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 alignment, 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."
When you said “shape to taste” I read more into it—like applying some EQ. Trinnov does have a “target curve” capability same as MultEQ. Ignoring that, I suspect that the lockout we see happening in the 972 is not a result of careful thought, but because that's what they happened to do. Maybe it was the easiest solution?
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 coefficients 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).
Sure, it's easy to design a product with room EQ and separate tone controls. Thus far, no one has bothered to design a product like that with Trinnov. In the case of a Trinnov product, it would have to be done prior to the Trinnov block, but that's not a problem.
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