Collection of EDO impressions: Difference between revisions

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: '''Aura''': The framework for all other EDOs.  As it offers only 2-limit consonance, all notes belong to the same pitch class, and this can get boring pretty quickly, though admittedly not as boring as if you only had one note to play.

: '''Bozu''': LOL

: '''Carmen14edo/Bragtime:''' It's just a single note m8, but somehow it's all we need

: '''Aura''': This EDO is very simple, offering only the perfect consonance of the octave and perfect dissonance of the tritone.  The brute force contrast between the antitonic (my name for the diatonic function of pitches located at or around 600 cents away from the tonic) and the tonic does make for good minimalistic harmonic progression, but to use this to its maximum potential requires some of the same techniques needed to master traditional music theory's Locrian mode, and even then, this EDO's limited note palette only ensures that it gets boring rather quickly.

: '''Bozu''': 0th order diminished.  Nothing interesting, too constrained.

: '''Carmen14edo/Bragtime:''' It's just a tritone m8, but 12edo and fellow even edos just wouldn't be the same without it

: '''Aura''': This EDO is also quite simple, and relies on the perfect consonance of the octave to obtain resolution, with the dominant harmony consisting only of the two steps surrounding the octave.  Like with 2edo, 3edo does make for good minimalistic harmonic progression, but to use it to its maximum potential requires serious skills, and its limited note palette again ensures that it gets boring rather quickly.

: '''Bozu''': Elemental augmented type tuning.  Fun for a minute or two, boring after that.  Sounds augmented no matter what you play.

: '''Carmen14edo/Bragtime:''' Honestly I've just never been much of a fan of this one.

: '''Aura''': This EDO is twice as complicated as 2edo, but no more than that.  Again, it relies on the perfect consonance of the octave to obtain any type of resolution, and the brute force contrast between the antitonic and the tonic makes for good minimalistic harmonic progression.  This time, however, the pitch directly above the tonic can be used in conjunction with the tonic and the octave to create a surprisingly decent tonic chord- more or less the exact means of obtaining resolution in the strictest forms of traditional music theory's Locrian mode.  However, given that there are only two other pitch classes to work with, a chord like this is best saved for the end of a piece.  Unlike 2edo, 4edo has more of a melodic structure to work with, but again, this requires skills, and this EDO is liable to get boring rather quickly in the hands of an unskilled composer.

: '''Bozu''': Elemental diminished type tuning.  Fun for a minute or two, boring after that.  Sounds diminished no matter what you play.

: '''Carmen14edo/Bragtime:''' UH OH IT'S A TRAIN A-COMING 💀

: '''Aura''': This EDO is the smallest one commonly used, and is the first one that allows the usage of the fifth above the tonic as part of a resolved tonic harmony, though this admittedly sounds dirty, and furthermore the note a fifth above the dominant acts more like a second than a third in this case.  Thankfully, this EDO doesn't take as much skill to work with as the previous three EDOs, and it is not quite as dissonant in terms of its note palette either.  Beyond this, and the fact that it provides the framework for the varicant and contravaricant functions, I can't say much more about this EDO than what has already been said by others who have used it, as the only reason I know anything beyond what I've mentioned here is due to observations of others' work on this EDO.

: '''Bozu''': Elemental hyperpent.  You can actually play a couple of melodies in the tuning, but it gets exhausted after an hour or two.  Good tuning for percussive-melodic instruments like gamelan, woodblock, etc., but it can get grating on its own.

: '''Carmen14edo/Bragtime:''' As the others have already explained, this one is a certified hood classic. I second what Bozu and Keenan said

: '''Aura''': This EDO requires a mixture of the aforementioned techniques for 2edo and 3edo for proper harmonizing.  I'd really like to see someone take on this challenge, especially as there are more options for this EDO than for either 2edo or 3edo- particularly in the realm of melody.

: '''Bozu''': Smallest 2nd order tuning set - augmented in whole steps.  There are a number of possibilities, but trying to create any sort of tonal movement is useless, modality is useless, and overall, it's overconstrained.

