Collection of EDO impressions: Difference between revisions

: '''Budjarn Lambeth:''' Lends itself to meditative, minimalist music: music where rhythm and timbre are the source of most of the interest, while melody and harmony are repetitive and change by small increments, forcing the listener to pay close attention to the most subtle changes.

: '''Zhenlige:''' [[2/1|Octaves]]. Equivalent to 2-limit JI, unless you want to temper some other JI intervals into octaves. Not much to talk about.

== [[2edo]] ==

: '''Budjarn Lambeth:''' Lends itself to meditative, minimalist music: music where rhythm and timbre are the source of most of the interest, while melody and harmony are repetitive and change by small increments, forcing the listener to pay close attention to the most subtle changes.

: '''Zhenlige:''' [[sqrt(2)|Half octaves]] aka symmetric [[tritone]]s. The key to tritone substitution, although sometimes asymmetric tritones or even non-tritone intervals can also be used. Some notable approximations are [[7/5]], [[17/12]] and [[99/70]], the final one giving [[kalismic]]. 2''n''-edos within 1000 that do not [[support]] kalismic are probably bad in [[11-limit]].

== [[3edo]] ==

: '''Budjarn Lambeth:''' Lends itself to meditative, minimalist music: music where rhythm and timbre are the source of most of the interest, while melody and harmony are repetitive and change by small increments, forcing the listener to pay close attention to the most subtle changes.

: '''Zhenlige:''' 12edo major thirds. 2.5 subgroup augmented. The smallest EDO with decent 2.5 subgroup. Treating its steps as [[63/50]] gives [[landscape]]. 3''n''-edos within 1000 that do not [[support]] landscape are probably bad in [[7-limit]].

== [[4edo]] ==

: '''Budjarn Lambeth:''' Lends itself to meditative, minimalist music: music where rhythm and timbre are the source of most of the interest, while melody and harmony are repetitive and change by small increments, forcing the listener to pay close attention to the most subtle changes.

: '''Zhenlige:''' [[12edo]] minor thirds.

== [[5edo]] ==

: '''Budjarn Lambeth:''' Lends itself to meditative, minimalist music: music where rhythm and timbre are the source of most of the interest, while melody and harmony are repetitive and change by small increments, forcing the listener to pay close attention to the most subtle changes.

: '''Zhenlige:''' Equalized [[2L 3s|pentatonic]] scale. [[3-limit]] [[blackwood]]. Kinda familiar but everything is warped. To me as a Chinese, it sounds like out-of-tone traditional Chinese music. The smallest EDO that roughly represents [[3-limit]] or 2.3.7 subgroup.

== [[6edo]] ==

: '''Budjarn Lambeth:''' Lends itself to meditative, minimalist music: music where rhythm and timbre are the source of most of the interest, while melody and harmony are repetitive and change by small increments, forcing the listener to pay close attention to the most subtle changes.

: '''Zhenlige:''' [[12edo]] whole tones. Incomplete 12edo. Also a heavily stretched [[didacus]] chain.

== [[7edo]] ==

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

: '''Zhenlige:''' Equalized [[5L 2s|diatonic]] scale. 3-limit [[whitewood]]. It sounds like out-of-tone [[3L 4s|neutral scale]] music. The smallest EDO that roughly represents [[5-limit]].

== [[8edo]] ==

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

: '''Zhenlige:''' Incomplete [[24edo]].

== [[9edo]] ==

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

: '''Zhenlige:''' A stack of [[7/6]]. A subset of [[ennealimmal]].

== [[10edo]] ==

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

: '''Zhenlige:''' Incomplete [[22edo]].

== [[12edo]] ==

: '''Budjarn Lambeth:''' An excellent [[5-limit]] tuning. It is simple and stays out of the composer's way 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.

