What tuning sounds best

[Paul Erlich, TD 386.13]
>That's Ken Overton's way, and it sucks. I'd never do that.

[Joe Monzo:]
> What tuning sounds best in any particular instant is highly
dependent on many contextual factors,

Amen. Inspired and talented folks will make what works work... And
when you say: "Of course, how one tunes a particular harmony is one's
own prerogative, but I think it's wrong to use such strongly
disapproving language," I personally couldn't agree more... little
else bothers me as much as when people assume (or even benignly imply)
that what works best (or what's 'the good stuff' and what 'sucks') for
them, is what works best (or holds true) for you too. But that's me. I
also understand that that is exactly the way that a lot of people
clear out their space and focus their objectives... unfortunately (or
at least it seems this way to me) the divergent ways that people
naturally 'speak' and 'interpret' can often seem frustratingly garish,
or one-dimensional, in this particular forum (meaning the medium in
general and not the TD in particular), and as such, simple opinions
and expressions (can) often seem distortedly blunt or obtuse (etc.).

[Joe Monzo:]
> The point I'm making here is that it *still* sounds like an 'A major
triad', and in the context in which I use it here, it is important to
the dynamic musical movement of the voices that it is *not* tuned in
the usual JI way.

Right on Mr. Monzo! I think that one of the great liberations of an
expanded intonational palette IS having so many multiple conflicting
interpretations of something as well thumbed as the major triad... I
mean to my ways of working and thinking, this was EXACTLY why I was
initially so fired up about the possibilities of "microtonality": It
seemed to bode well for the possibilities of "music."

Dan