: '''Carmen14edo/Bragtime:''' ''wooOO the main character's having a flashback or a dream! *always visually accompanied by a ripple effect*''

: '''Aura''': This EDO provides the framework for all the diatonic functions and most of the paradiatonic functions.  Beyond that, the fact that all triads are essentially neutral in this EDO, and the fact that this EDO supports Amity, I have very little to comment on.

: '''Bozu''': Elemental hypopent.  The experience here is sort of like playing in 5edo, but it's more like a tuning where you have one complete scale to play with.  For me, this is the smallest edo with which I would consider composing.  But it's still overconstrained when it comes to trying to modulate anything.

: '''Carmen14edo/Bragtime:''' The basis of knowsur's melody and harmony on the 14edo album NANA WODORI, and thus one of my personal favorites.

: '''Aura''': The only things I knew for a fact about this EDO going in were from my understanding of 4edo- namely that the same techniques available in 4edo are also viable here, with the added bonus of being able to use the Locrian-style tonic harmony in other ways due to there being more available pitch contrasts.  It is true that one has to omit the fifth from most chords for harmony in this EDO to be useful, but I have to say I was pleasantly surprised when I found out not only that the antitonic harmony could now be fortified with what is effectively a supermajor third rather than simply another instance of the tonic, but also that the pitch immediately above the antitonic could serve as a good set-up for the antitonic harmony thanks to also having this same supermajor third above the root in the form of the tonic itself.  Suffice to say I now have a new xenharmonic trick up my sleeve.

: '''Bozu''': kind of a cool diminished scale, but it suffers from the same problems as other drone-like edo's, in terms of options and constraints.

: '''Carmen14edo/Bragtime:''' I'm convinced anyone who thinks this edo legitimately sounds good are lying

: '''Aura''': The only things I know for a fact about this EDO come from my understanding of 3edo, as the same techniques available in 3edo are also viable here.  However, I can't say much about the other aspects of this EDO due to lack of other relevant experience on my part.

: '''Bozu''': 3rd order augmented scale.  I want to like this tuning, but I can't see any value in it beyond noodling.

: '''Carmen14edo/Bragtime:''' The only song I ever heard in this edo was from the video "1 to 11 tone Equal temperament songs" by 5 hideya, but it sounded like anxiety on steroids.

: '''Bozu''': Hyperpent with something resembling the chromatic scale.  This is the smallest edo set that has anything worthwhile to offer.  Constraints are within the critical range where melody, harmony, and chord changes can make some kind of sense.  It's not my favourite edo, but it has its own characteristics.

: '''Nicolai''': The first ''actually'' usable EDO. Decent chords & decent melodic ideas. Sevish's ''Vidya'' is a good example of how it can sound.

: '''Bill Sethares:''' ''If God Had Intended Us To Play In Ten Tones Per Octave, Then He Would Have Given Us Ten Fingers''

: '''Bozu''': This one is one of the three edo's that don't really fit any distinct category, and it shows.  In my opinion, it's the second most difficult to use.  Lots of possibilities of notes, unlike anything smaller than 9edo, but nothing seems to sound particularly great, not that it sounds particularly awful, either.

: '''Nicolai''': This is probably a good example of where you should use secundal harmony rather than tertial harmony.

: '''Carmen14edo/Bragtime:''' One of the only ones I'll probably never explore out of sheer fear

: '''Aura''': Finally!  The EDO I have the most extensive experience with.  All my direct, first-hand experience with 1edo, 2edo, 3edo, 4edo and 6edo prior to me finishing this page came about because I have access to a 12edo instrument- my grandmother's piano.  It is also from here that I've taken the bulk of my ideas on tonality- including my idea for Treble-Down tonality.  I still use this EDO as a basis for forming harmonic and melodic ideas.

: '''Bozu''': Honestly, the best edo.  Not too many notes, not too few.  What notes are there sound great.  It's the lowest composite hypopent, as well as the lowest composite of augmented and diminished.  You can use it to affect major, minor, augmented, and diminished tonalities very well.  The only place it truly falls short is anything beyond that.  It's not too great at approximating higher order harmonics, nor does it offer any neutral intervals.  It'd be sort of silly to think of a beginner musician starting with anything other than this or some form of meantone or JI that 12edo approximates.

