hier mal ein kurzer ausschnitt aus der liste mit den tunings und einer kurzen beschreibung dazu, nur mal um zu illustrieren was alles im laufe der musikgeschichte verwendet wurde und wie schwachsinning die beschränkung auf 128 töne in 440hz/12TET aka MIDI standard ist.
richard d. james aka aphex twin meint dazu:
You now have 63,050,394,783,186,944-128 more frequencies to play with
ad-dik.scl 24 Amin Ad-Dik, 24-tone Egyptian tuning, d'Erlanger vol.5, p. 42
aeolic.scl 7 Ancient Greek Aeolic, also tritriadic scale of the 54:64:81 triad
aeu-41 ratios.scl 41 AEU extended to quasi-cyclic 41-tones in simple ratios
aeu-41.scl 41 AEU extended to 41-quasi equal tones by Ozan Yarman
agricola.scl 12 Agricola's Monochord, Rudimenta musices (1539)
agricola_p.scl 12 Agricola's Pythagorean-type Monochord, Musica instrumentalis deudsch (1545)
akea46_13.scl 46 Tridecimal Akea[46] hobbit minimax tuning. Commas 325/324, 352/351, 385/384
al-din.scl 35 Safi al-Din's complete lute tuning on 5 strings 4/3 apart
al-din_19.scl 19 Pythagorean Arabic scale by Safi al-Din
al-farabi.scl 7 Al-Farabi Syn Chrom
al-farabi_19.scl 19 Arabic scale by Al Farabi
al-farabi_22.scl 22 Al-Farabi 22 note ud scale
al-farabi_9.scl 9 Al-Farabi 9 note ud scale
al-farabi_blue.scl 7 Another tuning from Al Farabi, c700 AD
al-farabi_chrom.scl 7 Al Farabi's Chromatic c700 AD
al-farabi_chrom2.scl 7 Al-Farabi's Chromatic permuted
al-farabi_diat.scl 7 Al-Farabi's Diatonic
al-farabi_diat2.scl 7 Old Phrygian, permuted form of Al-Farabi's reduplicated 10/9 diatonic genus, same as ptolemy_diat.scl
al-farabi_div.scl 10 Al Farabi's 10 intervals for the division of the tetrachord
al-farabi_div2.scl 12 Al-Farabi's tetrachord division, incl. extra 2187/2048 & 19683/16384
al-farabi_divo.scl 24 Al Farabi's theoretical octave division with identical tetrachords, 10th c.
al-farabi_dor.scl 7 Dorian mode of Al-Farabi's 10/9 Diatonic
al-farabi_dor2.scl 7 Dorian mode of Al-Farabi's Diatonic
al-farabi_g1.scl 7 Al-Farabi's Greek genus conjunctum medium, Land
al-farabi_g10.scl 7 Al-Farabi's Greek genus chromaticum forte
al-farabi_g11.scl 7 Al-Farabi's Greek genus chromaticum mollissimum
al-farabi_g12.scl 7 Al-Farabi's Greek genus mollissimum ordinantium
al-farabi_g3.scl 7 Al-Farabi's Greek genus conjunctum primum
al-farabi_g4.scl 7 Al-Farabi's Greek genus forte duplicatum primum
al-farabi_g5.scl 7 Al-Farabi's Greek genus conjunctum tertium, or forte aequatum
al-farabi_g6.scl 7 Al-Farabi's Greek genus forte disjunctum primum
al-farabi_g7.scl 7 Al-Farabi's Greek genus non continuum acre
al-farabi_g8.scl 7 Al-Farabi's Greek genus non continuum mediocre
al-farabi_g9.scl 7 Al-Farabi's Greek genus non continuum laxum
al-hwarizmi.scl 6 Al-Hwarizmi's tetrachord division
al-kindi.scl 6 Al-Kindi's tetrachord division
