You are in for a treat.

This track is tuned to 1/4 comma meantone. The tempered fifths sart on F, to C all the way through A#. The wolf fifth (a diminished sixth) is between A# to F. This is of course never played and avoided completely, thanks to Yoshimi's ability to change tuning on the fly with its midi learnable microtonal settings.
The wolf is placed between A# to F because it allows the existence of subminor thirds and harmonic sevenths on F and C.
The drums are programmed with Sitala, a Linux LV2 plugin which allows you to load in samples to trigger. The drum samples come from an emulated SID chip for that unique sound.
The 8-bit feel is further enhanced by the rapid arpeggios employed on music written for the SID chip due to there only being three voices.
See if you can spot the subminor triads and the 4:5:6:7 tetrad. There is a 4:3 polyrhythm employed in the track as well.

Enjoy!

8-bit groove

Another track for you with sampled SID drums, synths, harmonic 7th chords all over the place and switching between 5-limit minor chords and 7-limit ones.
The perfect fifth in 31 edo is around 696.77. This falls in between the fifth that generates pure 5/4 major thirds in 1/4 comma meantone and the fifth that generates pure 7/4 minor sevenths in septimal meantone. 31 edo is excellent for 5- and 7-limit tunings, albeit more than a handful of notes per octave.

Running

Two 11-limit just intonation tunings are used here to facilitate a two chord vamp. Once again, this provides interesting interplay between the 7/4 and 9/5 minor 7ths. 
Very interesting and strident intervals can be formed between the 11th and 7th partials.
It also has a 6/8 time signature, which is unusual but provides a solid beat.

Update:

On the Xenharmonic Facebook group there is a bit of an active discussion as to whether this is really in 6/8 time, or 6/4 or even 3/2. All I can say is that I am not an expert on rhythm nomenclature. I do however, have a feeling for rhythm in my bones and in my opinion, that is often enough for a groove.

A Perfect Storm

Another groove for you in 7-limit just intonation, using the following scale:

1/1
81/80
35/32
10/9
9/8
8/7
7/6
6/5
5/4
21/16
4/3
27/20
7/5
10/7
3/2
63/40
8/5
5/3
12/7
7/4
16/9
9/5
15/8
63/32
2/1

With 24 notes, the tuning maps to the piano roll of DAWs nicely. Just remember that the tuning spans two sets of 12tet notes, not one. Creating your own midnam file makes things a bit easier when entering notes in the piano roll of Ardour 5.

The commas and wolf 4ths and 5ths in the scale are there to make sure chords and a good selection of notes work with the basic chord progression. Nice contrasts between the 5- and 7-limit are possible, for instance a subminor 7th chord (1/1, 7/6, 3/2 7/4) moving up a pental minor third (6/5) to a major chord can be really effective, as the 7/6 turns into a 6/5 and the 7/4 turns into a 9/5.

Enjoy.

Dehumanize

31 edo is my new favourite tuning. As a rather excellent approximation of 1/4 comma meantone, it can support regular 5-limit music that we are all used to listening to with much more in tune major thirds. Indeed, the notation of each note can be considered equivalent to 12 edo, as long as you pay attention to any assumptions of enharmonicity, as the difference between the chromatic and diatonic semitones is not tempered out in 31edo.
31edo is an excellent choice for exploring the 7-limit and it offers fair approximations of some 11-limit intervals as well.
Some interesting chord progressions and resolutions can be explored. For instance, the supermajor chord C Fb G resolving to E# A1/2b B# by stepwise contrary motion. Or a 4:6:9:11 chord followed by a 4:5:6:7 chord a major third up gives a sense of simultaneous rising and falling.
I'm sure that loads more are available that are limited only by the imagination.
Enjoy.

Flying the Flag

"17edo does not approximate the 5th harmonic very well, the major and minor thirds and sixths are out of tune". That is something I have heard and also believed in myself. This is the reason why I haven't released anything in this tuning so far. This assessment is unfair, however. 17tet does not approximate the 5th harmonic at all. With this in mind, it is possible to create great music with it.
All that needs to be considered is that triadic harmony does not work very well. The major and minor third does not exist in this tuning. The nearest is a very flat minor third and a major third that is far too sharp to be considered a stable consonance. The perfect fourth and fifth, however are very much in tune and can be the foundation of very nice sounding harmonies involving quartal and quintal chords.
In this piece, I have explored what I call the Neutral Dorian scale. It is very much like the Dorian mode of the traditional Major Scale but instead of a major 6th, it has a neutral 6th.
Enjoy.

Power On Self Test

A short piece in 17 edo. The sound of neutral triads is growing on me. One of the ways to get the best out of them is to have a stack of two 17 edo perfect fifths with a neutral third on top. 

Enjoy.

Commodore's Last Stand

Named after the legend of computer game music, Rob Hubbard. For some reason, the song seemed to make his name pop in my head. So I have named this song after him.

This is composed in 31 edo. This tuning allows exploration of enharmonic movement, as well as chromatic movement. Each step of 31 edo can be considered to approximate the diesis, two of which make a chromatic semitone and three of each make a diatonic semitone. Five together makes a whole tone in this tuning. This sort of enharmonic movement is explored right at the beginning with an enharmonic descent from the major sixth to the perfect fifth.

Enjoy.

https://en.wikipedia.org/wiki/Rob_Hubbard

Rob Hubbard

A nice uplifting groove for you in 17 edo.

Created with Ardour, LSP Sampler and U-He Ace.

Enjoy.

Rise Up

First ever album released!!!

https://microwave64.bandcamp.com/releases

Tuned to 53edo, the holy grail of tuning theory. One of the best tunings to use for the 3-, 5-, 7-, and 13-limit and one of the few to have excellent fifths and thirds.

Amongst some of the more familiar intervals it approximates, it is also good for the Syntonic Comma, Diesis, the chromatic semitone (Pythagorean and 5-limit) and the diatonic semitone (ditto). This means that comma pumps and enharmonic shenanigans are possible.
Because 53edo can be thought of as Just Intonation, the lead melody consists of a note held on the root of the chord and the melodic notes obtained from twiddling the tuning knob on U-He's ACE with it set to partial mode to step through the harmonic series.

Enjoy.

Initialising

Just a silly bit of fun. I've flexed my musical muscles, and I think my music teacher would be proud! Counterpoint in four parts, increasing to seven towards the end, tuned to 31edo inspired by Nicola Vicentino and an obscure 80s computer game for the BBC Micro.

Image source https://en.wikipedia.org/w/index.php?curid=15165554

Repton

Microtonal electronic music influenced by the music of C64 and Amiga chip tunes. You can call it M I C R O W A V E if you want.

Microwave 64

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