: '''Zhenlige:''' Equalized [[5L 7s|chromatic]] scale. Both augmented and diminished. The smallest edo with decent 7-limit. The only reasonable tuning for the dominant temperament ignoring overall streching. A sharper fifth makes [[garibaldi]] better and a flatter fifth makes [[septimal meantone]] better. The boundary between meantone and [[schismatic]]. The smallest [[5L 2s|diatonic]] EDO. Efficient at its size. Very excellent [[3/1|3]] as well as [[17/1|17]] and [[19/1|19]] for its size, but inaccurate [[5/1|5]] and worse [[7/1|7]]. Suitable for symmetric scales. Easy to make accurate [[NEJI]]s. Its 2.3.17.19 subgroup deserves more exploration (something "xenharmonic" but not "microtonal"). Its thirds do not accurately approximate common JI intervals. A [[well temperament]] can make some of them do better.

== [[13edo]] ==

: '''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".

== [[14edo]] ==

: '''Fumica:''' I heard it too that this was the "most dissonant edo". The intonation surely has a lot of spice. [[Support]]s [[squares]] and [[godzilla]], making it important in theory. Perhaps works better as an interval category scheme than as sound to be listened to. B-tier.  

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

== [[15edo]] ==

: '''Vector:''' Definitive proof that a fifth doesn't need to be a 3/2. (TBA)

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

== [[17edo]] ==

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

: '''Zhenlige:''' A circle of fifths in [[34edo]]. Interesting sharp fifths. The smallest [[5L 2s|diatonic]] EDO with neutral intervals. The boundary between neogothic and superpyth. Like [[12edo]], its diatonic thirds do not approximate any simple ratios well, and a [[well temperament]] may help. Its [[13/1|13]] is good, and [[11/1|11]] and [[7/1|7]] have a similar precision to 12edo's [[5/1|5]]. It benefits from compression.

== [[18edo]] ==

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

: '''Zhenlige:''' Incomplete [[36edo]].

== [[19edo]] ==

: '''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.

: '''Zhenlige:''' A stack of [[5/3]]. Very different tradeoffs from [[12edo]]. Usable but imperfect for many temperaments. [[Meantone]] or [[magic]], but with a too flat fifth. Strangely large minor 2nds off from [[16/15]] even more than 12edo's. A compressed [[Carlos Beta]] scale. For meantone [[31edo]] is more preferable, and for magic [[41edo]]. The lower bound of a good fifth. It benefits from stretching. Good as a subset of [[enneadecal]].

== [[20edo]] ==

: '''Budjarn Lambeth:''' It has a lot of [[consonant]] intervals available, but they're mostly all very different to anything in 12edo. This makes it intimidating at first, but rewards exploration, ideal for composers looking for a wild world of new microtonal colours, without sounding as "sour" as some smaller EDOs do.

: '''Zhenlige:''' The fact that [[41edo]] is good indicates that 20- and [[21edo]] are probably bad. Does anyone really think it is OK for a chord to contain a lot of in[[consistent]] mappings involving 3?

== [[21edo]] ==

: '''Fumica:''' 14edo but worse. F-tier.  

: '''Budjarn Lambeth:''' If you like the melodic shapes of 7edo, but want some sweeter harmonies and smaller step sizes to mix them with, 21edo is ideal for that.

== [[22edo]] ==

: '''Budjarn Lambeth:''' It is the first EDO bigger than 12 which sounds equally as "in-tune" as 12, in my opinion.  Though it does have some [[wolf interval]]s which can startle new composers; with experience one learns how to approach those. Its [[superpyth]] and [[pajara]] scales offer a familiar-but-not-too-familiar melodic structure where prior 12edo training is useful, but where exploration beyond it is rewarded with gorgeous new colours. In this sense, it offers the strengths of both 19 and 20 without the drawbacks of either.

: '''Zhenlige:''' The smallest EDO with decent [[11-limit]] and the smallest non-meantone EDO with decent [[5-limit]]. Superpyth and porcupine. The only reasonable superpyth EDO. The upper bound of a good fifth. The best you can get with [[50/49]] tempered out.

