This is "Preset 9 — 53-ET Bosanquet" in version 1.0 of the official Lumatone manual, and "Preset 9 — 53-EDO Bosanquet" in version 1.21. Cam Taylor has created a tour of intervals for this layout, in A meander around 53-equal on the Lumatone (2025).
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Hanson
Since 53edo is a schismatic tuning, the best approximation to 5/4 is the diminished fourth. The Hanson mapping makes playing familiar 5-limit chords easier, but the 4L 3s mapping does not quite span the full gamut.
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14
The expanded 4L 7s mapping does cover the entire gamut, but puts octaves all over the place.
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Semaja
The Semaja mapping covers all the notes with no repeats and slightly greater range than the diatonic one, but 5-limit chords require a diagonal hand position and wrap around at the top.
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Hemikleismic + Semaja
Bryan Deister has demonstrated two mappings for 53edo that functions for hemikleismic (7L 1s (pine) scale with a 7:4 step ratio with the small step stretched) and semaja (rotated 5L 1s scale with a 10:3 step ratio); both versions favor hemikleismic over semaja. For hemikleismic, the generator 7\53 is half of a near-just classic minor third ~6/5, which functions as a flat undecimal submajor second ~11/10, a sharp undecimal neutral second ~12/11, a slightly sharp septimal neutral second ~35/32, and a near-just large vicesimotertial neutral second ~23/21. Four of these make a slightly flat tridecimal diminished fifth ~13/9; five of them make a somewhat flat Boethius' minor sixth ~12/9; after octave-reduction, ten of them make a flat flat septimal major second ~8/7, which at 10\53 is the generator for semaja; several undevicesimal ratios are also available. Two of the semaja generator make a slightly flat Barbados third ~13/10; after octave-reduction, eight of them make a near-just classic major third ~5/4; several tridecimal ratios are also available.
Reverse chroma
In the reverse-chroma version demonstrated in Waltz in 53edo (2026), the hemikleismic 7L 1s scale is played by moving right and right-up with the small step stretched, and the semaja rotated 5L 1s scale is played by moving down-right and down; a 5L 8s (4/1-equivalent) scale with a 10:7 step ratio is also available moving right and down-right. The range is a bit over 4⅓ octaves, with no missed notes and just one repeated note in each octave, but the upper left and lower right corners have many additional non-contiguous notes, and the octaves are not in consistent places; on the other hand, classic thirds both minor (two steps right) and major (one step right plus one step down-right) are in very easy reach as long as they do not pass through a vertical wraparound (it may be necessary to adjust note 0 position to avoid this for a particular performance, such as in the linked video which has note 0 where note 3 is here).
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Forward oversize chroma
In the forward oversize chroma version (very similar to the expanded Lumatone mapping for porcupine), demonstrated in 53edo groove (2026), the hemikleismic 7L 1s scale is played by moving right and right-down-right with the small step stretched, and the semaja rotated 5L 1s scale is played by moving up and up-left; the 5L 8s (4/1-equivalent) scale is not practical in this version. The range is less than that of the reverse chroma version, at somewhat under three complete octaves, but in exchange, more repeated notes are available to mitigate vertical wraparounds, and the upwards slope of the octaves is less.
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Buzzard
For easy access to single step movements and both the third and seventh harmonics, the buzzard mapping is quite effective.
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Amity
The Lumatone mapping for amity mapping also puts 5-limit chords within very easy reach and provides a relatively even heptatonic scale.
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See also
Due to limitations of the Lumatone EDO mapping template, some Lumatone mappings for 53edo (currently for Orwell and semiquartal layout families) had to be moved to another page.