: '''Carmen14edo/Bragtime''': For all the hate others have for 12edo, I have love and respect. I believe we microtonal musicians take it for granted, and while it's not the best edo to be the western standard regarding sheer possibilities in this tuning, it's very far from the worst choice imo, and I'd personally choose it as western culture's standard tuning over most all other edos of a similar size.

: '''Bozu''': To me, this one is the most difficult edo to bend to my will.  Like 11edo, it doesn't fit any category, but the tones all just sound off to me.

: '''Nicolai''': Extremely dissonant, but at least the major chord sounds somewhat decent. Not much decent, but its better than nothing.

: '''Carmen14edo/Bragtime:''' The other one I'll probably never explore out of sheer fear

: '''Aura''': 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.

: '''Bozu''': 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.

: '''Carmen14edo/Bragtime:''' Need I say anything? It used to be my bae, and will forever have a special spot in my heart.

: '''Bozu''': 3rd order hyperpent, also with the augmented tonalities pasted in.  Perhaps one of the most user-friendly edo's, it has a lot to offer, but also makes composers accustomed to 12edo think outside of the box.

: '''Nicolai''': Probably the most popular small EDO. Great chords, good approximation of 6/5, and supports some nice temperaments. Also I kinda introduced Weigel to a Hanson keyboard, and then he made it into his keyboard, so I feel a little happy about telling him about that.

: '''Carmen14edo/Bragtime:''' Blackwood[10] is like the coolest scale ever, change my mind (you won't)

: '''Bozu''': diminished mayhem with extra mayhem.  Check out Last Sacrament to see what this bad boy can do.  It's not super user-friendly, in my experience, but it has a distinct sound that seems to pervade everything you can put together within its constraints.

: '''Nicolai''': Chromatic version of 9EDO's mavila. Also cool approximation of 7/4.

: '''Carmen14edo/Bragtime:''' I want Easley Blackwood's "16 notes: Andantino" to play at my funeral

: '''Aura''': 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.

: '''Bozu''': Totally awesome composite hyperpent.  Great fifths, it can sound maqam-ish or western-ish, depending on how you use it.  So many possibilities.

: '''Carmen14edo/Bragtime:''' Some people like that one guy who wrote a paper argue this is better for diatonic melody & counterpoint, but at what cost? The answer is concordant triadic harmony lol

: '''Bozu''': Augmented scale sliced into thirds.  Doesn't really offer any sort of semblance of a perfect fourth or fifth, but doesn't seem to be a one-trick pony, either.  I'm just not sure what to do with it.

: '''Nicolai''': Nothing particularly interesting in this.

: '''Carmen14edo/Bragtime:''' I'll go out on a limb and guess this is one of the least used and least liked edos. I have nothing against it, but I have nothing for it.

: '''Aura''': 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.

: '''Bozu''': 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.

: '''Carmen14edo/Bragtime:''' I'd rate it 10/10 if it didn't have such a shite approximation of 7/4, but 9.5/10 is still quite good. Sunsrise by SAGA and the cover Sunsrise v2 on YouTube have made my brain explode in the best way possible.

: '''Bozu''': Hyperpent.  On paper, it looks okay, but seems really difficult to use musically.

: '''Nicolai''': Nothing particularly interesting.

: '''Carmen14edo/Bragtime''': Once edos get this big, they no longer offer me the inherent "woah I'm a small number edo" appeal, and that's when having other redeemable qualities must kick in. I'm yet to hear of such qualities with this edo.

: '''Bozu''': 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.

: '''Nicolai''': Its cool, but again, nothing particularly interesting.

: '''Carmen14edo/Bragtime''': Once edos get this big, they no longer offer me the inherent "woah I'm a small number edo" appeal, and that's when having other redeemable qualities must kick in. I'm yet to hear of such qualities with this edo, but I've heard inthar compose very pretty music in it. All that said, it's a multiple of 7edo so I should be a fan of it.

