User:CompactStar/EDO impressions: Difference between revisions

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[[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. It works well for certain genres like atonal music, but other than that it's just boring to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).

[[6edo]]: By far the most popular of the 12edo subsets, it has a very directionless sound unless the type of very brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just boring to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).

[[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 definitely xenharmonic but washed-out 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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 [[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. It works well for certain genres like atonal music, but other than that it's just boring to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).
+[[6edo]]: By far the most popular of the 12edo subsets, it has a very directionless sound unless the type of very brute-force contrast from 3edo is applied. It works well for certain genres like atonal music, but other than that it's just boring to me. 2-4edo, as restrictive and dissonant as they are, at least have their small size as a feature. But 6edo has the same type of dissonance while you can get a much better deal for less tones (5edo).
-[[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 definitely xenharmonic but washed-out 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.
+ [[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 definitely xenharmonic but washed-out 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]]: