Speedlights (meaning, in this case, flash guns with variable output) and the Quadra both run a bit "hot" (cool tones come from higher Kelvin temperatures), and for the same reason: they cut off the flash output electronically and suddenly. With portable units, that's as much to conserve battery power as anything else. (Some high-speed units, like the Paul C. Buff Einstein 640, when in "Action mode", do it specifically to limit flash duration.)
Most studio flashes take a different approach to power adjustment, charging the capacitors only to the level required for the desired output, then letting the flash "burn out" naturally. In a well-designed system, this means both that the colour temperature of the total flash output will be lower (warmer-toned) since both of the lower-temperature ramp-up and decay portions of the flash output are used, and that colour will be more consistent throughout the output range.
There is one small fly in the ointment, though, and that is that in order to adjust the power downward on a full-duration flash, any charge already in the capacitors needs to be dumped, and the capacitors recharged to the correct level. That's not exactly conducive to TTL (or "automatic") metering. The Flash WB setting on your camera is set to approximately the middle range of temperatures expected from TTL flash under typical shooting conditions, which would be somewhere in the upper 5000s Kelvin, although "enthusiast" use (off-camera flash much closer than your average consumer would take it) often means that the light is considerably cooler (higher colour temp) than the camera is set for. As a result, we've come to think nothing of using a quarter- or half-cut of CTS or CTO as a matter of course when mixing with daylight ambient. The thing is, though, that we're not so much "adding warmth" as "correcting coolth" in those circumstances.
The DLites (well, I don't know about the Ones, but the 4 and 2, certainly) are, apart from the non-metal case and the resulting modifier weight restrictions, as good and capable as any of the monolights we had available for studio use in my day. Better, in most respects, than the vast majority of breathtakingly expensive pro gear available then, since the adjustability and shot-to-shot consistency are better thanks to modern electronics, and radio triggering (and remote control on the new RX versions) were just a silly dream we had back then. I'd have traded my EL Compacts for them in a heartbeat (except for the 1000s, since there's no power equivalent in the DLite range). The Portalite softboxes, though, aren't so great (no softbox that's all straight lines will have distribution as nice as one that's more-or-less parabolic and designed for the light source, even if you use all of the available deflectors and inner diffusers). If colour temperature was your problem, then adjust for it. That can mean adjusting your camera for the relative warmth, or it can mean gelling the lights bluer (or using the optional blue deflector), depending on other light sources in the image. If it's distribution and fall-off, then it's probably the modifiers to blame -- the basic head shape and light distribution is the same across the entire Elinchrom line. Both the Rotalux and the EL Indirect range are much, much better than the Portalites.