al-kindi2.scl 14 Arabic mode by al-Kindi
al-mausili.scl 11 Arabic mode by Ishaq al-Mausili (? - 850 AD)
alembert-rousseau.scl 12 d'Alembert and Rousseau tempérament ordinaire (1752/1767)
alembert-rousseau2.scl 12 d'Alembert and Rousseau (1752-1767) different interpretation
alembert.scl 12 Jean-Le Rond d'Alembert modified meantone (1752)
alves.scl 13 Bill Alves, tuning for "Instantaneous Motion", 1/1 vol.6 no.3
alves_12.scl 12 Bill Alves, tuning for "Metalloid", TL 12-12-2007
alves_22.scl 22 Bill Alves, 11-limit rational interpretation of 22-tET, TL 9-1-98
alves_pelog.scl 7 Bill Alves JI Pelog, 1/1 vol.9 no.4, 1997. 1/1=293.33 Hz
alves_slendro.scl 5 Bill Alves, slendro for Gender Barung, 1/1 vol.9 no.4, 1997. 1/1=282.86 Hz
amity.scl 39 Amity temperament, g=339.508826, 5-limit
amity53pure.scl 53 Amity[53] in pure-fifths tuning
ammerbach.scl 12 Elias Mikolaus Ammerbach (1571), from Ratte: Temperierungspraktiken im süddeutschen Orgelbau p. 412
ammerbach1.scl 12 Elias Mikolaus Ammerbach (1571, 1583) interpretation 1, Ratte, 1991
ammerbach2.scl 12 Elias Mikolaus Ammerbach (1571, 1583) interpretation 2, Ratte, 1991
angklung.scl 8 Scale of an anklung set from Tasikmalaya. 1/1=174 Hz
ankara.scl 34 Ankara Turkish State Radio Tanbur Frets
appunn.scl 36 Probable tuning of A. Appunn's 36-tone harmonium w. 3 manuals 80/81 apart (1887)
arabic_bastanikar_on_b.scl 12 Arabic Bastanikar with perde iraq on B by Dr. Ozan Yarman
arabic_bayati_and_bayati-shuri_on_d.scl
11 Arabic Bayati and Bayati-Shuri (Karjighar) with perde dugah on D by Dr. Oz.
arabic_bayati_and_ushshaq-misri_on_d.scl
11 Arabic Bayati and Ushshaq Misri with perde dugah on D by Dr. Oz.
arabic_huzam_on_e.scl 12 Arabic Huzam with perde segah on E by Dr. Oz.
arabic_rast_on_c.scl 8 Arabic Rast with perde rast on C by Dr. Ozan Yarman
arabic_saba-zamzama_on_d.scl 11 Arabic Saba-Zamzama with perde dugah on D by Dr. Oz.
arabic_saba_on_d.scl 11 Arabic Saba with perde dugah on D by Dr. Oz.
arabic_segah-mustaar_on_e.scl 12 Arabic Segah and Mustaar with perde segah on E by Dr. Oz.
arabic_zanjaran_on_c.scl 7 Arabic Zanjaran with perde rast on C by Dr. Oz.
archchro.scl 7 Archytas' Chromatic in hemif temperament, 58-tET tuning
archytas12.scl 12 Archytas[12] (64/63) hobbit, 9-limit minimax
archytas12sync.scl 12 Archytas[12] (64/63) hobbit, sync beating
archytas7.scl 7 Archytas (64/63) hobbit in POTE tuning
arch_chrom.scl 7 Archytas' Chromatic
arch_chromc2.scl 14 Product set of 2 of Archytas' Chromatic
arch_dor.scl 8 Dorian mode of Archytas' Chromatic with added 16/9
arch_enh.scl 7 Archytas' Enharmonic
arch_enh2.scl 8 Archytas' Enharmonic with added 16/9
arch_enh3.scl 7 Complex 9 of p. 113 based on Archytas's Enharmonic
arch_enhp.scl 7 Permutation of Archytas' Enharmonic with 36/35 first
