commas in equal temperaments

Paul...I've been playing 34 tone eq temp for a while now, and it is
known for it's comma. In fact, let's get that out of the way: there is
nothing "pseudo" about this comma, it's just using the term for an equal
tempered phenomenon rather than a pure tuning situation. As long as the
difference is made clear, comma will suffice.
Anyway, here's what happens in 34...first, if you take an E major
chord in 34, and then a G major, the B note will NOT be the same
note in both chords; they are different by 1 increment. This is a hoot,
and I don't agree with Morrison that this comma is either an error, or
something to be avoided; I am learning to embrace it, work with it...the
results are totally unique. It is a challenge, to be sure, but the vistas
are pretty exciting.
Next, there are 2 separate circles of 5ths in 34, as well as 2
different whole steps, one representing 10/9, and the other 9/8. The
major and minor 3rds are only about 2 cents from pure, the 5th is about 4
cents sharp, and the ratios 49/48, 25/24, 17/16, 13/12, 20/17, and many
others are mighty close to pure. People have called it the just intonated
equal temp for good reasons, and I think it is a good direction to
pursue. I am composing on both electric and acoustic guitars with 34;
there's a lot going on with this system. Feel free to post me privately
if you have other comments.
Also, there's a misunderstanding about Brian Carlson's post
concerning his guitars...one is 19 eq, and the other is 18 unequal; this
is the one that Rankin helped design. So, all you guys who were wondering
about the ratios, it's 18...Hstick

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>I joined the list last week, so I thought it's about time I introduced myself.
>...my thesis project is called Rusty.

Rusty sounds interesting. How would you compare it to OpCode's Max?



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