With new electronic instruments this is no longer the case. There has been too much theory and not enough practice in this field under discussion, so we must emphasize that the theorist or acoustician in a laboratory surrounded by thousands of dollars' worth of test equipment and measuring devices is not in the same environment as the musicians and audience at a concert. In particular non-composers ought not to keep telling composers what not to do or set rules for them. What was out of the question in 1900 or 1920 or 1940 is now affordable and feasible and accessible. It's that simple.
Music has the same right to progress as the other arts and sciences.
We are assuming either existing music played at normal tempo or new compositions played at normal tempo, Adagio through Presto . The tiny discrepancies can only be heard by playing too slowly for listeners to tolerate, and sustaining them in isolation. So for practical purposes, conventional notation will do for 31-tone temperament. These have been used in the printing of new compositions by a number of composers who write int he 31-tone system. THe fact still remains that an enormous amount of existing sheet musician can be read as is and played int he 31-tone equal temperament with a meantone effect.