Yahoo Tuning Groups Ultimate Backup tuning AEH Ethno2 microtonal demos competition

Friends,

Last winter, after I finished my work on Ethno2 microtunings, I suggested the director of the MOTU team of developpers in Paris that I could send a call for Ethno2 microtonal demos, in exchange of a few free boxes. He got interested in the idea, and a few days ago, I received 12 Ethno boxes.
So, to whoever it may concern, I inform that the AEH is opening a microtonal competition where one can win a free box of MOTU Ethno version 2 (value 374 $ or 329 euros), a virtual world instrument plug-in now Scala-compatible and provided with 155 extended-JI tunings of my creation.

http://www.motu.com/products/software/ethno/microtuning.html

These boxes are complete and with a demo license, it means they cannot be used for resale.
Here are the rules of this competition. Feel free to discuss them if you think they can be improved, or completed, then I will confirm the definitive rules.

CALENDAR :
1. In a first period starting today, candidates may send me (offlist) a short mail saying that they are interested to participate, with their country of residence/profession /activities, and an eventual web page about their music. This is for us to have a rough idea of the number of potential candidates, their geographic repartition and domains of interest.
Please write only if you have a machine that meets the required configurations for installing Ethno 2 (check on MOTU's website page Specifications / Full system requirements) :
http://www.motu.com/techsupport/technotes/ethno-instrument-2-system-requirements
(unfortunately Linux operating systems do not apply to those)
2. In a second period, the AEH will answer either by accepting your candidature, or by refusing it (with an explanation), or by asking eventual precisions or links to some of your works.
3. The AEH jury will then deliberate and select 11 concurrents (because one box is for the AEH studios), will inform them, personnally and through the Tuning List, and send them each one 1 Ethno box, to our own charge. I can't say at the moment if the participants will have to pay customs charges at reception, because we already paid customs when we received the 12 boxes from the USA and I have to check about that, but at the worst this would be a few $.
4. In a third period, the candidates will have up to the 21st of June 2010 to sent their musical works (free of rights), in the form of mp3 files, each one with a title and 1 line of presentation.
5. The AEH jury will then select a few demos in different categories among which some, along with the musician name and line of presentation, will be proposed for the Ethno2 pages of MOTU's website, and eventually other sites. The results will be mailed to the participants and to the Tuning List.
6. Without engagement about it, and only if the received demos show a high level of musical quality, the AEH may edit a CD mix of a collection of them.

SPECIFIC RULES :
1. The competition is open to all and covers two categories :
- the first one concerns works based on the original Ethno2 microtunings (except the default tuning) ;
- the second one concerns all other microtunings, either from the Scala archive or other sources, or the participant's personal tunings.
2. In both categories the tunings will have to be precised.
3. There is no maximum of demos by participant for both categories, but whatever the tuning choices, selected participants have to produce at least THREE demos using the original Ethno2 tunings.
The reasons for that rule are at least double : for one thing these original tunings represent an important research work from the AEH and hearing them played and perhaps commented by other musicians, besides being a great pleasure, will be very instructive to us ; but also, musicians able to create their own tunings or even to choose them from other sources being an infime proportion of Ethno2 potential purchasers, it is fair to ask that all participants, even if advanced microtonalists, contribute to a minimum of demos using the original tunings.
4. Musical styles are open, they can range from traditional music or imitations, ethno-rock, or experimental, ETC., but should have a microtonal character AND be pleasant to hear, even for non-connoisseurs.
5. Ethno has to be the only sound source, and the only tools authorized to make these demos are Ethno2, and multitrack recorders or audio/MIDI sequencers.
6. Except for improbable combinations we dissuade the use of melodic loops and phrases from Ethno, simply because their tunings are non-tunable, either 12-ET or undefined, and would add confusion.
7. Demos can be sent any time at Jacques Dudon's personal mail :
fotosonix@...
8. They should be in mp3 format, 44,1 Khz MPEG stereo, 160 kbps.
9. Their minimum duration should be 50", and maximum 3 minutes (in the eventuality of a CD release, longer versions and in WAV format could be asked from the participants).
10. Participants who fail to fulfill the rules for whatever reason or unforeseen difficulty will have to uninstall Ethno2 and return the full Ethno box to their own charges to the AEH as soon as possible and before the 21st of May 2010 at latest.
11. People who already own Ethno2 may participate for fun, without the required minimum of 3 demos asked to other participants.
12. The AEH has no objection to the divulgation of the demos in competition by their authors at any time (for example through links mailed to the Tuning List, but NOT by sending files to the Tuning List).