== [[23edo]] ==

: '''Budjarn Lambeth:''' A great EDO to begin experimenting with [[octave stretching]] and squishing. With pure octaves, it sounds out of tune, but stretch it by about 10 [[cents]], and you get access to the full array of pretty no-13s [[59-limit]] harmonies. ''Compress'' it by about 10 cents, and you instead get access to the full array of no-19s [[37-limit]] harmonies. Both tunings punch far above their weight by having lots of consonances in only 23 notes. Experiment with both the stretched and squished versions of 23edo, to get a feeling for how stretching or squishing a scale can shift its underlying harmonies dramatically while preserving its melodic shape.

: '''Zhenlige:''' Incomplete [[46edo]]. The largest EDO without a [[5L 2s|diatonic]], [[5edo|blackwood]] or [[7edo|whitewood]] fifth.

== [[24edo]] ==

: '''Budjarn Lambeth:''' Along with [[36edo]], it is one of the two possible ways to extend 12edo while preserving equal spacing, and keeping the number of notes somewhat manageable. 36edo is ideal if you want to add intervals involving the 7th harmonic into 12edo, while 24edo is ideal if you want to add intervals involving the 11th harmonic. Comparing and contrasting 24edo and 36edo can help you get a feel for the difference between the "vibe" of the 11th harmonic, and the "vibe" of the 7th harmonic. I recommend dipping your toes into each of the two. — Try using familar 12edo intervals in lower registers of your instrument(s)/mix, while mixing in some of the strange new 24edo intervals in the higher registers. Thus will mimic the shape of the [[harmonic series]] and sound nice and glittery.

: '''Zhenlige:''' What some non-microtonalists think microtonality is. 12edo with neutrals. Good for prime [[11/1|11]]. Accurate in subgroup 2.3.11.17.19.

== [[25edo]] ==

: '''Deja Igliashon:''' 25edo might be "the one that got away" for me. It bears a lot of similarities to [[23edo]] by virtue of being half the notes of a large very-accurate ET (50edo), having half of the nice 2nds, 3rds, 6ths, and 7ths, but not the nice 4ths and 5ths. Lots of nice harmony to be had, but no 5-limit triads (or at least, none that are very nice). I've thought about having a [[guitar]] made in 25edo multiple times but always ended up going with something else for some reason. Anyway, it's really really good for 8:9:10:14:17:19:23:25 chords, as well as 11:12:13:15:21:27 chords, but you can't put the two together unless you are in 50edo.

: '''Fumica:''' Potentially useful as every other step of 50edo. D-tier.

== [[26edo]] ==

: '''Fumica:''' Just as [[19edo]] is the point separating meantone and flattone, this is the point separating flattone and [[flattertone|a meantone extension that implies an even flatter fifth]]. Therefore it should share all the advantages of 12edo and 19edo, at least theoretically, that is if not for its poor intonation in the [[5-limit]]. C-tier.  

: '''Zhenlige:''' The fact that [[53edo]] is good indicates that 26- and [[27edo]] are probably bad. A stack of [[7/4]]. Good for 2.7.11 subgroup. Other intervals suck. Since it is relatively small, [[consistency]] does not implies high accuracy. [[Meantone]] in [[5-limit]] but tuned terribly. Incomplete [[130edo]].

== [[27edo]] ==

: '''Fumica:''' Potentially useful as every other step of [[56edo]]. D-tier.  

: '''Zhenlige:''' [[Whitewood]] [[diminished (temperament)|diminished]]. Kinda opposite from [[15edo]]. The best you can get with whitewood.

== [[29edo]] ==

: '''Fumica:''' Potentially useful as every other step of [[60edo]]. D-tier.  

