Drew, that is also my experience with MGWT: the high-contrast, i.e. blue-activated emulsion responds fairly well to cooling attempts, but it is the other one that is far more stubborn. Just shifting printing to use higher contrast for the sake of tone is not appealing to me too much as it does make smooth highlights, clouds and skies, a bit too grainy for my liking.

Ian, thanks to your suggestion to head the MQ way. I may have some good news, although I still need to do a like-for-like comparison, I run out of time for that yesterday. It seems that a modified Ansco 103 (not 130), with 0.6g KBr/l stock and 0.25g BTA/l stock has given me cooler-to-neutral tones, not blue, on MGWT than my previous attempts with BTA/less KBr modified Ansco 130. The jury is still out, though, as I have to do a comparison on a soft image, since I printed a normal and a higher contrast image in this developer, last night. I followed by 1+9 21C (70F) Se, fairly used up KRST that had some 40 sheets of 11x14 through it so far, for 2 min–2 min 30 s. The look is pleasing to my eye, and very much what I was looking for, but it is not vastly different, like in Ian's thiourea experiment. I suppose I should do some scans one day... I am not yet sure about the modified Ansco 103 consistency as far as the tone is concerned, sheet-to-sheet, but I should know more after the weekend's printing.

So at least for some images I may have cracked it, and I just hope it would also work for softer ones. If not, I will work my way through the other developer combinations, and perhaps I stumble on some further magic. I will be testing ID-62 and DS-14 with BTA modification at some point.

I have also exchanged a few emails with Ryuji in the last few days, and he pointed out that 1-phenyl-5-mercaptotetrazol (PMT) may be a bit inconvienient for my purpose, as it would exhaust sooner than the developer, and hence would require constant addition after each print, to maintain it. Not to mention this could lead to inconsistency. He also mentioned that the commercially used additives, that lead to the cool tones, may simply be inaccessible to a regular darkroom worker.

For those who are interested, the formula that I have used for this developer, following Anchell's modification suggestion, is:

Ansco 103 modified for cooler tones:
Water 750ml at 50C (122F)
Metol 3.5g
Sodium sulfite anh 45g
Hydroquinone 11.5g
Sodium carbonate anh 67g
Potassium bromide 0.6g (6ml 10%)
Benzotriazole 0.25g (25ml 1%)
Water to 1l. Diluted 1+2, and used at about 20.5C (69F) 2 min 30 s for MGWT glossy fibre.