The tuning I write most of my music in. It's good enough for writing the kind of music I want to write, as long as that kind of music isn't "xenharmonic". 12edo theory is my inspiration for my 15edo theory system, and my general approach to xenharmony. (It also brought with it a fair share of misconceptions: for a while, I assumed "sharp" just meant "1 edostep", and after I was corrected wtih 17edo I assumed it meant "between whatever intervals are (true) minor and major".)

: '''Budjarn Lambeth:''' An excellent [[5-limit]] tuning. It is simple and stays out of the composer's wah for two reasons: it works with an impressively wide variety of timbres, and it avoids [[wolf interval]]s better than any larger tuning. I believe this elegant simplicity is the reason for its popularity.

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: '''Carmen14edo/Bragtime:''' The other one I'll probably never explore out of sheer fear

: '''Deja Igliashon:''' I'm amazed that people are actually using the random scale names I put on the 13edo wiki page (archeotonic, oneirotonic, etc.)! That's so cool! I love 13edo and I'm happy some other folks do too. It's fantastic for approximating 8:9:10:11:13:17:21 for such a small number of notes. 13edo's approximation to 13/8 also happens to be quite close to acoustic phi, for those who are into that sort of thing--stretch the octave a few cents sharp and you can get some really interesting phi-based combination tones.

: '''Fumica:''' Every other step of 26edo. Like 11edo, quintal harmony can be used. ~~The~~ intonation sucks. D-tier.

: '''Fumica:''' Every other step of 26edo. Like 11edo, quintal harmony can be used. Unlike 11edo, the intonation sucks. D-tier.

: '''Budjarn Lambeth:''' Offers exciting melodic shapes, but requires careful attention to timbre to prevent it sounding "out of tune".

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: '''Carmen14edo/Bragtime:''' I'd rate it 10/10 if it didn't have such a shite approximation of 7/4, but 9.5/10 is still quite good. Sunsrise by SAGA and the cover Sunsrise v2 on YouTube have made my brain explode in the best way possible.

: '''Deja Igliashon:''' I have tried SO HARD to like this tuning, but I just can't. Yeah, it's a very nice meantone and those syrupy-sweet 5-limit harmonies are delicious. It also supports Semaphore temperament, which I gushed over when talking about 14edo, and in fact it even adds a teensy bit of 5-limit grounding to Semaphore (making it Godzilla). But the fact that it's just so good at 5-limit diatonic music, and so not-so-good at most things involving the 7th, 11th, and/or 13th harmonics, makes me feel like I'm getting zapped by a shock collar any time I try to step from meantone into something more esoteric. There aren't any 7- to 10-note scales that really allow 5-limit harmony to expand to include higher primes very well...Magic[10] is probably the most rich in harmonic possibilities, but it's so melodically awkward! That said, I've heard musicians who are much better than me pull some spectacular sounds from 19edo by indulging in forms of chromaticism that are lost on my jazz-illiterate self. Then again, 19edo has so many fans and cheerleaders that I feel like it's my sacred duty to diss it and hype up the less-popular EDOs instead.

: '''Fumica:''' This edo is where my microtonal journey began. Extremely versatile yet friendly to beginners. Using it as a tuning of meantone, the tuning profile is sort of opposite to 12edo, but with seven more pitch classes, the expressive possibility explodes. Presence of an exact hemitwelfth sets it apart from many other meantone edos. S-tier.

: '''Fumica:''' This edo is where my microtonal journey began. Extremely versatile yet friendly to beginners. Using it as a tuning of meantone, the tuning profile is sort of opposite to 12edo, but with seven more pitch classes, the expressive possibility explodes. Presence of an exact hemitwelfth sets it apart from many other meantone edos. Octave stretch solves the intonational problem to a large extent. S-tier.

: '''Budjarn Lambeth:''' The smallest equal tuning that approximates the entire [[43-limit]]. Its melodic similarity to 12edo makes it easier to find your bearings, but harder to break out of that diatonic comfort zone and explore all those intricate high limit harmonies it has to offer.

