Over the last few years, playing Scottish music on wind instruments, I've often found myself pitching the fourth and seventh of a major scale somewhere near meantone, when it fits in with what other people are doing and I can pull it off. The tunes often sound purer and more lyrical that way. (Meantone in D would have the F# and C# flatter than the Gb and Db; the major thirds in D major and A major triads will then be close to just intonation). With a recorder you can often do that with a simple alternative fingering; other instruments may require tweaks of embouchure nd breath pressure.

Obviously this is not going to work with a piano accordion in the lineup. Equal temperament, live with it.

Less obviously, it works even less well with a lot of fiddlers. They tend to push these sharps even higher than equal temperament, and maybe even higher than Pythagorean intonation (in which F# is higher than Gb and thirds are treated as dissonances). And the faster and louder they play the sharper those sharps get. To my ear this comes over as abrasive and just plain nasty.

Comments from stringy people?