User:Overthink/EDO impressions: Difference between revisions

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~~== Introduction ==~~

This is a page about my thoughts on various EDOs.

~~As of now, EDO impressions are mostly melodic rather than harmonic~~.

== EDO Impressions ==

Note: They are by no means final!

12: We've all heard this system thousands of times before.

12: We've all heard this system thousands of times before. It has a good perfect fifth, which is essential. In my opinion, this system sounds much more like pythagorean tuning than 5-limit. If you want true 5-limit use 53edo instead. Still, the expressive possibilities are vast, though that doesn't mean you shouldn't use other systems.

17: The diatonic scale has a septimal flavor to it, with major thirds sounding nothing like 12edo ones. The minor second is the perfect size melodically, though it may take a while to get used to it.

17: The diatonic scale has a septimal flavor to it, with major thirds sounding nothing like 12edo ones. The minor second is the perfect size melodically, though it may take a while to get used to it. Haven't really experimented with harmony in this system.

19: Due to the flat tendency of the system, melody seems to have a feeling ~~that is hard to describe,~~ that you can't replicate with 12edo. ~~So far my biggest~~ issue is that the minor seconds are too wide.

19: Due to the flat tendency of the system, melody seems to have a melancholy feeling that you can't replicate with 12edo. Unfortunately, this includes the perfect fifth, which I feel is too off, though it may be mitigated by octave stretch. Another issue is that the minor seconds are too wide melodically.

22: The diatonic scale sounds even brighter than in 17, with thirds and sixths having a more obvious septimal flavor. The diatonic semitone is a little smaller than ideal, but still usable.

22: The diatonic scale sounds even brighter than in 17, with thirds and sixths having a more obvious septimal flavor. The diatonic semitone is a little smaller than ideal, but still usable. I haven't looked too much into it harmonically. A possibly interesting property is that it supports [[pajara]]. The fifth is not very good though, though a compressed octave may help.

31: ~~TBA~~

31: Haven't really tried. The fifth sounds just close enough to be usable, but noticeably off. A little octave stretch may help here as well.

41: While this EDO has be cited as good for approximating JI, it has quite a few problems. For example, 5/4 is too flat, and 7/4 is ~~too~~ flat. In general pental and septimal intervals are too far from their nearest pythagorean intervals, as the comma step is over 29 cents.

41: While this EDO has be cited as good for approximating JI, it has quite a few problems. For example, 5/4 is too flat, and 7/4 is also quite flat, making septimal intervals sound ambiguous and less concordant. In general pental and septimal intervals are too far from their nearest pythagorean intervals, as the comma step is over 29 cents.

53: Excellent 5- and 7-limit harmonies. 5/4 is now only slightly flat, ~~and the~~ 7/4 is a bit sharp. Chords are significantly more consonant than in 41. Definitely would recommend.

53: Excellent 5- and 7-limit harmonies. 5/4 is now only slightly flat, compared to nearly 6 cents in 41edo. The 7/4 is a bit sharp, but this makes septimal harmonies more concordant compared to 41. The 49/48 interval is also more noticeable at 44 cents, compared to 29 cents in 41edo. Chords are significantly more consonant than in 41. Definitely would recommend.

72: ~~TBA~~

72: Haven't really tried. This edo seems to approximate the 11-limit well. The 7th harmonic is a little flat like in 41edo, though due to the slightly flat fifth 7/6 and 9/7 may be a bit more concordant than in 41.

@@ Line 1: / Line 1: @@
-== Introduction ==
+This is a page about my thoughts on various EDOs.
-As of now, EDO impressions are mostly melodic rather than harmonic.
 == EDO Impressions ==
 Note: They are by no means final!
-: We've all heard this system thousands of times before.
+: We've all heard this system thousands of times before. It has a good perfect fifth, which is essential. In my opinion, this system sounds much more like pythagorean tuning than 5-limit. If you want true 5-limit use 53edo instead. Still, the expressive possibilities are vast, though that doesn't mean you shouldn't use other systems.
-: The diatonic scale has a septimal flavor to it, with major thirds sounding nothing like 12edo ones. The minor second is the perfect size melodically, though it may take a while to get used to it.
+: The diatonic scale has a septimal flavor to it, with major thirds sounding nothing like 12edo ones. The minor second is the perfect size melodically, though it may take a while to get used to it. Haven't really experimented with harmony in this system.
-: Due to the flat tendency of the system, melody seems to have a feeling that is hard to describe, that you can't replicate with 12edo. So far my biggest issue is that the minor seconds are too wide.
+: Due to the flat tendency of the system, melody seems to have a melancholy feeling that you can't replicate with 12edo. Unfortunately, this includes the perfect fifth, which I feel is too off, though it may be mitigated by octave stretch. Another issue is that the minor seconds are too wide melodically.
-: The diatonic scale sounds even brighter than in 17, with thirds and sixths having a more obvious septimal flavor. The diatonic semitone is a little smaller than ideal, but still usable.
+: The diatonic scale sounds even brighter than in 17, with thirds and sixths having a more obvious septimal flavor. The diatonic semitone is a little smaller than ideal, but still usable. I haven't looked too much into it harmonically. A possibly interesting property is that it supports [[pajara]]. The fifth is not very good though, though a compressed octave may help.
-: TBA
+: Haven't really tried. The fifth sounds just close enough to be usable, but noticeably off. A little octave stretch may help here as well.
-: While this EDO has be cited as good for approximating JI, it has quite a few problems. For example, 5/4 is too flat, and 7/4 is too flat. In general pental and septimal intervals are too far from their nearest pythagorean intervals, as the comma step is over 29 cents.
+: While this EDO has be cited as good for approximating JI, it has quite a few problems. For example, 5/4 is too flat, and 7/4 is also quite flat, making septimal intervals sound ambiguous and less concordant. In general pental and septimal intervals are too far from their nearest pythagorean intervals, as the comma step is over 29 cents.
-: Excellent 5- and 7-limit harmonies. 5/4 is now only slightly flat, and the 7/4 is a bit sharp. Chords are significantly more consonant than in 41. Definitely would recommend.
+: Excellent 5- and 7-limit harmonies. 5/4 is now only slightly flat, compared to nearly 6 cents in 41edo. The 7/4 is a bit sharp, but this makes septimal harmonies more concordant compared to 41. The 49/48 interval is also more noticeable at 44 cents, compared to 29 cents in 41edo. Chords are significantly more consonant than in 41. Definitely would recommend.
-: TBA
+: Haven't really tried. This edo seems to approximate the 11-limit well. The 7th harmonic is a little flat like in 41edo, though due to the slightly flat fifth 7/6 and 9/7 may be a bit more concordant than in 41.