Hi all,
I hope it is ok to promote something I am selling on here. I have put my 19-tone equal temperament guitar up for sale on ebay and thought there may be a few people on here interested in that sort of thing. Here is the link: https://www.ebay.co.uk/itm/196799001108

https://preview.redd.it/n4hpwc6slq0e1.png?width=1200&format=png&auto=webp&s=a2cf136d44a0f0b0d97f409766fc9fe068d9982b

Thank you

https://on.soundcloud.com/CMqGQ

https://youtu.be/Z9d4eV7y7lU?si=5kEhVZk7TKbgxgMK

A live performance with Live (DAW) effects and manipulated drone video.

Anyone know the ED with widest step size that has distinct consistency limit 8?

Best I've found is 41EDT. Thanks. https://en.xen.wiki/w/41edt

preferably something free 😭

https://grantengler.bandcamp.com/album/a-few-cents-short

https://www.youtube.com/playlist?list=PL10mSYfFujfoTfqTCi1-tW9cLtAzHYVbF

Can someone tell me interesting scales, if are there subminor, submajor and other scales, what are the sequence of notes?

https://youtu.be/TiGI-5i2wZ8?si=yPYjHpnk8YSVWRjn

In the past few years I've started to take interest in microtonal/xenharmonic music. I've been listening to it on and off (artists like Sevish, brendan byrnes, Xotla, ...), read about the theory and also tried experimenting with 10 and 11 edo scales a bit on my guitar using a hacky movable bridge.

In this time I found quite a few things I really learned to enjoy, however....... I have to admit that intervals involving a 7 (or higher primes) still essentially sound to me like detuned versions of the nearest 5-limit intervals. For example, 9:7 just sounds like a wildly detuned major third, 7:6 like a detuned minor third and even 7:5 sounds like a detuned tritone.

So I was wondering, how do more experienced microtonalistas perceive these intervals? For example, do some of you feel when moving up from a 5:4 major third that the sound gradually becomes more dissonant and then it "clicks" again when entering 9:7 realm, and it feels like an entirely new interval? That's how I'd expect it to feel from theory, but it doesn't feel like that for me.

Also, I know that context matters a lot for musical perception. Are there any pieces you could recommend listening to that make the consonance of this kind of intervals stand out somehow?

I was wondering if it is possible to create microtonal MIDI harmonies for synths tuned in a non 12 TET scale in ableton by using the piano roll in a way that makes sense.
It seems that to work on microtonal projects, the way to go is record your microtonal playing into audio format & compose your track like that.
I was wondering if anyone found a working workflow of recording microtonal midi for ableton, that allow post recording tinkering with the midi from the daw itself. The way I have seen this done is via MPE & pitch bending each note, but this seems very tedious.

Has anyone found a way to have microtonal midi layed out in a way that allows for a comprehensive overview of the scale used, and supports post recording note editing?

https://preview.redd.it/1w4ztfi9lpxd1.png?width=1513&format=png&auto=webp&s=bdcede6bdce0263e3a6ebd6c4ae5bff2b1182213

https://preview.redd.it/gcfcbyhclpxd1.png?width=1513&format=png&auto=webp&s=a4291f34c90a94d88ae6a6002caadb91e4d1cf80

https://preview.redd.it/nketgevelpxd1.png?width=1513&format=png&auto=webp&s=da76d1abbe8702320fab36630368396d020adf41

https://preview.redd.it/zwb1ul3glpxd1.png?width=1513&format=png&auto=webp&s=818a928a49371cb57ccbb55499e487b5dc473386

While developing my own little pet microtonal system, I ended up recreating Paul Erlich's and Joe Monzo's Bingo Card Lattices with a little twist to it. The goal of this post is to garner your feedback.

I'm positive those "shuffled lattices" must already be known by another name. For 22-edo, the altered arrangement initially makes it look as if the syntonic comma had been tempered out. However, the pattern is irregular enough that the Double Syntonic Comma is not tempered out. That clearly makes the arrangement non-meantone, but it can pretend to be for a little bit. faux-meantone?

Maybe this idea needs more development to become generally useful. I've been using those shuffled arrangements for some 5-limit tempering experiments that sacrifice Rank-3. It would only be retained locally within those visually distinctive blocks. Take any 0 within those blocks and project it onto the orgin of the standard lattice, and that's an exact match.

Essentially, those "shuffled lattices" take the best approximating scale steps for each 5-limit interval that lies directly on the 3-axis and 5-axis, then fill in the rest of the lattice by adding the steps on both axes mod edo-size. The resulting lattice arrangement trades off a regular pattern with accumulating drift for a more irregular one that however has a maximal error of one scale step.

Any suggestions? Requests? Which other 5-limit intervals or commas should be included on this list? I've mostly stuck to the ones that are relevant for my own purposes. If this is the [3 5] lattice, would it maybe be nice to have a [3 7], [5 7], [3 11], [5 11] and [7 11] one as well? Looking up [3 5] comma names was cumbersome enough.

Here are some apparent gaps in comma names I could find:

 Editting in 6-edo lattices relevant for my post below:

https://preview.redd.it/9bjdhmdznwxd1.png?width=1513&format=png&auto=webp&s=03efd82519469e43ff3de415ed0501d3228346c3

https://preview.redd.it/ysgwwc61owxd1.png?width=1513&format=png&auto=webp&s=5d167ea093fa19ed113513a93a6fbd78ec0c4851

Again, I'm happy for any feedback, even if it's that you are confused as to what exactly is going on or if it's that you think I'm operating under a kind of misunderstanding of basic concepts.

When it comes to large EDOs, I see more people using any of 27,29,31,34,41,53 than 36. 36EDO has good 7/6s and 8/7s so at first glance it seems like the optimal choice when you want to expand harmony from 5 to 7-limit.

The biggest advantage is the fact that 36EDO includes 12EDO which seems pretty important. The intervals of 12EDO make 5 limit music very simple by tempering out anything else. Often you need exactly those bad approximations of 12EDO to make an idea work. Other EDOs seem to have more trouble with parts that return to simplicity for a bit.

The two systems that are most similar, 31EDO and 41EDO, have better thirds but considering that thirds already work well enough in 12EDO, it doesn’t seem like a big problem.

Another thing is that 36 has many factors that divide it, so scales should be easier.

I can see that people want to try new and exotic things first and 36EDO seems boring in comparison. Still, it offers so many new possibilities that might be more straight forward but haven't been explored yet.

What do you think about 36EDO and why do you think it never caught on?

Hello! Me and a few buddies are forming a combo and I was hoping I could bring something with middle eastern influence or something with general microtonality. If anyone knows of any pieces that include brass instruments (saxophone/trumpet) that would be wonderful. Thanks!

https://youtube.com/playlist?list=OLAK5uy_nLrydBqM-7E95dimTxVcLf7Na5jnExu5s&si=F3HsL-3zbubKWEZH