It's basically not much more than a matter of entering the list of freqs into Scala, and then exporting it into a tuning file for your synth (hard- or software). Anything in particular you need help with?
This is (what you can call) the ›classic‹ freq list that they published a while ago (there's an expanded version now). Note, in the FREQUENCY column, the absolute freqs, as published on the website, and in the CENTS column, the interval sizes in cents.
While the Colundi cult followers may put their emphasis on the absolute freqs, it is the interval sizes (measured in cents or, if applicable, as ratios) that are what's useful and relevant from the perspective of serious microtonal studies.
Looking at the (or: at this) Colundi scale, a few things become apparent:
the scale contains a JI perfect fifth (105/70 = 3/2, scale degree #1) as well as a ›copy‹ of that fifth an octave higher (210/70 = 6/2, #3). There's no rational reason to do this, since in each pitch class, all that pitch's versions in different octaves are considered equal: a C at 265Hz is as ›good‹ as a C' at 530Hz etc... [JI: just intonation, i.e. representation of a pitch as a simple ratio]
Then there's kind of a wannabe-›copy‹ of that latter fifth yet another octave higher, but about 4 cents sharp (#6). That's particuarly funny, as the charter specifies a max tolerance of +/- 0.455%. The 421Hz is easily within that tolerance range (0.02% deviation from 420), so it could have been 420Hz as well, without a problem. But no, it just had to be 421. 8-)
Same for degrees 4, 7, 11. Degree 4 does represent a pretty useful interval, 132/35, or rather: 66/35 = 1098 cents, a pretty good approximation (-2 cents) of the major seventh in 12-tone Equal Temperament, and/or a good approximation of the 17th subharmonic (32/17 = 1095 cents). But obviously, once you have that pitch present in the scale, its copy one octave higher (#7) is musically useless, and relevant only if you consider those freqs not as a tool or resource to work with and interpret yourself (which I find the only meaningful option) but a set of rules that need to be obeyed (as opposed to: understood). Degree #4 is specifed as 1052Hz, or 526/35 in relation to the fundamental 70Hz. Folded back into one octave, that's 528/280 = 263/140, an obvious (but certainly interesting, at a ›spicy‹ 8 cents difference) variation of degree 4 which was 66/35 = 264/140. Again, the difference between the specified freq (1052Hz) and the theoretical one two octaves above deg4 (1056Hz) is well within the official range. So, strictly speaking, there's no need for that 8-cent-flat-of-Nr.-4 scale degree. But apparently, whoever came up with that certainly's had their reasons for it. Being able to create harsh dissonance would be (a pretty good) one.
One thing you'll want to do before actually using this (or any other) Colundi scale to making music with it is ›normalizing‹ it, i.e. getting rid of those duplicates, and make sure the scale is repeated every octave. That's easy in Scala, and what's convenient about that Colundi scale is that it doesn't exceed 12 tones per octave, so you can use a regular keyboard without a problem. So mapping that scale, which spans several octaves from 70 to 1052Hz, into one octave (defined as 2/1) only, i.e. 70 to 140Hz, yields:
0: 1/1 0.000000 unison, perfect prime
1: 9/8 203.910002 major whole tone
2: 171/140 346.283398
3: 137/112 348.812593
4: 43/35 356.378085
5: 3/2 701.955001 perfect fifth
6: 421/280 706.072087
7: 213/140 726.511924
8: 263/150 972.120359
9: 66/35 1098.133323
10: 2/1 1200.000000 octave
What's important to point out (to people who are new to Scala and/or microtonality) is that all the pitches from the original scale are still there. They haven't disappeared, they can still be reached via their counterparts in the higher octaves. Consider e.g. former scale degree 8, specified as 9/1: ›Normalizing‹ the scale just means those 9/1 have been halved two times, in order to get it into the range of one octave: 9/1 ---> 9/4 ---> 9/8 (a wonderful, classic, major whole tone in just intonation, by the way). So if you wanna hear the absolute pitch of 421Hz that's from degree 8 in the original scale, you hit the key that's associated with the new degree 1, but two octaves higher.
Etc... so that normalization doesn't reduce but augment the potential of the original scale. The normalized scale will contain all the pitches from the old one *plus* their counterparts in all the octaves across the keyboard.
Few other things that become apparent after normalization:
That scale is actually a ten-tone scale. With the redundancies removed, only ten distinct pitches remain. Which is great, for it leaves space for you to add pitches that you find useful. You may e.g. close the huge gap between degrees 4 and 5 (350 cents!) or the one between 7 and 8, or add stuff like a septimal minor third (7/6 = 266c) that goes well with the good approximation (4c) of the famous harmonic seventh (7/4=969c) that we already have on deg. 8.
There's this big cluster of very similar pitches on degrees 2, 3, 4. Degree 3 is a mere 2c sharp from deg 2, and deg 4 is deg 3 plus 8c. 2 and 3 played together may produce nice beatings, depending on what register you're playing in. 2 (or 3) and 4 may be useful when harsher dissonance is needed.
A lot more can be said I guess... What's so great about Colundi is that they've managed to raise some awareness of the potential of microtonality. For my (or maybe anyone's) actual musical practice, I find other approaches more useful (studying and working with historical or non-European or contemporary experimental tuning from the microtonal community), but what it does demonstrate is that there's worlds to discover beyond the ›12-tone-equal‹ that we've been taking for granted for the past 100 years.