: '''Budjarn Lambeth:''' The most simple [[dual-fifth]] edo, not as "in-tune" as bigger ones, but a good introduction to the dual-fifth concept. It's kind of underrated because, while it doesn't have the same precise, luminous [[JI]] chords as 29 or 31, its [[wolf interval]]s are fewer and have less bite than 29 or 31 - so 30edo is actually relatively easy to noodle around in without hitting any ''really sour'' notes. It's not a good system for the JI-centric, regular temperament-centric approach that works for other big edos - but if you meet 30edo ''on its own terms'', it's actually surprisingly approachable, and you can get a surprising amount of sweetness out of it. It kind of sounds like if JI was muffled underwater, if that makes sense? Everything's a little murky, but in a 'smooth' way - not necessarily unpleasant. [[Bryan Deister]] has lots of good [[Lumatone]] pieces in 30edo. Don't get me wrong, it's not ''as'' useful as 29 or 31, but it's much more useful than it's made out to be.

== [[31edo]] ==

: '''Fumica:''' This is a great edo. Too great it's a little unfun to work with. It has a tuning profile close to what I consider the [[optimal tuning]] of meantone, and [[migration]], the [[meantone]] [[extension]] that maps harmonic 11 to the semi-augmented fourth, works almost perfectly in this system. [[Octave stretch]] gives better intonation. A-tier.  

: '''Zhenlige:''' Ideal for pure-octave meantone, combining lots of [[11-limit]] extensions in a single tuning. The meantone flat fifth makes its neutral thirds close to [[11/9]] (tho there is the JI subgroup problem since [[11/1|11]] and [[9/1|9]] themselves are not so good). Also [[valentine]] and [[miracle]]. IMO the best meantone EDO. Nearly the best meantone can give for high limit. For other temperaments its flat fifth may be a drawback, making 9 bad.

== [[32edo]] ==

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

: '''Fumica:''' 27edo but worse. F-tier.  

== [[33edo]] ==

: '''Fumica:''' 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 [[harmonic]]s [[7/1|7]] and [[11/1|11]], which come from 17edo and are commonly cited as relatively poor in this edo, are convincing enough to me, since when I worked with [[modus]] I never had a problem with the intonation at all, unlike with [[porcupine]]. The sound is better than the structure. B-tier.  

: '''Zhenlige:''' [[17edo]] with [[5/1|5]] and [[17/1|17]] added, making a good 2.3.5.13.17 system. A slightly stretched [[Carlos Gamma]] scale.

== [[35edo]] ==

: '''Budjarn Lambeth:''' A very good [[dual-fifth]] edo.

: '''Zhenlige:''' The largest non-[[5L 2s|diatonic]] EDO.

== [[36edo]] ==

== [[40edo]] ==

: '''Bozu:''' [[Amphipent]] [[diminished (temperament)|diminished]]. Can't really find a good use for this one.

== [[41edo]] ==

: '''Fumica:''' The first of the five essential comma-level edos, and the first edo to achieve [[9-odd-limit]] [[distinction]] and [[consistency]]. This is most significant for providing three flavors for each [[chromatic]] category: classical, Pythagorean, and septimal. In this case it is a [[schismic]] and [[garischismic]] system, so that all three kinds are separated by the same [[comma]] step and can be found on a stack of fifths. The comma step is somewhat larger than just, making the differences more pronounced, which is part of why I think this edo is pretty deep – the step isn't only a comma, but many things at once, including but not limited to the [[septimal diesis|septimal dieses]], as well as the chroma of the [[archaeotonic]] scale, the scale of [[Tetracot]][7]. The best [[subgroup]] of this edo is, actually, 2.3.5.7.11.19. [[Prime]] [[13/1|13]] is certainly plausible, but prime [[19/1|19]] fits way better. There's a unique uniform tuning for the [[harmonic segment]] 18::22, a fact related to the vanish of [[S-expression|s10]] = [[100/99]] and [[S-expression|s9/s11]] = [[243/242]]. The beauty of this edo goes even beyond the structure, but also to the intonation: it has a very slightly sharp 3 and a more noticeably flat 5, making a flat, more stable 15; that is ideal for my music. Finally, it's an ideal tuning for the [[magic]] temperament. I can't compliment it enough. S-tier.  

