Murky gradient colour in CS2

Using AI10 I have a smooth transition in the colour gradient palette, this is using close tone and hue colours so no muddy crossover I would normally expect between say a green and red. However with CS2 I get a murky greyish colour between the two chosen colours in this case P281 and P.Reflex blue. These two colours blend seamlessly in AI10 but not in CS2. I have changed the 'Color Settings' to match the AI10 ones to no avail, I have tried various other settings but without success. This happens with any colours I choose to blend in CS2.
Using a Mac G5- Panther OSX with 20" Apple cinema display.

The way gradients involving spot colors are rendered was changed in Illustrator 11 (CS).
Suppose you have a gradient from reflex blue to 281C. How should a color halfway along the gradient ramp be displayed? Well, the way it would be printed is that there would be 50% of the reflex blue ink sitting on top (or below) 50% of the 281C ink.
The problem Illustrator has is to simulate the appearance of a mixture of 50% of each of these two inks on a computer monitor. The way it does it is to pretend (roughly speaking) that each ink acts like a piece of transparent, colored plastic.
Following this approach we find that the color of 50% reflex blue is approximately CMYK=50,36,0,1 and that of 50% 281C is 50,36,0,16. Now the way to simulate the appearance of two pieces of colored plastic with these colors is to multiply them together component by component.
This multiplication models the notion that, for each color component, each piece of plastic blocks out a percentage of the light equal to the corresponding component value.
Actually you have to divide each value by 100, subtract from 1, multiply, subtract the result from 1 and then multiply by 100. This is because CMYK is a subtractive space and you need to do the calculation in an additive space.
Applying this to our two colors we get the result (approximately):
C = (1 - (1 - .5) x (1 - .5)) x 100 = 75
M = (1 - (1 - .36) x (1 - .36)) x 100 = 60
Y = (1 - (1 - 0) x (1 - 0)) x 100 = 0
K = (1 - (1 - .01) x (1 - .16)) x 100 = 16
Which is kind of a grayish color.
Now, the old way of calculating the intermediate color was quite different. The method it used was to interpolate between the color values of the 100% tints of the spot colors. Using this method the intermediate color result is:
C = 100 * (1 - t) + 100 * t
M = 73 * (1 - t) + 72 * t
Y = 0 * (1 - t) + 0 * t
K = 2 * (1 - t) + 16 * t
where t is the fraction along the gradient ramp of the intermediate color you want to calculate. Taking the example of the midpoint again we get CMYK=100,72,0,9.
So, why did this change? Well, the new method is better motivated from a physical perspective but that's not the real reason. The big problem with the old method is that it does not generalize to arbitrary mixes of spot inks whereas the new method does. For example, how do you simulate the appearance of 60% reflex blue plus 70% 281C? The interpolation based method has no answer for this whereas the one based on multiplication does. Features such as transparency and InDesign's mixed inks can result in these color combinations.
If you want to get back the old interpolation based colors you can do so by turning the spot colors into process colors (e.g global process colors).

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