I discussed this with Curt Hoyt, who pointed out that the output signals from the Trinnov process cannot be altered in any way, or it will disrupt the various remapping functions.
Which is why I said
"I can understand locking you out of features when using the Speaker Re-mapping function, which relies on phantom imaging to re-align the soundstage and could be ruined by futzing with critical parameters such as time alignement, levels, etc. But when using Trinnov just for room correction, you should have access to some controls that allow you to shape the sound to taste." One of the issues with using Trinnov innards for user taste adjustments is that those tweaks cannot occur in real time. You can make an adjustment in a menu, but you will not hear it until Trinnov recomputes the filter coefficients. So it's better to keep user tweaks in a separate module ahead of the Trinnov -- unless of course what you're adjusting is part and parcel of Trinnov's unique process.
How does Onkyo manage to give users tone control on a per-speaker basis without it being part and parcel of Audyssey's unique process? Audyssey isn't recomputing its filter coeficients each time you turn up the bass. There's no reason to lock the user out of those kind of adjustments if you're using Trinnov solely for room correction (no speaker remapping).
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