Digital BW, The Print

Howard,

> I'm beginning to explore curve editing of Paul Roark's UT7 profiles ...
>I can see where the green curve controls the cooling toner

The inks in the magenta and light magenta positions are more than just
toners.  They are essentially the same density as the warm gray inks.  So,
rather than a toner, think of them as a set of cold gray inks similar to the
warm gray C & LC inks.

> and the blue curve controls the sepia toner. 
>The red curve controls the light and dark grey.

These are pure carbon pigments -- quite warm, about half way to sepia.

> How does one control the Custom Light Black and the Ebony Black? 
>Also is there a way in which you can control the input from the 
>cool toner and the light cool toner separately? 
>Is there a way in which you can control the input of the Dark
> Grey and Light Grey independently?

No, with the Epson driver the driver controls the cross-overs between the
light and dark inks.  This is not necessarily bad news.  The red curve, for
example, controls the entire warm carbon ink combination with an excellent
built-in cross-over included.

The LK is a bit of a wasted ink when B&W inks are in the UC printer and the
Epson driver is used.  

The Eboni is turned on by the driver as the RGB curves approach the black
point.  It's just another cross-over, but one that looks at all three of the
RGB curves.  For the glossy papers I stop the Eboni from printing by keeping
the blue curve at the top (turned off).  This allows the C & M to pour in
and form a good dmax without the Eboni being turned on by the driver.

If you want independent control of the inks, one of the rips like QTR or IJC
is the way to go.

Hope this helps.

Paul
www.PaulRoark.com