@@ Line 153: / Line 153: @@
 : '''Carmen14edo/Bragtime:''' For all the hate others have for 12edo, I have love and respect. I believe we microtonal musicians take it for granted, and while it's not the best edo to be the western standard regarding sheer possibilities in this tuning, it's very far from the worst choice imo, and I'd personally choose it as western culture's standard tuning over most all other edos of a similar size.
 : '''Deja Igliashon:''' why is no one talking about how good the 8:9:10:12:15:17:19 chords are in this tuning? You can even sneak a 14th harmonic in there at 1000¢ and it won't harsh the sound very noticeably.
-: '''Fumica:''' A no-brainer. Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you forget about it and focus on the musical contents instead. S-tier.
+: '''Fumica:''' Fully laid-back, like a good font to an article – never to get in the way, never to show itself off. It disappears. It lets you forget about it and focus on the musical contents instead. S-tier.
 : '''Vector:''' The tuning I write most of my music in. It's good enough for writing the kind of music I want to write, as long as that kind of music isn't "xenharmonic". 12edo theory is my inspiration for my 15edo theory system, and my general approach to xenharmony. (It also brought with it a fair share of misconceptions: for a while, I assumed "sharp" just meant "1 edostep", and after I was corrected wtih 17edo I assumed it meant "between whatever intervals are (true) minor and major".)
 : '''Budjarn Lambeth:''' An excellent [[5-limit]] tuning. It is simple and stays out of the composer's wah for two reasons: it works with an impressively wide variety of timbres, and it avoids [[wolf interval]]s better than any larger tuning. I believe this elegant simplicity is the reason for its popularity.
@@ Line 167: / Line 167: @@
 : '''Carmen14edo/Bragtime:''' The other one I'll probably never explore out of sheer fear
 : '''Deja Igliashon:''' I'm amazed that people are actually using the random scale names I put on the 13edo wiki page (archeotonic, oneirotonic, etc.)! That's so cool! I love 13edo and I'm happy some other folks do too. It's fantastic for approximating 8:9:10:11:13:17:21 for such a small number of notes. 13edo's approximation to 13/8 also happens to be quite close to acoustic phi, for those who are into that sort of thing--stretch the octave a few cents sharp and you can get some really interesting phi-based combination tones.
-: '''Fumica:''' Every other step of 26edo. Like 11edo, quintal harmony can be used. The intonation sucks. D-tier.
+: '''Fumica:''' Every other step of 26edo. Like 11edo, quintal harmony can be used. Unlike 11edo, the intonation sucks. D-tier.
 : '''Budjarn Lambeth:''' Offers exciting melodic shapes, but requires careful attention to timbre to prevent it sounding "out of tune".
@@ Line 241: / Line 241: @@
 : '''Carmen14edo/Bragtime:''' I'd rate it 10/10 if it didn't have such a shite approximation of 7/4, but 9.5/10 is still quite good. Sunsrise by SAGA and the cover Sunsrise v2 on YouTube have made my brain explode in the best way possible.
 : '''Deja Igliashon:''' I have tried SO HARD to like this tuning, but I just can't. Yeah, it's a very nice meantone and those syrupy-sweet 5-limit harmonies are delicious. It also supports Semaphore temperament, which I gushed over when talking about 14edo, and in fact it even adds a teensy bit of 5-limit grounding to Semaphore (making it Godzilla). But the fact that it's just so good at 5-limit diatonic music, and so not-so-good at most things involving the 7th, 11th, and/or 13th harmonics, makes me feel like I'm getting zapped by a shock collar any time I try to step from meantone into something more esoteric. There aren't any 7- to 10-note scales that really allow 5-limit harmony to expand to include higher primes very well...Magic[10] is probably the most rich in harmonic possibilities, but it's so melodically awkward! That said, I've heard musicians who are much better than me pull some spectacular sounds from 19edo by indulging in forms of chromaticism that are lost on my jazz-illiterate self. Then again, 19edo has so many fans and cheerleaders that I feel like it's my sacred duty to diss it and hype up the less-popular EDOs instead.
-: '''Fumica:''' This edo is where my microtonal journey began. Extremely versatile yet friendly to beginners. Using it as a tuning of meantone, the tuning profile is sort of opposite to 12edo, but with seven more pitch classes, the expressive possibility explodes. Presence of an exact hemitwelfth sets it apart from many other meantone edos. S-tier.
+: '''Fumica:''' This edo is where my microtonal journey began. Extremely versatile yet friendly to beginners. Using it as a tuning of meantone, the tuning profile is sort of opposite to 12edo, but with seven more pitch classes, the expressive possibility explodes. Presence of an exact hemitwelfth sets it apart from many other meantone edos. Octave stretch solves the intonational problem to a large extent. S-tier.
 : '''Budjarn Lambeth:''' The smallest equal tuning that approximates the entire [[43-limit]]. Its melodic similarity to 12edo makes it easier to find your bearings, but harder to break out of that diatonic comfort zone and explore all those intricate high limit harmonies it has to offer.