User:Godtone: Difference between revisions

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=== Favourite EDOs ===

12, 13, 16, 17, 19, 20, 22, 24, 31, 32, 34, 36, 50, 53, 58, 68, 72, 80, 87, 270, 311.<br/>

12, 13, 16, 17, 19, 20, 22, 24, 26, 31, 32, 34, 36, 50, 53, 58, 68, 72, 80, 87, 270, 311.<br/>

EDOs < 12 not included as usually better conceptualised in a superset of that EDO and because otherwise I'd list too many consecutive EDOs.<br/>

Favourite EDOs best to worst, not listed = even worse, my opinion obviously, also my opinions are still in development about many of these:<br/>

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* 22: The first EDO that melodically approximates the 11-limit, and very tone efficient for that purpose. Sounds harmonically complex. [[Superpyth]] + [[Orwell]] tuning. Not a fan of porcupine to be honest.

* 24: I think neutral intervals and semifourths are kinda cool and unexpected root movement is cool, so acts as a nice stepping stone into microtonality with a strong base of familiarity to build off of. Alternate tuning for [[semaphore]]. I also include it because I like highly composite EDOs, and this is very clearly one. Represents the 2.3.11.19.37 subgroup particularly well.

* 26: Neat for having very good 8/7's and 10/9's, both flavours of major second that I very much appreciate (while 9/8 can get pretty bland). Basically the only tuning of [[flattone]] that I'd consider using as its about as big as a flattone system should be. Note that while 19 EDO is technically also flattone, it represents the border between sharper meantones and flattone, so I do not consider it a proper (in the sense of typical/representative) example of such. Furthermore, in this tuning of flattone the minor seconds are 13/12's, thus representing a near-equal diatonic such that the minor seconds are subneutral seconds. Has the benefit of extending 13 EDO into a larger and more complete colour set and conceptual framework, creating some truly xenharmonic and xenmelodic opportunities with flattone acting as a rough roadmap back to the more familiar things.

* 31: The next EDO that melodically approximates the 11-limit, and considerably better. Extremely nice arrangement of intervals that feels weirdly intuitive and ideal. Colourful EDO. Basically ideal meantone tuning as more notes than this is overkill for meantone if you don't specifically want meantone.

* 32: 16 EDO with a sharp fifth. I like it primarily because of it being a power of 2. Exploration into this EDO could be interesting.

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 === Favourite EDOs ===
-, 13, 16, 17, 19, 20, 22, 24, 31, 32, 34, 36, 50, 53, 58, 68, 72, 80, 87, 270, 311.<br/>
+, 13, 16, 17, 19, 20, 22, 24, 26, 31, 32, 34, 36, 50, 53, 58, 68, 72, 80, 87, 270, 311.<br/>
 EDOs < 12 not included as usually better conceptualised in a superset of that EDO and because otherwise I'd list too many consecutive EDOs.<br/>
 Favourite EDOs best to worst, not listed = even worse, my opinion obviously, also my opinions are still in development about many of these:<br/>
@@ Line 84: / Line 84: @@
 * 22: The first EDO that melodically approximates the 11-limit, and very tone efficient for that purpose. Sounds harmonically complex. [[Superpyth]] + [[Orwell]] tuning. Not a fan of porcupine to be honest.
 * 24: I think neutral intervals and semifourths are kinda cool and unexpected root movement is cool, so acts as a nice stepping stone into microtonality with a strong base of familiarity to build off of. Alternate tuning for [[semaphore]]. I also include it because I like highly composite EDOs, and this is very clearly one. Represents the 2.3.11.19.37 subgroup particularly well.
+* 26: Neat for having very good 8/7's and 10/9's, both flavours of major second that I very much appreciate (while 9/8 can get pretty bland). Basically the only tuning of [[flattone]] that I'd consider using as its about as big as a flattone system should be. Note that while 19 EDO is technically also flattone, it represents the border between sharper meantones and flattone, so I do not consider it a proper (in the sense of typical/representative) example of such. Furthermore, in this tuning of flattone the minor seconds are 13/12's, thus representing a near-equal diatonic such that the minor seconds are subneutral seconds. Has the benefit of extending 13 EDO into a larger and more complete colour set and conceptual framework, creating some truly xenharmonic and xenmelodic opportunities with flattone acting as a rough roadmap back to the more familiar things.
 * 31: The next EDO that melodically approximates the 11-limit, and considerably better. Extremely nice arrangement of intervals that feels weirdly intuitive and ideal. Colourful EDO. Basically ideal meantone tuning as more notes than this is overkill for meantone if you don't specifically want meantone.
 * 32: 16 EDO with a sharp fifth. I like it primarily because of it being a power of 2. Exploration into this EDO could be interesting.