I assume that you are calibrating each monitor and using a video card or cards that allow separate calibrations - if not all bets are off.
When calibrating the Flatron CRT I assume you use the monitor controls to adjust the RGB levels and also adjust contrast and brightness - the result of being able to adjust a CRT is that less extreme adjustments are typically needed in the 8-bits per channel video-card look-up table and hence the chance of visible posterisation is minimised.
When calibrating the LCD Cinema Display you are only able to change the brightness of the Cold Cathode Fluorescent Lamp (CCFL) backlight - consequently it is likely that more extreme adjustments are made in the look-up table resulting in posterisation and the steps in the grey gradient that you are seeing - you would probably see posterisation and steps in one or more RGB colour gradients if you tested it. This is a problem with all LCDs that use CCFL or white LED backlights and do not have internal high-bit look-up tables.
There are a number of ways of minimising the amount of adjustment needed in the 8-bit video cards and hence minimise the possibility of banding. Depending upon the calibration software being used you may not have the option of using all the techniques. Some of these will require you to also adjust the calibration of the Flatron if you wish to maintain a colour match, although given that you are only using it for palettes this may not be a problem:
- Firstly, you should choose to use native gamma for the Cinema Display. This means that the look-up table only needs to accommodate the small variations between the RGB responses (in order to maintain an accurate greyscale) rather than forcing them all to change, possibly by large amounts. In colour managed applications the system will use its higher bit-depth to manage the change of gamma rather than the 8-bit resolution of the video-card; the use of the higher-bit depth will minimise posterisation. In non-colour managed applications you will probably see either a lightening or darkening of the mid-tones.
- Secondly, you can choose to use a whitepoint that is closer to the native whitepoint of the Cinema Display - for example choose 6500 K rather than 5000 K. Again this will reduce the adjustment needed in the video-card. You would be best using the same whitepoint setting when calibrating the Flatron.
- Thirdly, you could choose to use the native whitepoint of the Cinema Display. Once again this will reduce the adjustment needed in the video-card. Whilst worth testing, this option may result in a slightly magenta or green colourcast making it difficult to produce good colour adjustments. Soft proofing in Photoshop with all corrections enabled would correct for the colourcast however the program interface elements would still show the cast making accurate adjustment difficult.
I hope that this is of some help and that it reduces your problems.
Regards
Nigel