ADDITIONAL INFORMATIONS :
I understand that many musicians might have difficulty to determine their candidature without knowing the technical, practical and microtonal features of Ethno2. The MOTU's website offers some answers, and FAQ ressources. Having installed Ethno2 myself, any questions are welcome and I open today two parallel threads for that purpose, the first one for technical aspects of Ethno2, the second about my tunings.

- - - - - - - - - - - - -
Jacques Dudon

Atelier d'Exploration Harmonique
Les Camails - 83340 LE THORONET - France
http://aeh.free.fr

🔗Michael <djtrancendance@...>

Yes, this is another one of my infamous "scale-chord" demos and is also in the file section.

Listen to this, which has my scale being played for each note in the octave plus 3 notes (all sustained IE acting as a chord) and the JI diatonic doing the same thing.
The goal is to get a higher sense of relaxation for my scale in this worst-case scenario.

Note JI diatonic supposedly has the best consonance level regarding all possible root tones and overtones assuming fairly harmonic timbres...and yet I'm pretty sure this at least casts some doubt as to whether that is true.
The two major advantages this scale aims at over diatonic JI are
1) Better root-note critical band dissonance via use of fairly low super-particular ratios between consecutive notes (13/12 or simpler)...it keeps those "minor seconds" fairly low-limit and not just things like thirds and larger intervals.
2) Uses mirroring around very simple intervals ALA my old "Silver Sections" scale to make it easier for the brain to keep track of patterns between the notes. The math I used to get there is described below...
---------------------------------------------------------------------
The "RSP" (Reflected Super Particular) scale is as follows

(in pure form)
1/1
13/12
6/5 ------3/2 * ((4/3)/(5/3))
4/3 <second reflecting point>
3/2 <reflecting point>
5/3 -------2/1 over 4/3
11/6 ----2/1 over 13/12
2/1 (octave)

(in "tempered" form...about 15 cents off )
1/1
13/12
1.211 (acts as both 6/5 and 11/9) The 11/9 interpretation is designed to form lower limit dyads with notes such as 4/3, 5/3, and 11/6.
4/3
3/2
5/3
11/6
2/1 (octave)

🔗Torsten Anders <torsten.anders@...>

Dear Jacques,

Thank you for arranging this demos competition!

> I understand that many musicians might have difficulty to determine > their candidature without knowing the technical, practical and > microtonal features of Ethno2. The MOTU's website offers some > answers, and FAQ ressources. Having installed Ethno2 myself, any > questions are welcome and I open today two parallel threads for that > purpose, the first one for technical aspects of Ethno2, the second > about my tunings.

I read the description for the software provided online. Two brief questions remain.

- Could you please send us a list of all the original Ethno2 microtunings?

- I understood that the instrument is sample-based, that that it offers controllers like key-switches to select certain expressions, and that the flexibility in selecting and layering samples is even greater in the Expert Mode. The website also mentions continuous MIDI controllers, but there are no further details. Could you please list the parameters that can be continuously controlled by MIDI controllers (i.e. beyond switching/layering samples). I assume there is amplitude, pitch bend, some filter settings, but what other parameters are available in this regard?

Thank you!

Best wishes,
Torsten

--
Torsten Anders
Interdisciplinary Centre for Computer Music Research
University of Plymouth
Office: +44-1752-586219
Private: +44-1752-558917
http://strasheela.sourceforge.net
http://www.torsten-anders.de

On 14.04.2010, at 18:52, Jacques Dudon wrote:

>
> Friends,
>
> Last winter, after I finished my work on Ethno2 microtunings, I > suggested the director of the MOTU team of developpers in Paris that > I could send a call for Ethno2 microtonal demos, in exchange of a > few free boxes. He got interested in the idea, and a few days ago, I > received 12 Ethno boxes.
> So, to whoever it may concern, I inform that the AEH is opening a > microtonal competition where one can win a free box of MOTU Ethno > version 2 (value 374 $ or 329 euros), a virtual world instrument > plug-in now Scala-compatible and provided with 155 extended-JI > tunings of my creation.
>
> http://www.motu.com/products/software/ethno/microtuning.html
>
> These boxes are complete and with a demo license, it means they > cannot be used for resale.
> Here are the rules of this competition. Feel free to discuss them if > you think they can be improved, or completed, then I will confirm > the definitive rules.
>
> CALENDAR :
> 1. In a first period starting today, candidates may send me > (offlist) a short mail saying that they are interested to > participate, with their country of residence/profession /activities, > and an eventual web page about their music. This is for us to have a > rough idea of the number of potential candidates, their geographic > repartition and domains of interest.
> Please write only if you have a machine that meets the required > configurations for installing Ethno 2 (check on MOTU's website page > Specifications / Full system requirements) :
> http://www.motu.com/techsupport/technotes/ethno-instrument-2-system-requirements
> (unfortunately Linux operating systems do not apply to those)
> 2. In a second period, the AEH will answer either by accepting your > candidature, or by refusing it (with an explanation), or by asking > eventual precisions or links to some of your works.
> 3. The AEH jury will then deliberate and select 11 concurrents > (because one box is for the AEH studios), will inform them, > personnally and through the Tuning List, and send them each one 1 > Ethno box, to our own charge. I can't say at the moment if the > participants will have to pay customs charges at reception, because > we already paid customs when we received the 12 boxes from the USA > and I have to check about that, but at the worst this would be a few > $.
> 4. In a third period, the candidates will have up to the 21st of > June 2010 to sent their musical works (free of rights), in the form > of mp3 files, each one with a title and 1 line of presentation.
> 5. The AEH jury will then select a few demos in different categories > among which some, along with the musician name and line of > presentation, will be proposed for the Ethno2 pages of MOTU's > website, and eventually other sites. The results will be mailed to > the participants and to the Tuning List.
> 6. Without engagement about it, and only if the received demos show > a high level of musical quality, the AEH may edit a CD mix of a > collection of them.
>
> SPECIFIC RULES :
> 1. The competition is open to all and covers two categories :
> - the first one concerns works based on the original Ethno2 > microtunings (except the default tuning) ;
> - the second one concerns all other microtunings, either from the > Scala archive or other sources, or the participant's personal tunings.
> 2. In both categories the tunings will have to be precised.
> 3. There is no maximum of demos by participant for both categories, > but whatever the tuning choices, selected participants have to > produce at least THREE demos using the original Ethno2 tunings.
> The reasons for that rule are at least double : for one thing these > original tunings represent an important research work from the AEH > and hearing them played and perhaps commented by other musicians, > besides being a great pleasure, will be very instructive to us ; but > also, musicians able to create their own tunings or even to choose > them from other sources being an infime proportion of Ethno2 > potential purchasers, it is fair to ask that all participants, even > if advanced microtonalists, contribute to a minimum of demos using > the original tunings.
> 4. Musical styles are open, they can range from traditional music or > imitations, ethno-rock, or experimental, ETC., but should have a > microtonal character AND be pleasant to hear, even for non-> connoisseurs.
> 5. Ethno has to be the only sound source, and the only tools > authorized to make these demos are Ethno2, and multitrack recorders > or audio/MIDI sequencers.
> 6. Except for improbable combinations we dissuade the use of melodic > loops and phrases from Ethno, simply because their tunings are non-> tunable, either 12-ET or undefined, and would add confusion.
> 7. Demos can be sent any time at Jacques Dudon's personal mail :
> fotosonix@...
> 8. They should be in mp3 format, 44,1 Khz MPEG stereo, 160 kbps.
> 9. Their minimum duration should be 50", and maximum 3 minutes (in > the eventuality of a CD release, longer versions and in WAV format > could be asked from the participants).
> 10. Participants who fail to fulfill the rules for whatever reason > or unforeseen difficulty will have to uninstall Ethno2 and return > the full Ethno box to their own charges to the AEH as soon as > possible and before the 21st of May 2010 at latest.
> 11. People who already own Ethno2 may participate for fun, without > the required minimum of 3 demos asked to other participants.
> 12. The AEH has no objection to the divulgation of the demos in > competition by their authors at any time (for example through links > mailed to the Tuning List, but NOT by sending files to the Tuning > List).
>
> ADDITIONAL INFORMATIONS :
> I understand that many musicians might have difficulty to determine > their candidature without knowing the technical, practical and > microtonal features of Ethno2. The MOTU's website offers some > answers, and FAQ ressources. Having installed Ethno2 myself, any > questions are welcome and I open today two parallel threads for that > purpose, the first one for technical aspects of Ethno2, the second > about my tunings.
>
> - - - - - - - - - - - - -
> Jacques Dudon
>
> Atelier d'Exploration Harmonique
> Les Camails - 83340 LE THORONET - France
> http://aeh.free.fr
>

🔗Chris Vaisvil <chrisvaisvil@...>

ok,

I definitely like the 2nd one better. I also had a couple thoughts while
listening.