: '''Aura''': 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.

: '''Bozu''': 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.

: '''Carmen14edo/Bragtime''': Gleam was the first microtonal song for me. I have no words to describe it other than ear candy of the future, peering into an alternate world with music better than our own. That aside, having concordant major and minor triads and a usable 11/8 approximation is really nice, but lacking a really concordant and non-septimal diatonic scale is a deal-breaker for me regarding me composing in it & exploring it.

: '''Bozu''': This one defies my categorization as well as 11edo and 13edo, but with so many options for notes, maybe there is something there.  I haven't really deemed this one worth much time investigating.  To my ears, after playing with it for a couple of minutes, everything just sounds off, but not weird enough to pique my interest.

: '''Nicolai''': Hyperchromatic version of 9EDO's mavila.

: '''Carmen14edo/Bragtime''': Thanks, I hate it. Eikositriophobia exists for a reason.

: '''Aura''': This EDO served as my first personal foray into the world of microtonality.  It is also from here that I learned what I have about the 11-limit.

: '''Bozu''': This is where almost everyone outside of the xenharmonic community sends their minds when you mention "microtonal music."  It's used in traditional maqam music.  I've personally used it myself a bit, but, in my opinion, what gets added to 12edo is fairly limited.  It opens up a couple of new worlds of a few consonant intervals that play really well with familiar ones, and also some really skunky dissonant ones that drive the neighbours crazy.  But it's definitely not what I recommend for beginning a journey into alternative tuning.

: '''Carmen14edo/Bragtime''': Many people in the microtonal community write it off due to the notoriousness of "quarter tone music", but I'm particularly attracted to the new 12edo-polyphony key changes possible in this tuning.

: '''Bozu''': Hyperpent.  Not really sure what to do with it, honestly.  I'd rather use 22edo.

: '''Nicolai''': Great approximation of 5/4, but its another hyperchromatic version of 9EDO's mavila.

: '''Yourmusic Productions''': The whole-tone version of 50EDO's golden meantone. Lots and lots of bad options but like 6 vs 12, missing most of the good combinations.

: '''Bozu''': Composite hypopent.  This has some really cool possibilities and some pretty good consonant intervals, but doesn't seem (in my experience) to get too much love from xenharmonic composers.  Dave Trombly has done some text-to-music stuff with it that shows how even randomly-generated notes and intervals sound quite musical, but other than that, I haven't really come across any in-depth projects exploring it.  My own noodling around with it makes me think that it'd be pretty easy to use.  Maybe there are better options for many specific approaches, though.

: '''Nicolai''': The step-sibling of the meantone series. Its twice of 13EDO though, so the closest approximation of 5/4 is still trash. 14/11 is cool, though, so lets use that.

: '''Yourmusic Productions''': Definitely deserves more attention than it's got so far.

: '''Aura''': 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.

: '''Bozu''': Comte hyperpent.  Another one with tons of usable tonal possibilities that seems to get little actual use.

: '''Yourmusic Productions''': Like all pure powers of 3, unusually good for it's size. All the melodic coolness of 9 plus decent minor and neutral intervals and an acceptable 5th. Definitely my favourite superpyth system of manageable size.

: '''Bozu''': Hypopent and diminished, I'm not really sure what else this has to offer other than some funky neutralish intervals and diminished mayhem.

: '''Yourmusic Productions''': 14, only with a really in tune major 3rd and lots of other really interesting extra intervals. Really want an instrument that can do this one justice, probably an 8-string guitar tuned in it's slightly stretched 5ths so the top string is 3 octaves up from the bottom, and a 28-30" fanned fret multiscale fretboard that makes all the chords isomorphic.

: '''Bozu''': Awesome fifths and great overall set of usable tones with some really unstable-sounding ones in between.  I think this is a great intermediate-difficulty not-too-many-notes-but-kind-of-a-lot tuning set.

: '''Nicolai''': Similar to 27EDO, but this is a bit better since the fifth is a little bit better compared to 27EDO.