arch_enht.scl 7 Complex 6 of p. 113 based on Archytas's Enharmonic
arch_enht2.scl 7 Complex 5 of p. 113 based on Archytas's Enharmonic
arch_enht3.scl 7 Complex 1 of p. 113 based on Archytas's Enharmonic
arch_enht4.scl 7 Complex 8 of p. 113 based on Archytas's Enharmonic
arch_enht5.scl 7 Complex 10 of p. 113 based on Archytas's Enharmonic
arch_enht6.scl 7 Complex 2 of p. 113 based on Archytas's Enharmonic
arch_enht7.scl 7 Complex 11 of p. 113 based on Archytas's Enharmonic
arch_mult.scl 12 Multiple Archytas
arch_ptol.scl 12 Archytas/Ptolemy Hybrid 1
arch_ptol2.scl 12 Archytas/Ptolemy Hybrid 2
arch_sept.scl 12 Archytas Septimal
ares12.scl 12 Ares[12] (64/63&100/99) hobbit, POTE tuning
ares12opt.scl 12 Lesfip scale derived from Ares[12], 13 cents, 11-limit
ariel1.scl 12 Ariel 1
ariel2.scl 12 Ariel 2
ariel3.scl 12 Ariel's 12-tone JI scale
ariel_19.scl 19 Ariel's 19-tone scale
ariel_31.scl 31 Ariel's 31-tone system
arist_archenh.scl 7 PsAristo Arch. Enharmonic, 4 + 3 + 23 parts, similar to Archytas' enharmonic
arist_chrom.scl 7 Dorian, Neo-Chromatic,6+18+6 parts = Athanasopoulos' Byzant.liturg. 2nd chromatic
arist_chrom2.scl 7 Dorian Mode, a 1:2 Chromatic, 8 + 18 + 4 parts
arist_chrom3.scl 7 PsAristo 3 Chromatic, 7 + 7 + 16 parts
arist_chrom4.scl 7 PsAristo Chromatic, 5.5 + 5.5 + 19 parts
arist_chromenh.scl 7 Aristoxenos' Chromatic/Enharmonic, 3 + 9 + 18 parts
arist_chrominv.scl 7 Aristoxenos' Inverted Chromatic, Dorian mode, 18 + 6 + 6 parts
arist_chromrej.scl 7 Aristoxenos Rejected Chromatic, 6 + 3 + 21 parts
arist_chromunm.scl 7 Unmelodic Chromatic, genus of Aristoxenos, Dorian Mode, 4.5 + 3.5 + 22 parts
arist_diat.scl 7 Phrygian octave species on E, 12 + 6 + 12 parts
arist_diat2.scl 7 PsAristo 2 Diatonic, 7 + 11 + 12 parts
arist_diat3.scl 7 PsAristo Diat 3, 9.5 + 9.5 + 11 parts
arist_diat4.scl 7 PsAristo Diatonic, 8 + 8 + 14 parts
arist_diatdor.scl 7 PsAristo Redup. Diatonic, 14 + 2 + 14 parts
arist_diatinv.scl 7 Lydian octave species on E, major mode, 12 + 12 + 6 parts
arist_diatred.scl 7 Aristo Redup. Diatonic, Dorian Mode, 14 + 14 + 2 parts
arist_diatred2.scl 7 PsAristo 2 Redup. Diatonic 2, 4 + 13 + 13 parts
arist_diatred3.scl 7 PsAristo 3 Redup. Diatonic, 8 + 11 + 11 parts
arist_enh.scl 7 Aristoxenos' Enharmonion, Dorian mode
arist_enh2.scl 7 PsAristo 2 Enharmonic, 3.5 + 3.5 + 23 parts
arist_enh3.scl 7 PsAristo Enharmonic, 2.5 + 2.5 + 25 parts
arist_hemchrom.scl 7 Aristoxenos's Chromatic Hemiolion, Dorian Mode
arist_hemchrom2.scl 7 PsAristo C/H Chromatic, 4.5 + 7.5 + 18 parts
arist_hemchrom3.scl 7 Dorian mode of Aristoxenos' Hemiolic Chromatic according to Ptolemy's interpretation
arist_hypenh2.scl 7 PsAristo 2nd Hyperenharmonic, 37.5 + 37.5 + 425 cents
arist_hypenh3.scl 7 PsAristo 3 Hyperenharmonic, 1.5 + 1.5 + 27 parts
