Traditional diatonic tuning and why/how it often violates the critical band

   Various experiments have shown that around 100cents (at, say, the middle C) is the point of maximum harmonic entropy.

  Yet basic diatonic scale ALA C-major in 12TET or even JI still have these "deadly" half-steps...and very rarely are such half-steps used in succession in chords (IE you will almost never use the notes B5 and C6 together in a chord).

   I have been experimenting with the idea of pushing each note of the basic diatonic scale (going up to the first 5th) at least a ratio of 1.075 away from the nearest note to avoid the critical band clashing that happens worst at around 1.05.  This has given me the following scale:

1
1.081
1.1624
1.25
1.395
1.5 (the period IE 3/2)

  Try this scale for yourself and I'm sure you'll find the sense of "balance" rather similar to the diatonic scale, but with less violent beating and more possible chords.
  Any ideas for improvements and/or observations or ideas as to why your think this scale does/does not work better than a similar scale with half steps (such a scale would be 1 1.0625 1.125 1.25 1.412)?