: '''Zhenlige:''' Prime octave and highly composite fifth, opposite from [[12edo]], thus good for fifth-dividing temperaments. Containing [[Bohlen-Pierce scale]]. Good for magic. The [[Kite guitar]] shows its elegance, with many simple intervals evenly spaced. Also [[garibaldi]] and [[miracle]]. The largest problem is its relatively inaccurate [[5/1|5]]. From here on, most EDOs with good [[13-limit]] [[support]] [[akea]].

== [[42edo]] ==

: '''Nicolai:''' You either get [[7edo|7EDO]] or [[superpyth]], there is no middle.

: '''Zhenlige:''' Incomplete [[84edo]].

== [[43edo]] ==

: '''Bozu:''' [[Amphipent]] [[augmented (temperament)|augmented]].

: '''Fumica:''' The only legit edo tuning for [[flattone]]. Otherwise it has little utility. It has this weird structure of [[9/8]]~[[10/9]]~[[11/10]] all [[tempering together|tempered together]] as a characteristic of flattone, but meanwhile the [[septimal comma]] is tuned to two steps, which feels a bit ugly. D-tier.  

== [[46edo]] ==

: '''Nicolai:''' You either get [[7edo|7EDO]] or [[superpyth]], but there's a nice third.

: '''Zhenlige:''' Incomplete [[94edo]].

== [[48edo]] ==

: '''Fumica:''' Close to [[2/7-comma meantone]] so it has a niche. Has the same problem as [[45edo]], though less severe. C-tier.  

: '''Zhenlige:''' [[Meantone]] with a flatter fifth than [[31edo]], but I usually use [[golden meantone]] (with slight octave stretching) for this range.

== [[51edo]] ==

: '''Fumica:''' 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 [[7-limit|septimal]] intervals, which neither [[41edo|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 [[41edo|41-]] or [[46edo]], it feels slack and doesn't convey a sense of tightly packed well-compromisedness. B-tier.  

: '''Zhenlige:''' A stack of [[3/2]]. Almost just [[3/1|3]], accurate [[5-limit]], and decent [[7-limit]]. Good for 5-limit [[schismatic]] with occasional [[garibaldi]] [[7/1|7]].

== [[55edo]] ==

: '''ArrowHead:''' A standardisation and representation of [[1/6-comma meantone]], proposed by [[Telemann]] as a theoretical basis for analysing the intervals of meantone. Works well for most of Western music written since the {{w|Renaissance music|Renaissance}} and even works today for songs that don't presuppose [[12edo]]'s [[enharmonic]]s, but in practice I think it's really best suited for certain classical works as it's gotten to the point of diminishing returns. For non-classical musicians, the sound is likely to be far too similar to 12edo to justify the significant extra complexity, especially since [[43edo]] and [[50edo]] are already pushing it.

: '''Fumica:''' This edo is out of the [[optimal tuning|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.

== [[56edo]] ==

: '''Fumica:''' The last essential comma-level edo. Has the same problem as [[60edo]]. Even tho it approximates [[JI]] way better and thus qualifies for an essential comma-level edo, most of its structural features have been provided by [[41edo|41-]] and [[58edo]]. B-tier.  

: '''Zhenlige:''' The ultimate extension of [[12edo]] and [[24edo]]. Its [[11-limit]] is very accurate with a slightly flat tendency that works well with 12edo's flat [[3/1|3]], and some higher limit intervals are also usable. [[Compton]] which is useful in 12edo-based programs. The only notable [[13-limit]] non-[[akea]] EDO around this size. A powerful tool for modulating quartertones, which can be difficult in 24edo itself. Good for [[miracle]]. Suitable for octave stretching if only [[17-limit]] or below is used. Playable by using three 24edo instruments or six 12edo instruments.