: '''Yourmusic Productions''': 12's evil twin, but in an awesome way. About the same amount of error but in opposite directions means similar kinds of psychoacoustic beating, majors and minors are still clearly recognisable, and everything sounds deceptively familiar right up until it does something awesome that 12 can't. When you do focus on xen intervals and chords, it still sounds much better than 24. Another definite favourite.

: '''Bozu''': Hyperpent.  Augmented.  Meh, too many seemingly useless intervals.

: '''Yourmusic Productions''': Whole tone + Blackwood. Like 24, mainly just adds more ways to sound bad compared to 15 and not worth the hassle.

: '''Aura''': Working with Superlocrian in this EDO is again interesting, but it's easier to do with this EDO than with 27edo.

: '''Bozu''': 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.

: '''Yourmusic Productions''': It definitely sounds nice, but I don't hear much actual songwriting going on in it, just people building enormous washes of harmony and luxuriating in them. Maybe it has too LITTLE tension in it, or maybe it's just past the point of complexity that the human mind can fully comprehend. In any case, it definitely hasn't been used to it's full potential yet.

: '''Bozu''': Composite hyperpent.  Diminished.  Kind of user-antagonistic on first impression.  Not picking up anything of striking value.

: '''Nicolai''': Same as 27 & 29EDO, but the fifth now is sharper than 27EDO.

: '''Yourmusic Productions''': Like all pure powers of 2, unusually bad for it's size.

: '''Bozu''': Composite hypopent.  Augmented.  Same impression as 32edo, except maybe even less valuable.

: '''Nicolai''': 11EDO, but with a better fifth.

: '''Yourmusic Productions''': Interesting, but another one that's too big to explore properly without better equipment, and nothing I've heard yet has really managed to do it justice.

: '''Bozu''': Composite hyperpent.  Offers the same as 17edo, except more stable modal tones.  This one is a gem.  I have no idea how to handle notation, though, but it's one of the most useful.

: '''Nicolai''': 17EDO, but now there's a good third.

: '''Yourmusic Productions''': Even better for 5-limit music than 31, with it's gorgeous thirds, actually defined different sizes of whole tone and still sour harmonic 7, yet even more underused. Definitely deserves more attention. Maybe a half-kite guitar, with full frets up to the perfect 4th or 5th, then 17edo above that point, with adjacent strings tuned so the full range of higher notes can still be played would make it feasible.

: '''Aura''': Interestingly enough, this EDO has a heptatonic scale that consists of the following steps- 5\35, 7\35, 14\35, 21\35, 26\35, 30\35, 35\35.  I found this scale while trying to find a good scale to use in a 159edo-based approximation of this EDO.  All in all, this particular scale has a quality mostly evocative of something akin to Dorian mode despite obvious tuning differences that seem to give a sort of middle ground between the 5edo qualities and the 7edo of this EDO.  So much for some of the claims of some other microtonalists about this one...

: '''Bozu''': Smallest amphipent edo (both hyperpent and hypopent).

: '''Yourmusic Productions''': The highest EDO that absolutely refuses to fit into a diatonic framework and forces you to work with it on it's own terms. If you do, it's ability to combine whitewood and blackwood make it incredibly flexible, with very interesting extended harmonies. Something like a 14 string chapman stick with one side tuned in 3 octaves of stretched 4ths and the other in 2 octaves of compressed ones would properly highlight and take advantage of it's unique strengths.

: '''Bozu''': 12edo slashed into thirds.

: '''Nicolai''': 12EDO, but better.

: '''Yourmusic Productions''': 12, only with lots of extra harmonic options that actually sound good and are much easier to slip into an otherwise normal track than 24's.

: '''Bozu''': Amphipent with a lot of notes.

: '''Nicolai''': Same situation as 35EDO, but the 5EDO fifth is now just a superpyth fifth. Also good approximations of intervals.

: '''Bozu''': 19edo slashed into halves.

: '''Bozu''': Hyperpent augmented with a lot of notes.

: '''Nicolai''': You either get mavila or superpyth, there is no middle.

: '''Bozu''': Amphipent diminished.  Can't really find a good use for this one.