The difference between the two was like the "curve" one can do in the
histogram view of many grahpics programs (GIMP - photoshop) If you change
the curve you can adjust the relative color (usually light and dark) of the
picture. In here the frame is the octave and the distribution within shifted
from one example to the other - its as though a bump was created in a line -
or the bump moved.

Second, it occurred to me that 12 tet may sound so rough in an example like
this because there are 11 semitones all the same size all re-enforcing
themselves.

Chris

On Wed, Apr 14, 2010 at 3:11 PM, Michael <djtrancendance@...> wrote:

>
> [Attachment(s) <#127fdbbe6b4f3573_TopText> from Michael included below]
>
> Yes, this is another one of my infamous "scale-chord" demos and is also in
> the file section.
>
>
>
> Listen to this, which has my scale being played for each note in the octave
> plus 3 notes (all sustained IE acting as a chord) and the JI diatonic doing
> the same thing.
> The goal is to get a higher sense of relaxation for my scale in this
> worst-case scenario.
>
> Note JI diatonic supposedly has the best consonance level regarding
> all possible root tones and overtones assuming fairly harmonic timbres...and
> yet I'm pretty sure this at least casts some doubt as to whether that is
> true.
> The two major advantages this scale aims at over diatonic JI are
> 1) Better root-note critical band dissonance via use of fairly low
> super-particular ratios between consecutive notes (13/12 or simpler)...it
> keeps those "minor seconds" fairly low-limit and not just things like thirds
> and larger intervals.
> 2) Uses mirroring around very simple intervals ALA my old "Silver
> Sections" scale to make it easier for the brain to keep track of patterns
> between the notes. The math I used to get there is described below...
> ---------------------------------------------------------------------
> The "RSP" (Reflected Super Particular) scale is as follows
>
> (in pure form)
> 1/1
> 13/12
> 6/5 ------3/2 * ((4/3)/(5/3))
> 4/3 <second reflecting point>
> 3/2 <reflecting point>
> 5/3 -------2/1 over 4/3
> 11/6 ----2/1 over 13/12
> 2/1 (octave)
>
> (in "tempered" form...about 15 cents off )
> 1/1
> 13/12
> 1.211 (acts as both 6/5 and 11/9) The 11/9 interpretation is
> designed to form lower limit dyads with notes such as 4/3, 5/3, and 11/6.
> 4/3
> 3/2
> 5/3
> 11/6
> 2/1 (octave)
>
>

🔗Marcel de Velde <m.develde@...>

Hello Jacques,

> SPECIFIC RULES :
> 1. The competition is open to all and covers two categories :
> - the first one concerns works based on the original Ethno2 microtunings
> (except the default tuning) ;
> - the second one concerns all other microtunings, either from the Scala
> archive or other sources, or the participant's personal tunings.
> 2. In both categories the tunings will have to be precised.
> 3. There is no maximum of demos by participant for both categories, but
> whatever the tuning choices, selected participants have to produce at least
> THREE demos using the original Ethno2 tunings.
> The reasons for that rule are at least double : for one thing these
> original tunings represent an important research work from the AEH and
> hearing them played and perhaps commented by other musicians, besides being
> a great pleasure, will be very instructive to us ; but also, musicians able
> to create their own tunings or even to choose them from other sources being
> an infime proportion of Ethno2 potential purchasers, it is fair to ask that
> all participants, even if advanced microtonalists, contribute to a minimum
> of demos using the original tunings.
>

Well, you are allready clear about the rules.
But I'd really like to enter the competition, would love a free Ethno2, and
think I can make very good microtonal demos.
But.. I can only make these demos with the following just intonation scale:
1/1 25/24 16/15 10/9 9/8 75/64 6/5 5/4 4/3 27/20 25/18 45/32 3/2 25/16 8/5
5/3 27/16 16/9 9/5 15/8 2/1
Is there any way you can either include this scale in the "original
tunings", or allow me to break your rule #3 and submit no demos using the
original tunings but atleast 3 demos using my JI scale instead?

