I'm glad to hear I'm not the only one getting back to the darkroom after a 20 year absence. What I've done is collect a library of everything relevant I could find in written works in order to bone up on the process, and then dive in with developer blazing.
It was very encouraging to read all of this this morning. I've got two prints from yesterday that look okay but I feel I like more contrast. And I DO LOVE FB paper. the RC paper doesn't have the feeling to it that I like. I'm going to stick with what I've got and just keep practicing. Everyone here is so helpful! It's nice to have such a community of people that are more about the art then popularity.
I don't know how the Foma paper will respond to it (Thomas would know) but to get slightly deeper blacks on neutral toned papers you can try selenium toning. For this you usually use more dilute toner than you would for a more radical color change. Many neutral tone papers will cool slightly with a slight increase in d-max and contrast. I use Kodak selenium toner at 1+19 for somewhere around 5 minutes. With the Adox MCC 110 paper I've been using I stop at 4 minutes because 5 starts giving me too much purple eggplant color I don't really care for.
Personally I think if you're ready to print, you're ready to tone, and no print is finished until it's toned. Even if you don't want a color change, selenium and sepia toners (and gold but that's expensive) improve archival properties of the prints, and using them is quite easy. But that's just my view.
I don't think it's necessary to "learning how to print" either. What does learning to print have to do with it? I don't consider the print finished until it's tone and personally tone all my prints. YMMV but if someone isn't satisfied with the d-max of a paper they otherwise like, dilute selenium toner is worth a try. There's really nothing to learn, just try it and see if you like the results.