You will probably want to relinearize your original Eb6 profiles for the new version 1.1.
I use all sorts of different ink arrangements. With Eb6 v. 1.1, I've also started to incorporate a light blue toner to offset the carbon warmth at the option, of course, of the photographer/printer. See
http://www.paulroark.com/BW-Info/3880-Eboni-Variable-Tone.pdf for a good example of that setup. The profiles in the Profiles Zip file linked to that PDF will probably port to a 4880 set up similarly with only a relinearization.
I increasingly use the QTR sliders to control where the "neutral" profile is used and how much, and where the 100% carbon profile is used in a print. It takes care of the cloud, snow, and white water warmth that I do not favor, while leaving the mid and shadow values warm. It allows us to control the nature and extent of split toning. Since both of these profiles use the identical carbon partition, the sliders are simply controlling the amount of toner used. The Lab L ramp stays perfect.
There are several reasons I'm dropping the 2% blend. First, it's not necessary to have an ink that is so dilute. In my old 7500 and ancient 3000, it tamed those large drop sizes, but no modern printer needs an ink that is almost entirely clear base. Second, while the 2% mix gave a relatively neutral highlight image with the original Eb6, it is not more neutral than the 6% (Eb6 LM) ink with v. 1.1 and modern inkjet papers. Third, I am increasingly trying to hold down the fluid on the paper unless there is a reason to have high dilution. You will note that I've changed the toner formula I use from one that used 90% clear base to one that uses 75% clear base. This more recent mix results in a blue toner that is essentially equal in density to the Eb6-LM (lightest carbon I now use). Forth, why spend money on water and more time refilling printers due to very weak inks when there is no upside? Fifth, with my dilution base I've now seen two instances of the 2% dilution producing strange results in 1.5 pl printers. (I suspect the pH can drift out of range.)
Another trend in my person wide format printers (not so much those setups aimed at a wider audience) is the use of 2 MK and 2 Eb6-C positions. The 2 MK positions are due to the fact that Arches (uncoated) watercolor paper does not reach its dmax until over 120% ink load is achieved. The second Eb6-C (30% dilution) is used (as is the second MK) to hold the warmth of the 100% carbon print down. Even 3.5 pl printers can use the 30% dilution in small amounts all the way into the highlights. So, I end up with a standard QTR partition that uses 5 carbons. Then I have a "QTR toner" channel (not the blue) that uses the second 30%. This is often taken to a manual curve so that I can use that to refine the pre-linearized curve.
In determining the optimum mix for the 100% carbon for large print sizes and different papers (including matte canvas), I start by having a standard QTR parition profile, a C-K profile, and a BO profile. I use the sliders to determine what mix of these compromises the print warmth v. smoothness for the print size needed. Sometimes I combine all of these into a single profile.
Note that the blue toner distribution is close to the same for all papers. So, once I have a manual curve for that, I just copy the points to new profiles and do minor refinement. This way it does not take a separate QTR "toner" channel.
With this in mind, this is the ink setup I anticipate using in the 9880 I'll pick up in a couple of weeks:
Y = Eboni MK (100%)
LM = Eb6-LM (6%)
LC = Eb6-LC (9%)
M = Eb6-M (18%)
C = Eb6-C (30%)
LLK = light blue toner (13.75% Canon Lucia Blue, 11.25% Canon Lucia Cyan [note this is a 55%-45% color pigment blend], and 75% clear base [C6b])
LK = Eb6-C (30%)
K = Eboni MK
FWIW
Paul