Collection of EDO impressions: Difference between revisions
Updated my impression of 159edo |
Updated my impressions of more edos on this chart, and I added a new row to accomodate my impression of 120edo |
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|[[14edo]] | |[[14edo]] | ||
| | |I have to admit that I was surprised to learn from others that one can replicate dialtones in this EDO, and it was that knowledge that made me want to incorporate a 159edo-based approximation of it. Suffice to say that based on my work with said approximation, this is a pretty strange EDO overall as you don't have as much of the familiar to rely on. | ||
|2nd order hypopent. It's like the scale from 7edo has some different colours added to its palette. Not super easy to wield, but it does have a nice spacey sound that makes sense to the ears in a weird way. | |2nd order hypopent. It's like the scale from 7edo has some different colours added to its palette. Not super easy to wield, but it does have a nice spacey sound that makes sense to the ears in a weird way. | ||
|Cool chords. People say that its really dissonant, but I don't hear anything out of the ordinary. | |Cool chords. People say that its really dissonant, but I don't hear anything out of the ordinary. | ||
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|[[17edo]] | |[[17edo]] | ||
| | |Like 14edo this EDO is pretty strange as you don't have as much of the familiar to rely on, though it does better than 12edo in some respects. Judging from my experience with the 159edo-based approximation of it, I can surmise that trying to work with Neapolitan-type scales in this EDO makes for an interesting experience. | ||
|Totally awesome composite hyperpent. Great fifths, it can sound maqam-ish or western-ish, depending on how you use it. So many possibilities. | |Totally awesome composite hyperpent. Great fifths, it can sound maqam-ish or western-ish, depending on how you use it. So many possibilities. | ||
|The smallest EDO with more consonant harmony than the previous ones. | |The smallest EDO with more consonant harmony than the previous ones. | ||
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|[[19edo]] | |[[19edo]] | ||
| | |Judging from my experience with the 159edo-based approximation of it, I can surmise that this EDO is a little easier to work with than 17edo, but again, trying to work with Neapolitan-type scales in this EDO makes for an interesting experience. | ||
|This is my personal favourite. Composite hypopent, awesome thirds and sixths and a decent fourth and fifth. Kind of leaves somethign to be desired with sevenths and seconds/ninths. Can play well within the western music idiom, and has plenty of tonal options outside of that, but doesn't really offer any of the cool maqam-esque tones of 17edo or any of the weird spacey tones of 14edo. I really think this should be the intermediate step between "standard tuning" (whatever you consider that to be) and "xenharmonic tuning" (whatever you consider that to be). This really sits between those two ideas for me. | |This is my personal favourite. Composite hypopent, awesome thirds and sixths and a decent fourth and fifth. Kind of leaves somethign to be desired with sevenths and seconds/ninths. Can play well within the western music idiom, and has plenty of tonal options outside of that, but doesn't really offer any of the cool maqam-esque tones of 17edo or any of the weird spacey tones of 14edo. I really think this should be the intermediate step between "standard tuning" (whatever you consider that to be) and "xenharmonic tuning" (whatever you consider that to be). This really sits between those two ideas for me. | ||
|The smallest EDO with a really nice meantone fifth. I consider this the smallest EDO to use if you want to make pop music into microtonal music. | |The smallest EDO with a really nice meantone fifth. I consider this the smallest EDO to use if you want to make pop music into microtonal music. | ||
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|[[22edo]] | |[[22edo]] | ||
| | |I have to say that judging from the 159edo-based approximation that I'm using, the pentatonic scales actually sound pretty good, but the fact that this EDO forces its users to explore unfamiliar harmonic territory is a double-edged sword. | ||
|Excellent composite hyperpent tuning. Tons and tons of possibilities with western-esque and raga-esque tones. Notation starts getting more difficult than 17edo or 19edo. | |Excellent composite hyperpent tuning. Tons and tons of possibilities with western-esque and raga-esque tones. Notation starts getting more difficult than 17edo or 19edo. | ||
|Smallest cool superpyth EDO. I think there's orwell in there, too, but don't quote me on that. | |Smallest cool superpyth EDO. I think there's orwell in there, too, but don't quote me on that. | ||
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|[[27edo]] | |[[27edo]] | ||
| | |Not going to lie, given how underexplored this EDO is, I felt it necessary to try working with a 159edo-based retuning of it. Judging from my experience with that, it should suffice to say that working with Superlocrian in this EDO is another interesting experience. | ||
|Comte hyperpent. Another one with tons of usable tonal possibilities that seems to get little actual use. | |Comte hyperpent. Another one with tons of usable tonal possibilities that seems to get little actual use. | ||
|Amazing approximations of intervals like 7/6, 6/5, 5/4 (but its the same as 12EDO), 3/2, 5/3, and 7/4. Its weird how it manages to work this much with being a power of 3. | |Amazing approximations of intervals like 7/6, 6/5, 5/4 (but its the same as 12EDO), 3/2, 5/3, and 7/4. Its weird how it manages to work this much with being a power of 3. | ||
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|[[31edo]] | |[[31edo]] | ||
| | |Working with Superlocrian in this EDO is again interesting, but it's easier to do with this EDO than with 27edo. | ||
|This is sort of the gold standard of meantone tuning. Composite hypopent. Great thirds and fifths and everything else used to make western-esque music, and also some really nifty other spicier options. Very user-friendly. If you start with 12edo and go to 19edo and like it, this would be the obvious next recommendation. My only complaint here is that we are starting to get into the territory of having too many notes to easily perform on a guitar or standard black-and-white-key two row keyboard. Going with subsets at this point is beneficial, but those provide new challenges. | |This is sort of the gold standard of meantone tuning. Composite hypopent. Great thirds and fifths and everything else used to make western-esque music, and also some really nifty other spicier options. Very user-friendly. If you start with 12edo and go to 19edo and like it, this would be the obvious next recommendation. My only complaint here is that we are starting to get into the territory of having too many notes to easily perform on a guitar or standard black-and-white-key two row keyboard. Going with subsets at this point is beneficial, but those provide new challenges. | ||
|Meantone quarter tones. | |Meantone quarter tones. | ||
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|Um... | |Um... | ||
|There are so many tonal options, but many of them are very useful. Maybe this could rival 53edo for versatility. There are some limitations, though. | |There are so many tonal options, but many of them are very useful. Maybe this could rival 53edo for versatility. There are some limitations, though. | ||
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|[[72edo]] | |||
|While I don't recall making many songs with this EDO, I did compile a private list of Just Intervals, and I was quite fascinated with it for a time, as this EDO has better 5-limit and 7-limit approximations than both 12edo and 24edo. | |||
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|[[94edo]] | |[[94edo]] | ||
|Surprisingly, I have attempted to use this EDO before. | |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 prime-limits (that would be the 7-limit, the 11-limit, and the 13-limit) are connected with each other. | ||
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|[[120edo]] | |||
|Just like with 72edo, I don't recall making many songs with this EDO, but again, I did compile a private list of Just Intervals, and I was quite fascinated with it for a time. However, I eventually learned that you can't make a proper diatonic scale in this EDO without dealing with contortion in the 3-limit, and it was at that point that I realized that contortion in the 3-limit was a problem. | |||
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