Michael, this sounds like a very sensible approach. I'm curious to know which baryta papers you normally use for final B&W and colour, if you don't mind revealing, and why you differentiate.
The short answer is that in 2008, when I did the tests, I settled on Innova Glossy Warm Tone for the B&W, instead of going with any kind of "toned" ink set. For most images, though, colour and B&W, I wanted a very "nuetral", mild textured, premium paper.
I blended my own glossy black ink set along the lines of Paul Roark's ink sets at the time. He was still doing a primarily matte ink set with colored toners, and Cone kept delaying their neutral glossy set. I blended a glossy only, 6K (6 blacks) plus GLOP (gloss optimizer) neutral ink set for glossy paper. I think the Innova smoothness also worked well with the GLOP.
Looking at a post from 2008 on another forum, my proofing paper was Epson Premium Semigloss 170 (thinner.) My main day-to-day paper was Epson Premium Luster.
I went with the Hahnemuhle Fine Art Baryta as my main premium paper. That was a bit of "Goldilocks" decision based on texture and color - too little, too much, just right - among the usual suspects: Epson, Illford, Harman, Hahnemuelle.
After Epson added the Epson Exhibition Fiber in rolls, I added that as my other premium paper. It was my #1 pick in my initial tests, but it was not yet available in rolls.
All of that is very subjective of course, as I ranked the Ilford Gold Silk lowest of the baryta's at the time, behind the Harman Gloss Fiber Al, which was just a little too smooth (according to my notes; I don't have a note on the Ilford.)
Of course, that was the opposite ranking of many here! I have tested newer papers, and I need to decide on and mix a new B&W ink set (dye or pigment? I have the pigments already ..), so I supose things may change a bit.
I think one of the things that this thread has highlighted is what a fantastic choice of papers we have to print with in this current day.
.... Great times to be in!
It really is, isn't it?
When I was doing B&W chemical darkroom in the 1980's, it would take me hours to get one decent 8.5x11 print.
Now I can roll off a few 24"x30" prints as proofs! I could never afford the equipment or materials to print that big back then.