arist_hypenh4.scl 7 PsAristo 4 Hyperenharmonic, 2 + 2 + 26 parts
arist_hypenh5.scl 7 PsAristo Hyperenharmonic, 23 + 23 + 454 cents
arist_intdiat.scl 7 Dorian mode of Aristoxenos's Intense Diatonic according to Ptolemy
arist_penh2.scl 7 Permuted Aristoxenos's Enharmonion, 3 + 24 + 3 parts
arist_penh3.scl 7 Permuted Aristoxenos's Enharmonion, 24 + 3 + 3 parts
arist_pschrom2.scl 7 PsAristo 2 Chromatic, 6.5 + 6.5 + 17 parts
arist_softchrom.scl 7 Aristoxenos's Chromatic Malakon, Dorian Mode
arist_softchrom2.scl 7 Aristoxenos' Soft Chromatic, 6 + 16.5 + 9.5 parts
arist_softchrom3.scl 7 Aristoxenos's Chromatic Malakon, 9.5 + 16.5 + 6 parts
arist_softchrom4.scl 7 PsAristo S. Chromatic, 6 + 7.5 + 16.5 parts
arist_softchrom5.scl 7 Dorian mode of Aristoxenos' Soft Chromatic according to Ptolemy's interpretation
arist_softdiat.scl 7 Aristoxenos's Diatonon Malakon, Dorian Mode
arist_softdiat2.scl 7 Dorian Mode, 6 + 15 + 9 parts
arist_softdiat3.scl 7 Dorian Mode, 9 + 15 + 6 parts
arist_softdiat4.scl 7 Dorian Mode, 9 + 6 + 15 parts
arist_softdiat5.scl 7 Dorian Mode, 15 + 6 + 9 parts
arist_softdiat6.scl 7 Dorian Mode, 15 + 9 + 6 parts
arist_softdiat7.scl 7 Dorian mode of Aristoxenos's Soft Diatonic according to Ptolemy
arist_synchrom.scl 7 Aristoxenos's Chromatic Syntonon, Dorian Mode
arist_syndiat.scl 7 Aristoxenos's Diatonon Syntonon, Dorian Mode
arist_unchrom.scl 7 Aristoxenos's Unnamed Chromatic, Dorian Mode, 4 + 8 + 18 parts
arist_unchrom2.scl 7 Dorian Mode, a 1:2 Chromatic, 8 + 4 + 18 parts
arist_unchrom3.scl 7 Dorian Mode, a 1:2 Chromatic, 18 + 4 + 8 parts
arist_unchrom4.scl 7 Dorian Mode, a 1:2 Chromatic, 18 + 8 + 4 parts
arnautoff_21.scl 21 Philip Arnautoff, transposed Archytas enharmonic (2005), 1/1 vol.12 no.1
aron-neidhardt.scl 12 Aron-Neidhardt equal beating well temperament
artusi.scl 12 Clavichord tuning of Giovanni Maria Artusi (1603). 1/4-comma with mean semitones
artusi2.scl 12 Artusi's tuning no. 2, 1/6-comma meantone with mean semitones
artusi3.scl 12 Artusi's tuning no. 3
art_nam.scl 9 Artificial Nam System
athan_chrom.scl 7 Athanasopoulos's Byzantine Liturgical mode Chromatic
atomic-commas.scl 52 Atomic 5-limit minimax version, schisma=1, diaschisma=10, synt.c=11, pyth.c=12, minor diesis=21, major diesis=32
atomschis.scl 12 Atom Schisma Scale
augdimhextrug.scl 12 Sister wakalix to Wilson class
augdommean.scl 12 August-dominant-meantone Fokker block
augment15br1.scl 15 Augmented[15] with a brat of 1
augteta.scl 8 Linear Division of the 11/8, duplicated on the 16/11
augteta2.scl 8 Linear Division of the 7/5, duplicated on the 10/7
augtetb.scl 8 Harmonic mean division of 11/8
augtetc.scl 8 11/10 C.I.
augtetd.scl 8 11/9 C.I.
augtete.scl 8 5/4 C.I.
augtetf.scl 8 5/4 C.I. again
augtetg.scl 8 9/8 C.I.
