I was excited to hear of the incorporation of this unique scale in the new Synchron library, a scale I thought I invented when I was eleven. I spontaneously began playing the piano using this scale and composing little motifs, and it seemed very natural to me. It was in the transposition b-c-d-e flat-f-g flat-a flat-a natural. I later discovered to my shock it was very old - not only used in the 20th century as mentioned on the Synchron thread, but long before with Spanish guitar music, etc. But the scale has unique and interesting harmonic and melodic aspects. For example, there are parallel tritones all the way up the scale on every degree. If you create a major triad and then go down stepwise on each note you will get alternating major-minor-major-minor chords in different inversions. There are parallel sevenths on every degree but they alterante minor-major-minor- likewise. Also parallel diminished chords and minor thirds . There is no V-I cadence possible, and yet melodically the feel of it can be created by leaving out the tritone instead of the fifth. Anyway a huge number of interesting differences from the twelve tone or diatonic scales. Psychologically also, the scale does not seem dissonant and yet is very different from diatonic harmony. There is a tendency to continue using it to the exclusion of "wrong notes" and yet when they are used they become like accidentals in diatonism.
In my score for the film I am working on I am using the scale almost exclusively with a few exceptions. It is often rather eerie sounding (or can be) and fits the mystery/horror elements of the film!