: '''Aura''': Using Ultralocrian mode in this EDO is a challenge, but apparently quite well worth it.

: '''Bozu''': Lots of notes, but all of the bases seem to be covered.  Probably the only edo between 35 and 49 worth all of the trouble of dealing with so many notes.

: '''Inthar''': This and more accurate tunings are essentially low-complexity JI.

: '''Bozu''': Amphipent augmented.

: '''Nicolai''': You either get 7EDO or superpyth, there is no middle.

: '''Bozu''': Hypopent composite.  Looks great on paper, but is a lot of notes and is either difficult to use or perhaps not as good in practice as it ought to be.

: '''Nicolai''': The other step-sibling of meantone.

: '''Bozu''': Amphipent diminished.

: '''Bozu''': Amphipent augmented.

: '''Bozu''': Hyperpent composite.  Same thing where it looks great on paper, but I feel underwhelmed noodling around with it.

: '''Inthar''': Great parapyth tuning, if you want your major thirds to be 14/11 instead of the more dissonant 17edo major thirds.

: '''Nicolai''': You either get 5EDO or 7EDO, but there is a middle.

: '''Bozu''': Amphipent augmented.

: '''Nicolai''': You either get 7EDO or superpyth, but there's a nice third.

: '''Bozu''': 12edo eighth-tones.

: '''Nicolai''': 12EDO, but more fancy.

: '''Bozu''': Amphipent with two different choices of crummy fifths.  Not really obviously useful, in my opinion.

: '''Bozu''': This is a great option for meantone.  Notations seems to be less of a pain, but 53edo is almost better in every way.

: '''Nicolai''': I consider this an optimal meantone EDO, due to a wealthy collection of notes here.

: '''Bozu''': Not as versatile as 50edo.

: '''Bozu''': Not as versatile as 51edo.

: '''Aura''': Most of my experience with this EDO comes from my current experiments with 159edo, and this will likely continue to be the case since this EDO doesn't have good approximations of the 11-limit.

: '''Bozu''': Generally the stopping point.  If you are comfortable with >50 tones, then this tuning offers almost everything you will need.  If not, stick with 31edo or something smaller.

: '''Nicolai''': JI: The Book.

: '''Bozu''': Seems to have some interesting options, but it's a lot of notes, and other neighbouring edo's can do some more versatile things.

: '''Bozu''': 12edo, with each note sliced into five pieces.  Not a bad option, except for the myriad of notes to navigate.

: '''Bozu''': 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.

: '''Aura''': 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.

: '''Yourmusic Productions''': 12, only each note is split into a full rainbow, which makes for awesome looking yet still easily comprehensible notation. The best multiple of 12 for 5 limit music and my personal holy grail of edos to find a way to make playable.

: '''Bozu''': 29edo with each interval sliced into three.  You can do some nifty stuff with it, but the number of notes is too crazy to cover much with midi unless you choose a subset.  Pushing a continuum beyond this.

: '''Aura''': 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.

: '''Aura''': 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.

: '''Aura''': This is the best EDO I've worked with, hands down.  After finishing the list of JI equivalents of the various steps of this EDO, I have since found that not only is 159edo very good for those who like to make more just versions of the more familiar kinds of things you see in 24edo, but is also very capable of approximating the steps of many lower EDOs within five cents, making for some decent retunings of some of the more commonly used EDOs such as 22edo, 31edo, and even 41edo.  Based on this discovery alone, and the fact that I managed to pull off multiple songs that people really seem to like- namely "[[:File:Space Tour.mp3|Space Tour]]" and "[[:File:Welcome to Dystopia.mp3|Welcome to Dystopia]]"- I'd have to say that 159edo is not just a superset of 53edo, but rather, an EDO that is quite full of surprises.  I imagine at this point that some would ask me why I don't just use JI, and the answer is that even a Mega-EDO like 159edo is considerably more simple than JI, as you have to account for a lot of unnoticeable commas in JI- a near-pointless endeavor as virtually nobody can hear such small differences in pitch.

[[Category:Impression]]