Regarding the "D-minor problem", the way I look at it is that problem is not with just intonation per se, but with how C major is defined and how it is used in

Regarding the "D-minor problem", the way I look at it is that problem is not with just intonation per se, but with how C major is defined and how it is used in equal temperament vs JI. The probelm is solved in JI by re-defining the key of C major to include both 10:9 and 9:8. So, instead of one D, you have two slightly different Ds. Equal temperament just uses a note almost half way in between to play the role of both notes, but that's just an approximation. (This double-role can be useful for certain chord progressions that work out in equal temperament even though mathematically they shouldn't.) JI definitely becomes a lot more useful and interesting if you allow for more than 12 notes per octave. I'd consider 16 to be about a reasonable minimum for conventional 5-limit music, but having more opens up more possibilities. In the context of the original article which seemed to be geared more to just implementing some sort of basic sequencer or picking random notes from a scale, I think picking notes from a JI scale rather than 12-tone equal temperament is an easy way to do something different from what everyone else does with a good chance of having a result that sounds good. More serious music composition or performance in JI generally requires more awareness of the various quirks of JI versus equal temperament. I do wish tooling was better; in some ways, MIDI kind of locked everyone into 12-tone equal temperament, and getting out of that rut is going to require some kind of large change. (MPE and Midi-2.0 are possibilities; time will tell if they pan out.)