I just now noticed this thread; I didn’t realize it mentions me (albeit on a different forum).
I’ll start by sharing a blog post about an unequal temperament I devised: http://prairieboxes.blogspot.com/2019/08/a-cosine-derived-well-temperament.html
I’m glad this was found to be interesting or useful outside its initial context! I have some other posts on that forum that are relevant. (See below; they are in context in this reply.)
I have contributed over there a bit (in the past year), and I got that impression a bit. Also that some users are discovering this stuff on their own terms, without a formal mathematical foundation and using the site to document their investigations (using their own terms). This isn’t bad in itself, but not particularly helpful if you’re just looking for a reference.
A little number theory would go a long way in making more sense of it.
There’s a lot of good stuff on Kraig Grady’s anaphoria. He has the archives of Erv Wilson.
He’s also a main contributor to the journal Xenharmonikon.
I have made use of Grady’s “Centaur” 7-limit just tuning. Here’s something I did for the Disquiet Junto earlier this year:
Some monophonic synths use a resistor ladder to develop the voltages. The tolerance of these resistors is one source of tuning error.
Some electronic organs and synths use a “Top Octave Generator” which approximates equal temperament with rationals that can be implemented in a counter circuit.
I discussed both of these (and emulating them) on the Sequential forum here: https://forum.sequential.com/index.php/topic,3487.msg37298.html#msg37298
If anyone has interest in the Scala files for these, let me know. The files linked on the post are MTS formatted MIDI SysEx files.
In the days before Melodyne, Joe Monzo did a nice blues microtonal analysis: A Microtonal Analysis of Robert Johnson’s “Drunken Hearted Man”.
I like the term “mesotonal” (I think coined by Kraig Grady) for scales that are not traditional 12TET, just intonations, or related temperaments. He applies it for scales that still have about 12 tones per octave, reserving “microtonal” for scales with much more than 12. (By extension, “macrotonal” describes scales with much less than 12 tones per octave.)
Of course the term “Xenharmonic” is apt for scales that don’t relate closely to known scales used by Earth cultures.