Kind regards,
Marcel

🔗Marcel de Velde <m.develde@...>

🔗genewardsmith <genewardsmith@...>

🔗Marcel de Velde <m.develde@...>

Hi Gene,

> > > But.. I can only make these demos with the following just intonation
> scale:
> > > 1/1 25/24 16/15 10/9 9/8 75/64 6/5 5/4 4/3 27/20 25/18 45/32 3/2 25/16
> 8/5
> > > 5/3 27/16 16/9 9/5 15/8 2/1
>
> > To clarify about why I can't use the included tunings, it's not because I
> > don't respect your tuning work, but it's just that I have much effort in
> > just intonation and it's the only language I understand and I can make
> > beautifull music in JI.
>
> If you tune your scale to meantone, it collapses into a 15 note gamut from
> Db to D#. Unless you use the comma as a melodic interval, you could just as
> easily play your music in this tuning. So I question the claim your scale is
> the only thing you can possibly use. Of course even if I'm right it doesn't
> help you much with Dudon's contest, but I think you could be a little less
> rigid.

No, I won't use the comma as a melodic interval.
But I do think subleties of just intonation are lost in meantone.
And it's the question if this specific meantone you're talking about is even
in the standard tunings that come with Ethno2.

I had also been thinking about analysing the tunings that come with it, then
see which ones come very close to a subset of my JI system, and then compose
something which only uses that subset.

But you know, I've spent several years working full time (and I mean truly
full time, from wake till sleep, and even dreamt about it many nights) on my
just intonation.
And Ethno2 can do my just intonation perfectly.
I don't wanna temper. I've earned the right not to temper to myself.

Marcel

🔗Marcel de Velde <m.develde@...>

🔗Jacques Dudon <fotosonix@...>

In tuning@yahoogroups.com, Marcel de Velde <m.develde@...> wrote:

> Well, you are allready clear about the rules.
> But I'd really like to enter the competition, would love a free > Ethno2, and
> think I can make very good microtonal demos.

Great !

> But.. I can only make these demos with the following just > intonation scale:
> 1/1 25/24 16/15 10/9 9/8 75/64 6/5 5/4 4/3 27/20 25/18 45/32 3/2 > 25/16 8/5
> 5/3 27/16 16/9 9/5 15/8 2/1

Oh yes ? this is the only scale you can make music with ?

> Is there any way you can either include this scale in the "original
> tunings", or allow me to break your rule #3 and submit no demos > using the
> original tunings but atleast 3 demos using my JI scale instead?

The CD and DVDs have been pressed, I'm afraid I can't.
Breaking the rules is fine with me, only if for good reasons.
To this day a few famous microtonalists, that I consider perfectly able to create very fine scales, sent me their candidatures and none of them asked to infrige the rule #3.
I am ready to examine any particular case but yours does not seem to be relevant of something that can't find solutions.
The other day one iranian music master said to me "I want to participate to the Ethno2 competition in order to propose some persian music compositions, but your tunings Mister Dudon, are a little bit far-fetched", and I said to him "Allright sir, please go ahead and try yours !"... No, I'm joking, unfortunately this did'nt happened. I just try to imagine a case where I would be happy to break the rules :D

> Just a few more words in the hope to convince you :)
>
> To clarify about why I can't use the included tunings, it's not > because I
> don't respect your tuning work, but it's just that I have much > effort in
> just intonation and it's the only language I understand and I can make
> beautifull music in JI. I don't see the point in tempering my music > while I
> can do the tuning precise.
> I hope you can understand this.
>
> Also, I hope you don't think I would make classical music like > demos, I won't :)
> I'll make arabic like music mixed with early classical mixed with the
> unknown, harmonically, melodically and rhythmically rich.

I don't know if it's a good example. I have nothing against your scale, but I believe it would cover only a small part of Arabic music, from what I know on qanun tunings.

> And if you will find my demos anything but fantastic and the best > showcase
> for Ethno2 and microtonality then I'll uninstall Ethno2 and ship > the box back to you.
>
> Kind regards,
> Marcel

You did not convinced me to change the rules only for you. By doing this I would not help you.
See, I have been using and making instruments for years in the past with many 5-L scales of the kind you want use exclusively (and that's your right),
BTW this one is a subset of Alain Danielou's "Semantic" 36 tones-keyboard, that I have been using some years ago, and have been writing about.
So this scale is not a problem for me, and you actually you will find in Ethno2 many "quasi"-subsets of it, in the indian shrutis and other hindustani models I gave, and other places.
But I think as a JI searcher "who has done much efforts", you can do just a little more, and taste the tunings of other JI searchers.
Because this "competition" is meant for exchanges, opening eachother's ears and minds and expand our ideas of harmony.
There are thousands of different traditional tunings in this world and most of them do refer indeed more or less directly to JI.
But not only one 5-L scale. Consider it, the universe does not ends at 5.
Have you experimented for example how a small comma such as 225/224 can open a door between your actual world and the septimal world ?
Further on, have you ever tried to tune a celtic harp in a 5-L tuning ? and experimented how beautifully some equal-beating tunings can bring a solution (which is in a sense, not without relation to just-intonation) ? and tried to understand why the africans like to tune the kora a different way ?
Welcome to the whole universe !
- - - - - - -
Jacques

