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John Link wrote:
>>I presume you use a 7/4 ratio for the G7 minor7th because it's the 7th
>>harmonic of G, no?
>
>Yes. Anything else would be out of tune.

Sorry, I should have elaborated. Pardon my ignorance, but I don't
understand, unless it's voice leading considerations (?), but the minor 7th
in the Dmin7 chord is in tune at 9/5. There'st more stuff on the web I
should read before asking more inane questions in this direction, but all
suggestions of good reading on why certain ratios are best in one chord and
not another would be most welcome.

>>Comments?
>
>Get yourself some singers. Or, take a look at www.justonic.com for some
>software that I think might do what you want.

Unfortunately Justonic won't integrate into my system at all (doesn't
support my synths, runs on a different platform than my sequencer, etc.),
otherwise I'ld experiment with it.

But my biggest interest is to understand whatever theory there is behind
tuning, at least as far as there are physical reasons for some things
sounding good and others sounding like they should change soon - up to the
point where it turns into individual aesthetics, cultures, etc. (which I'm
getting the impression happens fairly quickly :)). All references greatly
welcomed (I've got lots of URLs from this group and searching the web, but
if anybody has compiled a list that would be great).

I'm also aware of Sethares work relating tuning to timbre etc., but would be
very interested in any scales people have derived from acoustical
instruments and voice using this technique. (His book is out of print, so
I don't know if he has much of this in it.)

Thanks to all respondents for the helpful answers. I appreciate it.