200e

> Well, before the list of Slendro notes I posted, I did mention that  
> it was an equal-tempered approximation (as are all the scales I  
> posted.) I play with other musicians often enough to want to avoid  
> the complication of other intonations.

Fair enough, but it's pretty close to saying you are playing in Just  
Intonation and then play in Equal Temparament.

Though if it gives you an idea for a composition go with it.

Maybe one way of explaining it, If you have a 12 note standard scale  
like on a standard keyboard, I think everyone has noticed if you play  
random notes it doesn't sound like much because not all the notes  
relate to each other very closely when taken as a collection. (there  
is an exception with chromatic runs of notes in order, but that's  
drifting off topic)  Say you just play the black keys (pentatonic  
scale) by reducing the note set from 12 to 5 notes being used and  
choosing only notes that relate pretty well, while not sounding super  
great will sound a lot more like something with a sort of character.  
Anyway that's something that is valid about that long list. Reduce the  
set of notes used and you start hearing all the relations that have  
various characters.

>
> Plus, doesn't the resolution of the 259e/261e ADC leave a 10 cent  
> wiggle anyway? Maybe just in the low end?

Well maybe not wiggle given the oscillator stability, but I totally  
agree that 10 cents is pushing being too inaccurate for critical micro  
and alternate tuning experiments... none the less, when dealing with  
non-equal tempered scales it's 10x more accurate 100 cent accuracy  
(equal tempered). Though I'll definitely concede if you are playing  
with something that can't do microtuning you have to be really  daring  
or foolhardy to try at the same time.


nicholas kent