augteth.scl 8 9/8 C.I. A gapped version of this scale is called AugTetI
augtetj.scl 6 9/8 C.I. comprised of 11:10:9:8 subharmonic series on 1 and 8:9:10:11 on 16/11
augtetk.scl 6 9/8 C.I. This is the converse form of AugTetJ
augtetl.scl 6 9/8 C.I. This is the harmonic form of AugTetI
avg_bac.scl 7 Average Bac System
avicenna_17.scl 17 Tuning by Avicenna (Ibn Sina), Ahmed Mahmud Hifni, Cairo, 1977
avicenna_19.scl 19 Arabic scale by Ibn Sina
avicenna_chrom.scl 7 Dorian mode a chromatic genus of Avicenna
avicenna_chrom2.scl 7 Dorian Mode, a 1:2 Chromatic, 4 + 18 + 8 parts
avicenna_chrom3.scl 7 Avicenna's Chromatic permuted
avicenna_diat.scl 7 A soft diatonic genus of Avicenna
avicenna_diat2.scl 7 A soft diatonic genus of Avicenna (Ibn Sina)
avicenna_diff.scl 12 Difference tones of Avicenna's Soft diatonic reduced by 2/1
avicenna_enh.scl 7 Dorian mode of Avicenna's (Ibn Sina) Enharmonic genus
awad.scl 24 d'Erlanger vol.5, p. 37, after Mans.ur 'Awad
awraamoff.scl 12 Awraamoff Septimal Just (1920)
ayers_19.scl 19 Lydia Ayers, NINETEEN, for 19 for the 90's CD. Repeats at 37/19 (or 2/1)
ayers_37.scl 36 Lydia Ayers, algorithmic composition, subharmonics 1-37
ayers_me.scl 9 Lydia Ayers, Merapi (1996), Slendro 0 2 4 5 7 9, Pelog 0 1 3 6 8 9
b10_13.scl 10 10-tET approximation with minimal order 13 beats
b12_17.scl 12 12-tET approximation with minimal order 17 beats
b14_19.scl 14 14-tET approximation with minimal order 19 beats
b15_21.scl 15 15-tET approximation with minimal order 21 beats
b8_11.scl 8 8-tET approximation with minimal order 11 beats
badings1.scl 9 Henk Badings, harmonic scale, Lydomixolydisch
badings2.scl 9 Henk Badings, subharmonic scale, Dorophrygisch
bagpipe1.scl 12 Bulgarian bagpipe tuning
bagpipe2.scl 9 Highland Bagpipe, from Acustica4: 231 (1954) J.M.A Lenihan and S. McNeill
bagpipe3.scl 9 Highland Bagpipe, Allan Chatto, 1991. From Australian Pipe Band College
bagpipe4.scl 9 Highland Bagpipe, Ewan Macpherson in 'NZ Pipeband', Winter 1998
bailey_well.scl 12 Paul Bailey's proportional beating modern temperament (1993)
bailey_well2.scl 12 Paul Bailey's modern well temperament (2002)
bailey_well3.scl 12 Paul Bailey's equal beating well temperament
balafon.scl 7 Observed balafon tuning from Patna, Helmholtz/Ellis p. 518, nr.81
balafon2.scl 7 Observed balafon tuning from West-Africa, Helmholtz/Ellis p. 518, nr.86
balafon3.scl 7 Pitt-River's balafon tuning from West-Africa, Helmholtz/Ellis p. 518, nr.87
balafon4.scl 7 Mandinka balafon scale from Gambia
balafon5.scl 7 An observed balafon tuning from Singapore, Helmholtz/Ellis p. 518, nr.82
balafon6.scl 7 Observed balafon tuning from Burma, Helmholtz/Ellis p. 518, nr.84
balafon7.scl 5 Observed South Pacific pentatonic balafon tuning, Helmholtz/Ellis p. 518, nr.93
baldy17.scl 17 Baldy[17] 2.9.5.7.13 subgroup scale in 147-tET tuning
bamboo.scl 23 Pythagorean scale with fifth average from Chinese bamboo tubes