User:CompactStar/EDO impressions: Difference between revisions

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[[4edo]]: 3edo but minor, essentially. I'm unsure if it can be called any better than 3edo, being a downgrade in terms of consonance, although there are slightly more options for melody.

[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo. The interseptimals are on a weird border region here, 1\5 being either a sharp supermajor second or flat interseptimal, and similarly for 4\5, and they are hard to categorize as anything even with the intricate classifications of microtonality.

[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.

[[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied. Works well for atonal music.

[[7edo]]: Interesting but I do ~~slightly~~ prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. ~~Analogous to 5edo, the neutral third~~ and ~~sixth are on a border region, in which they are~~ slightly ~~too neutral to~~ sound ~~supraminor or submajor, but too much in the direction of minor or major to properly be in the neutral area~~. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a xenharmonic but washed-ou and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.

[[8edo]]:

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 [[4edo]]: 3edo but minor, essentially. I'm unsure if it can be called any better than 3edo, being a downgrade in terms of consonance, although there are slightly more options for melody.
-[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo. The interseptimals are on a weird border region here, 1\5 being either a sharp supermajor second or flat interseptimal, and similarly for 4\5, and they are hard to categorize as anything even with the intricate classifications of microtonality.
+[[5edo]]: We have reached the actual EDOs. Very constrained, of course, but that has some advantages. Almost all combinations of notes sound satisfactory so it is ideal for "randomly-generated" music. 1\5 is the only interval which may be reasonably considered a "third", so it is almost an exclusively minor scale, but not in a way which gets exhausted very quickly like 4edo.
 [[6edo]]: By far the most popular of the 12edo subsets, it has quite a directionless sound unless the type of very brute-force contrast from 3edo is applied.  Works well for atonal music.
-[[7edo]]: Interesting but I do slightly prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. Analogous to 5edo, the neutral third and sixth are on a border region, in which they are slightly too neutral to sound supraminor or submajor, but too much in the direction of minor or major to properly be in the neutral area. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.
+[[7edo]]: Interesting but I do think I prefer 5edo. Equalization of many different scales, but most importantly to listeners accustomed to 12edo, diatonic. It ends up having a xenharmonic but washed-ou and slightly directionless sound. I would rather use a quasi-equal heptatonic scale like [[33edo]]'s near-equalized diatonic or [[3L 4s]] [[neutral third scale]], they are are similar in sound but more versatile and also can be expanded if needed.
 [[8edo]]: