Good categorization. The only other parameter is whether you are doing (1) close listening as at a desk, (2) a typical listening room at a distance of 6-8 ft without much space behind equipment or listener and possibly corners and hallway openings and finally (3) a serious listening room with recommended spaces and positioning, etc.
DRC for (1) isn’t really doing as much room corrections as correcting quirks and limitations of the audio chain and tonal preferences much like headphones eq.
DRC for (2) is where the maximum benefit is. Any DRC will be better than no DRC. At the lower frequencies you correct for room effects, at higher frequencies more for tonal balance. My experiments with the commercial Audyssey and Anthem DRCs suggest that is what they roughly do as well when doing full range correction rather than try to correct hills and valleys at higher frequencies. Mostly broad shelf filters or such to lift or lower high frequencies (except for that annoying dip Audyssey uses). These help if you have very position sensitive speakers but not enough room to get some optimal position. DRC is much easier to do here than room treatment.
DRC for (3) tends to be less of an impact as there is enough space to get the best out of positioning and room treatment and equipment tends to be much better in such setups as well. DRC can optimize some small idiosyncracies or substitute for problematic room treatment.
REW is great but way too many bells and whistles for any but the most ardent hands-on and technically adept that is willing to understand the concepts to pick what they need out of the zillion things you can do with it. Not a system to use following some blog somewhere. Too little understanding is a dangerous thing here since there are so many ways of doing things wrong with REW and never know it. Especially, if you are involving more than two speakers.