== [[73edo]] ==

: '''Yourmusic Productions:''' [[12edo]] only each note is split into a full rainbow, which makes for awesome looking yet still easily comprehensible [[notation]]. The best multiple of 12 for [[5-limit]] music and my personal holy grail of edos to find a way to make playable.

: '''Zhenlige:''' An alternate [[compton]] EDO besides [[72edo]], with better [[5/1|5]] and [[13/1|13]] with the expense of [[11/1|11]]. It has a sharp tendency instead of 72edo's flat.

== [[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.

: '''Zhenlige:''' Good [[mystery]] EDO. Useful for high limit JI. Playable by using three [[29edo]] instruments.

== [[94edo]] ==

: '''Aura:''' Surprisingly, I have attempted to use this EDO before, and it is the first EDO I've attempted to use that wasn't some kind of superset of [[12edo]].  I've noticed just from working out the [[JI]] intervals that this EDO approximates that the [[7-limit]] for this EDO is really good- better than what this EDO has to offer in the [[5-limit]]. Furthermore, all of the pitches in this EDO are connected by a single, complicated [[circle of fifths]]. It is from working with this EDO that I learned the ways that the [[paradiatonic]] [[harmonic limit|prime-limits]] (that would be the [[7-limit]], the [[11-limit]], and the [[13-limit]]) are connected with each other.

: '''Zhenlige:''' Good for high-limit JI with the [[garibaldi]] structure similar to [[41edo]] and [[53edo]]. Containing [[Carlos Beta]].

== [[99edo]] ==

== [[130edo]] ==

== [[159edo]] ==

: '''Aura:''' This is the main system I use in writing [[microtonal music]]. 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 [[quartertone|quartertone-based intervals]] 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]], which was part of the premise of "[[:File:Space Tour.mp3|Space Tour]]". Based on this discovery alone, I'd have to say that 159edo is not just a superset of [[53edo]], but rather, an EDO that is quite full of potential.  However, the fact is that this EDO is [[consistent]] all the way up to the [[17-limit]], and has a good [[23/1|23-prime]], and, should you skip the [[17/1|17-prime]], you have access to a decent [[19/1|19-prime]] and [[29/1|29-prime]]. This, and the fact that one has access to a bunch of [[microtemperament]]s in this EDO, all for a step-size that's slightly above the average [[JND]], means I can also perform other tricks in composition. I imagine at this point that some would ask me why I don't just use JI, and the answer is that even an EDO in the hundreds like 159edo is considerably more simple than JI, as you have to account for a lot of [[unnoticeable comma]]s in JI- a near-pointless endeavor as virtually nobody can hear such small differences in pitch.

== [[171edo]] ==

: '''Zhenlige:''' The ultimate EDO for approximating [[7-limit]] JI. It suggests very slight stretching. If you don't need some ridiculous high precision or specific [[microtemperament]]s, there is no need to go any further. [[Schismatic]], [[gammic]], [[ennealimmal]] and [[enneadecal]]. Containing a better [[Carlos Gamma]] scale than [[34edo]]. At this size level, EDOs are more like free pitch, rather than either JI or a stable temperament. Ideal for free-pitch-like music that emphasizes 7-limit.

== [[217edo]] ==

== [[224edo]] ==

: '''Zhenlige:''' Like [[171edo]] but with a slightly sharper (and closer to just) fifth, worse [[7-limit]] but better [[13-limit]].

== [[270edo]] ==

: '''Zhenlige:''' Better than [[224edo]] if [[schismatic]] is not required. Ideal for free-pitch-like music that emphasizes [[13-limit]].

== [[311edo]] ==

: '''Zhenlige:''' Good for very high limit JI.

== [[665edo]] ==

== [[7315edo]] ==

== [[8539edo]] ==

== [[190537edo]] ==