User:FloraC/Fumica's edo impressions: Difference between revisions

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|-

! A-tier

| 10, 15, 24, 31~~, 34~~

| 10, 15, 24, 27, 31

|-

! B-tier

| 11, 14, 22, 27

| 11, 14, 22, 34

|-

! C-tier

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=== Diesis-size ===

* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of harmonic 15 tuned way too sharp, for I prefer a flat tuning of 15 or at least no sharper than 12edo's to improve its stability as a consonant major seventh. Other than that it's pretty good. B-tier.

* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of harmonic 15 tuned way too sharp, for I prefer a flat tuning of 15 or at least no sharper than 12edo's to improve its stability as a consonant major seventh. Other than that it's pretty good. Octave compression gives better intonation. A-tier.

* 28 – Potentially useful as every other step of 56edo. D-tier.

* 29 – The first edo that sounds like Pythagorean tuning with distinct chromatic and diatonic semitones, such that most contemporary 12edo music will sound alright if retempered to this through dominant. The patent-val interpretation is underwhelming. Otherwise it's a good framework as every other step of 58edo and every third step of 87edo. C-tier.

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* 32 – 27edo but worse. F-tier.

* 33 – 26edo but worse. F-tier.

* 34 – 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 harmonics 7 and 11, commonly cited as poor in this edo, are convincing enough to me, since when I worked with modus I never ~~felt~~ the ~~out-of-tune~~ intonation at all, unlike with porcupine. A-tier.

* 34 – 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 harmonics 7 and 11, commonly cited as 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.

* 35 – Potentially useful as every other step of 70edo. D-tier.

* 36 – The idea of adding third tones to plain 12edo music is interesting, but none of my attempts have been successful as I generally find them to sound forced. I think this edo is more difficult to use than it appears. C-tier.

@@ Line 22: / Line 22: @@
 |-
 ! A-tier
-| 10, 15, 24, 31, 34
+| 10, 15, 24, 27, 31
 |-
 ! B-tier
-| 11, 14, 22, 27
+| 11, 14, 22, 34
 |-
 ! C-tier
@@ Line 59: / Line 59: @@
 === Diesis-size ===
-* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of harmonic 15 tuned way too sharp, for I prefer a flat tuning of 15 or at least no sharper than 12edo's to improve its stability as a consonant major seventh. Other than that it's pretty good. B-tier.
+* 27 – The cyberpunk edo. Good sharp-tending tuning profile in the 2.3.5.7.13 subgroup with the sole exception of harmonic 15 tuned way too sharp, for I prefer a flat tuning of 15 or at least no sharper than 12edo's to improve its stability as a consonant major seventh. Other than that it's pretty good. Octave compression gives better intonation. A-tier.
 * 28 – Potentially useful as every other step of 56edo. D-tier.
 * 29 – The first edo that sounds like Pythagorean tuning with distinct chromatic and diatonic semitones, such that most contemporary 12edo music will sound alright if retempered to this through dominant. The patent-val interpretation is underwhelming. Otherwise it's a good framework as every other step of 58edo and every third step of 87edo. C-tier.
@@ Line 66: / Line 66: @@
 * 32 – 27edo but worse. F-tier.
 * 33 – 26edo but worse. F-tier.
-* 34 – 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 harmonics 7 and 11, commonly cited as poor in this edo, are convincing enough to me, since when I worked with modus I never felt the out-of-tune intonation at all, unlike with porcupine. A-tier.
+* 34 – 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 harmonics 7 and 11, commonly cited as 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.
 * 35 – Potentially useful as every other step of 70edo. D-tier.
 * 36 – The idea of adding third tones to plain 12edo music is interesting, but none of my attempts have been successful as I generally find them to sound forced. I think this edo is more difficult to use than it appears. C-tier.