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@@incription 280 fully customizable keys, the intricacy of the Lumatone, the fact that it allows you to explore all kinds of alternative tuning systems, isomorphism, and the fact that there are only two engineers who design and manufacture each Lumatone all contribute to the $4000 price tag

@@BGQT 😭

stop getting so emotional

@@Fire_Axus nuh uh

@@YoVariable bruh

⁠​⁠​⁠@@FranciumMusic Of course! I used the harmonic 7th in 19edo as a passing tone; it is too flat for my ears as well. I’m also a guitarist, so I’m planning to choose 19edo as the tuning system for my first xen guitar! I play a lot of diatonic music so 19edo is the obvious choice, even if 22edo does offer better approximations to the harmonic series.

@@_sadtahh NA-West

@@martakor It’s funny that I find 12edo quite “out of tune”

@@iamlalala1995 glad to hear it!

it's like every note is perfect!

@@05degrees op. 1 no. 2 will be longer 😛

@@YoVariable 👏

Thanks!

@@rosiefay7283 Can you please clarify? I don’t quite understand what you mean.

@@YoVariable 31ET is meantone, so whatever spellings are correct in 12ET are the correct ones for 31ET. Consider b.6. The chord is V7 of G major; it uses the 4th degree, which here is C. You've lowered it by half a semitone; why? (This lowering is all the more surprising, considering that you leave the C alone in b.4.) Then in b.7, where Chopin lowers the A by a semitone to A♭, you lower it by a further half a semitone; why? These half-semitone alterations make no harmonic sense.

⁠@@rosiefay7283 the D7 chord that you’re referring to is a D **harmonic** 7th chord, with the 7th lowered by a diesis. The diesis (128/125) is the technical term for these “half-semitone” alterations you’re referring to. Even though diatonically Cd (semiflat) is “out of tune” in both G major and C major, harmonically it matches the 4:5:6:7 frequency ratios that make up a harmonic 7th chord, giving it more stability. As 31edo is a meantone temperament, like you pointed out, 7-limit intervals are more difficult to notate. I could have easily notated the Cd as an B# (an augmented 6th up from D). In measure 7, I decided to replace the Ab with an Adb (sesquiflat) to match the 6:7:9 harmonic ratio of a subminor triad, which I found more consonant. I could have notated it as a G# (an augmented 2nd above F). If I notated 10-1 in a superpythagorean (superpyth) temperament instead, I would notate the Cd as C and the Adb as Ab as they match the 7/4 and 7/6 harmonic ratios corresponding to their root notes (because of tempering).

@@coral6601 once you expose your ears to more microtonality, they will adjust (trust me, I know from experience). 17edo’s major 3rd is sharp at 423.53 cents (23.53 cents sharper than in 12edo standard tuning), which brings it closer to sounding like a supermajor 3rd. However, the minor 3rd at 282.35 cents is closer to sounding like a subminor 3rd, so subminor triads tend to sound smooth in 17edo :)

@@YoVariable thanks for your answer (I am French) probably your sensitivity is different because you are certainly younger than me who is 73 , you can find interest in playing these computer games which I find boring after 2 minutes and completely irrealistic ,how can you feel interest for jumping 3D animation ,the real artist are the developers who spend so much time on these bur for the consumer no much interest ,all these technologies are good to learn how to pilot a plane but is it good to learn how to killed people ? My main interrogation is how is it possible that so many people who like that kind of computer game are not only loosers ,I mean the average drugs dealer or guy with no work leaving from gouvernement assistance ,for these kind of loosers I can understand that but I am surprised that intelligent guy like you and many musicians have interest in these video games and the music they are composing are beautiful, also I like the modern piano compositor I see on YT ,Tony Ann ,Chahine ,Gibran Alcocer and many other giving a new breath to classical piano , thank you to read my long answer to share some thoughts about music , I think that in school and center for learning and educative purpose for young a piano and a teacher must be at disposition to play all these modern and classical piano compositions to give them the envy to learn music and not spend so much time on video games 🙂

@@YoVariable I agree, you pick up some ear fluidity over time. I think “out-of-tuneness” has left me almost entirely by now after two or three years of episodic listening to alt-tuning music, though I still have feelings like dissonance or something else in my arsenal when I want to try and feel an interval or a chord. (The last one is added if anybody’s anxious to lose all distinctions in their sound perception: no, they will retain, you’ll just become a more sophisticated listener.)

@@thibomeurkens2296 in 31edo, a lot of intervals are closer to the pure tuning of just intonation, so they tend to sound more consonant :)

It truly is as 22edo shares some sonorities with 55edo (~1/6-comma meantone, used by Mozart) as both tunings have 11edo as subsets. The only major difference is 55edo tempers out 81/80 while 22edo doesn’t.

ghfhcbdjdvd

actually, you can play regular major chords with 7\22 (~381.818 cents)

@@YoVariable Ok

@@BGQT Maybe 17edo will fit under this description! 5\17 is unambiguously neutral at 353¢, but 6\17 is already 424¢. Though we have also 4\14 ≈ 343¢ and 5\14 ≈ 429¢, or: 3\11 ≈ 327¢ and 4\11 ≈ 436¢. I don’t remember where approximately do supermajor thirds reside but this all probably goes alright. That’s why I’m trying not to have any faith in statements about uniqueness of things’ properties like these, they’re not especially robust if we jiggle things a bit. There are robust uniqueness statements of course but I don’t know how to suggest how to discern them in general way, they just feel different. EDIT: What would be more robust in this area is for example “36edo is the smallest to have all three of diatonic, antidiatonic and oneirotonic fifths”. There was some theory backing this but I don’t remember it exactly; it relates to 35edo being both multiple of 7 and 5, the fifths 4\7 and 3\5 of which are exact diatonic fifth bounds.

