Keep playing with QTR. I LOVE it.. Used it with my Epson 4000s and with the R2400. Infinite adjustments. Just a lot of trial and error sometimes to get what you want, but worth the effort. Play with the ink limit and gamma adjustment sliders as they can make a real difference. Not sure what papers you're using, but some of the glossy, satin type definitely need some serious tweaking to minimize the warmth. As far as I'm concerned, QTR is the best B&W tool out there and the only RIP you'd ever need for B&W. Unfortunately (or perhaps fortunately), I no longer have any wide format Epsons except R2400.. am working with the new Canon IPF5000.. and there is no QTR for the Canon ... bummer. Good luck.
Yes, QTR seems to be right for what I'm doing. I must admit I weighed straight in and made my own profile because I didn't bother to read the documentation (hmmm...) Actually, I'm glad I did, because I've ended up with a better feel for what goes on under the hood so to speak.
Paper wise (to answer an earlier poster) I'm still experimenting. I've had very good results with Epson's own premium glossy, but I'm open to suggestions. What I'd like is something similar, though maybe slightly less glossy, and with a less plasticky feel, but with as good black density and good archival qualities. Any suggestions gratefully appreciated! I quite like the surface of Kodak's glossy paper, but the actual paper base itself is beyond horrible and out the other side -- it feels sticky to the touch, and the ink takes ages to dry (particularly using the Epson driver, which overdoes the amount of ink quite a bit in my opinion).
I suppose I have a tendency to associate matte papers with more pastelly colour images, subtle tones and no great density. My own images have always tended to be B&W and relatively punchy -- I used to push process FP4 and Tri-X to ridiculously inappropriate ISO ratings, then print the result on as high contrast paper as I could get my hands on, which resulted in lots of grain acting like a halftone screen. I'm a bit less extreme than that with digital (my 4x5 Better Light work has basically no visible grain anyway), but I still like my blacks black and my whites white, if you see what I mean!