@FranciumMusic BTW haven’t anything caught your eye about that experiment with both translating a diatonic piece to antidiatonic and also inverting pitchwise so the harmonic feel of single chords will remain (but not harmonic motion) and the melody will be inverted. I may be forgetting and you probably have done something like this already but maybe you’d wish to repeat the experiment...
My, I love Ravel’s Bolero.
@FranciumMusic BTW haven’t anything caught your eye about that experiment with both translating a diatonic piece to antidiatonic and also inverting pitchwise so the harmonic feel of single chords will remain (but not harmonic motion) and the melody will be inverted.
I may be forgetting and you probably have done something like this already but maybe you’d wish to repeat the experiment...
do spamton next
Why do you use so many meantone tunings in your tuning comparisons?
I honestly don't know.
I'd imagine it's easier to convert a piece from 12 since you don't have to do syntonic comma adjustments
Are 43edo, 50edo, 55edo and
74edo really audibly distinct that they warrant a tuning comparison between all the other meantone edos?
@@FitzgeraldPoetLaureate some people can tell them apart but I'm not quite there yet
Yeah I guess it doesn’t hurt having them. Though I always appreciate retunings into other small~mediium-ish edos.