🔗Jacques Dudon <fotosonix@...>

Marcel wrote :

> > > But.. I can only make these demos with the following just > intonation scale:
> > > 1/1 25/24 16/15 10/9 9/8 75/64 6/5 5/4 4/3 27/20 25/18 45/32 > 3/2 25/16
> > > 8/5 5/3 27/16 16/9 9/5 15/8 2/1
> >
> >
> > (Gene) : If you tune your scale to meantone, it collapses into a > 15 note gamut from
> > Db to D#. Unless you use the comma as a melodic interval, you > could just as
> > easily play your music in this tuning. So I question the claim > your scale is
> > the only thing you can possibly use. Of course even if I'm right > it doesn't
> > help you much with Dudon's contest, but I think you could be a > little less
> > rigid.
>
> No, I won't use the comma as a melodic interval.
> But I do think subleties of just intonation are lost in meantone.
> And it's the question if this specific meantone you're talking > about is even
> in the standard tunings that come with Ethno2.

One of the closest solutions is Skisni, a triple equal-beating meantone and comes with Ethno2 in several extended-JI versions.
Meantones subtelties AND just intonation !
Except that those are in 12 tones, not 15. By chance, transpositions are not said to be forbidden in the competition rules ;)

> I had also been thinking about analysing the tunings that come with > it, then
> see which ones come very close to a subset of my JI system, and > then compose
> something which only uses that subset.

You see ? there is no problem without a solution.
- - - - - - -
Jacques

🔗Marcel de Velde <m.develde@...>

Hello Jacques,

> I don't know if it's a good example. I have nothing against your scale, but
> I believe it would cover only a small part of Arabic music, from what I know
> on qanun tunings.
>

I'm not sure if it's jsut a small part, but it's only a part of arabic music
that is covered in 5-limit, I agree.
I have 7-limit scales to cover the other parts (40 tones per octave without
modulating), but I don't have the theory complete enough yet to compose in
those.

> And if you will find my demos anything but fantastic and the best showcase
> for Ethno2 and microtonality then I'll uninstall Ethno2 and ship the
> box back to you.
>
>
> Kind regards,
> Marcel
>
>
> You did not convinced me to change the rules only for you. By doing this I
> would not help you.
> See, I have been using and making instruments for years in the past with
> many 5-L scales of the kind you want use exclusively (and that's your
> right),
> BTW this one is a subset of Alain Danielou's "Semantic" 36 tones-keyboard,
> that I have been using some years ago, and have been writing about.
> So this scale is not a problem for me, and you actually you will find in
> Ethno2 many "quasi"-subsets of it, in the indian shrutis and other
> hindustani models I gave, and other places.
> But I think as a JI searcher "who has done much efforts", you can do just a
> little more, and taste the tunings of other JI searchers.
> Because this "competition" is meant for exchanges, opening eachother's ears
> and minds and expand our ideas of harmony.
> There are thousands of different traditional tunings in this world and most
> of them do refer indeed more or less directly to JI.
> But not only one 5-L scale. Consider it, the universe does not ends at 5.
> Have you experimented for example how a small comma such as 225/224 can
> open a door between your actual world and the septimal world ?
>

I agree fully, the world doesn't end at 5 :)
And yes I am experimenting with 225/224 commas, 63/64, and many other
7-limit commas and steps.
But I'm not ready yet to compose in it. (but I can do great things in
5-limit allready)

> Further on, have you ever tried to tune a celtic harp in a 5-L tuning ?
> and experimented how beautifully some equal-beating tunings can bring a
> solution (which is in a sense, not without relation to just-intonation) ?
> and tried to understand why the africans like to tune the kora a different
> way ?
> Welcome to the whole universe !
> - - - - - - -
> Jacques
>

Hope you also read the last mail I sent.
Where I see a solution to composing in the 5-limit rules I understand yet
still use Ethno2 included scales, so not breaking rule #3, and allow me to
enter :)
I don't currently have much work to show, I only have a 2 things on
www.develde.net (within a few weeks I'll have much more retuned and self
made music on the site to show though) but I have experience producing /
mixing electronic music, and can compose.

Marcel