Now I wonder which smallest edo has all four of meantone, superpyth, antidiatonic and oneirotonic fifth. There is no MOS scale magic to discern meantone from superpyth to guide us then, because log₂(3/2) is irrational.

The answer is 47edo

I transcribe and arrange on Dorico, choose a nice piano VST (this is using the Clean Upright LoFi piano), record everything using OBS, and edit everything using a video editor (I use Kdenlive, it’s free and open source).

Thanks! What diminished chords are you specifically referring to?

Thanks for your support! I’m glad someone else noticed my pfp ;)

Thank you! There are times when 17edo can sound consonant :)

Probably not the neutral section but for the rest it’s possible!

@@YoVariable Ah yes I see what you mean

Good question! 17edo is a great example for this. When I hear a G in 17edo, I immediately recognize that it’s a flatter G than in 12edo, getting into subminor territory (paired with an E as the root note). When I hear an Ab, the 3rd cannot decide whether it’s major or minor; it just sounds like a train horn, which indicates to me that it’s a neutral 3rd. When I hear a G#, I hear it as a strained major 3rd, but it doesn’t feel as consonant as a 9/7 supermajor 3rd, but it’s still a supermajor 3rd nonetheless, closer to 14/11.

@@YoVariable dude for me G in 17edo is sharper than the G in 12 because I use a fixed C sistem, I tune all my tunings to C=261.6255653005986 Hz I think you are using a fixed A sistem at 440 and tune 17 around that note. for me I feel the G is sharper than 12 because superpythagorean. for you is flatter because if A is 440hz the major second is ~212 and thus G being ~12 cents flatter . I feel kinda insecure about my perfect pitch because it's not (perfect). assuming 12edo A440 I can tell the name of a pitch relatively quickly, without thinking ,but on G and F im a bit slower. and I can't do chords 3 or more notes. I simply can't unless its C major. or it just takes me way too long . And I also can't recognise notes if they go too fast like in a melody or in a song. But I can tell you car honks and other straight tones easely and also theyr aproximate cent deviations . Im verry annoyed when I hear chords in a song I like and don't know what they are, it ruins my listening experience.

@@originalname7176 you’re right, I tune mostly to A440 so the G does sound flatter. But if I tuned to C = ~261.626 Hz, then the G would sound sharper because of superpyth.

@@originalname7176 for me, at least, I can immediately tell the key of a song and if I actively listen, then I can identify the chords being played (I’m working on identifying more complex chords like 11th and 13th chords). In microtonality, harmonic 7th chords are very easy for me to identify; I just listen to the prevalent harmonic 7th (7/4) in the chord.

@@YoVariable I'm happy for you ! (jelous) But I'm really confused. Do I even have perfect pitch if I can't tell the key of songs like you ? I think I have true pitch, like when I was little I had theese silly musical toys, like a tiny electric piano and a xilophone. I think I developed 50% of perfect pitch and just stoped, it wasn't enough for me to have actual perfect pitch. But in my teenage years, I think I started learning true pitch (quasi-perfect pitch) and I completez the rest 50% with that ? Soo I want to beleve I have an even mix of perfect pitch and true pitch, this is a thing that really bothers me. I technacly have perfect pitch but I feel like I have a dissability when comparing myself with people with actual perfect pitch, sorry for telling you this, it's been on my mind for a while and I didn't know where else to say it If you could give me some advice I would really like it but you don't need to really . Please have a nice day sorry to bother you ♡

Thanks!

Yes, it's simply called an A harmonic seventh chord (A C# E Gd or A C# E Fx, Fx = Gd in 31edo). It corresponds to the 4th, 5th, 6th, and 7th harmonics (4:5:6:7) in the harmonic series.

Thanks a lot! Much appreciated!

i don't have the space to set it up yet but i did order one :)

The b5 in 19edo was too sharp for my ears, so I used the bb5 which sounded more natural (it honestly sounds better than the 600¢ tritone). 19edo is very flexible; since it is a meantone and diatonic edo, it can be as familiar or xenharmonic as you would like. Maybe when you have more free time, you should do that Metallica cover :)

@@YoVariable FASCINATING! I believe it. You can get 19edo semitones to sound neutral-secondy if you’re clever enough.

they're about 7.2 cents off from JI, but they add a nice beating effect

Thanks for your support! ❤️

honestly you just have to really listen to it there is a noticeable difference

You can use microtonal plugins to do most of the retuning, which I have done. In the pinned comment, I have posted a new link to the plugin (although you can try euwbah's new Xen Tuner and see if that will work). I switched over to Dorico recently as it has better microtonal support.

Yes i am planning to switch to dorico very soon. Is the standard score for this available for free online? I see your 31 edo score, but i would need to see the original chords spellings to properly do it.@@YoVariable

@@RememberGodHolyBible Here's the standard score: drive.google.com/file/d/18mH2P3nLPMJfYhENbo9H9cMq1zDVvFny/view?usp=drive_link I'm now using a different plugin called Xentuner by Keenan Pepper that you can reference right here: github.com/keenanpepper/musescore-xentuner Also, download this custom 31edo JSON retuning file I created and place it in the examples folder of the plugin: drive.google.com/file/d/1_nNzWrYAXSU98MVQM8ANwbmeB8sLPTOa/view?usp=drive_link