Use stop bath.

Use acid rapid fixer.

 Consider a hold after the developer rather than twixt
fix 1 and fix 2.
  As long as the print is neutral to alkaline when it hits
the KRST all is OK. Both S. and A. Thiosulfates,
unadulterated, are near neutral. Dan

  I am not convinced about pre-soaks. There is really no
necessity for them.
  T-Max RS is a good developer similar to other Phenidone
and Hydroquinone developers like Ilford Microphen. The
normal dilution is 1 part concentrate to 4 parts water. This
stock can be diluted 1:1 with water to get longer
development times. For normal tanks development times of
around 6 minutes minimum are desirable to insure uniform
development. Also longer times are easier to control. Follow
the times and agitation technique in the Kodak data booklet
when starting. The charts are for a target contrast about
right for contact printing or diffusion enlarging. In a
condenser enlarger it may be desirable to reduce negative
contrast by about one paper grade. For T-Max film this
requires about a %20 to %25 reduction of time and a
consequent increase of about 3/4 stop of exposure. T-Max
gains contrast faster than conventional films so its
important to have good control of development rate.
  I am also not convinced about so called alkaline
processing. An acid stop bath will stop development
instantly. If you want to use a water rinse it should
consist of two or three changes of water with vigorous
agitation. About three minutes are needed to remove the bulk
of the developer from the emulsion.
  T-Max will fix in Sodium Thiosulfate fixer but a two bath
system is necessary to insure complete fixing. Total fixing
time of about 10 to 12 minutes is necessary with half the
time in each bath. For faster fixing use a "Rapid" fixer at
film strength. There is some controversey as to whether a
two bath fixing system is needed when using rapid fixer. I
prefer to use one because it insures complete fixing. You
can use a non-hardening fixer if you choose. T-Max emulsion
is similar to color film emulsion in that it is hardened to
take 100F processing and does not really need hardening in
the fixing bath.
  A rinse between fixer and wash aid is not necessary but
the capacity of the wash aid is considerably extended with
the rinse. I use wash aid as a one shot so a rinse is of no
consequence.
  Kodak recommends 1 to 2 minutes treatment in Kodak Hypo
Clearing Agent followed by a five minute wash. This is
sufficient. If you are going to treat your negatives with
Kodak Brown Toner to protect the image a longer wash is
permissible. The reason for limiting the wash time is that a
very small trace of hypo left in the emulsion has been found
to act as a stabilizer, helping to prevent oxidation of the
silver. The toner is a much more effective treatment and is
the current standard method for microfilm. Kodak Rapid
Selenium Toner at high dilutions has been found not to
provide adequate protection.
  When toning film or prints in KBT use a solution of 10%
sodium sulfite, or stock strength KHCA as a stop/clearing
bath. This will prevent after toning in the wash and prevent
staining. A one minute treatment is enough.

  For fiber paper:
  Dektol should not be diluted more than 1:2. While older
instructions show dilutions up to 1:4 the higher dilutions
have less capacity and tend to produce weak blacks. Kodak
recommends 2 minutes as a target time for most of its (all
discontinued now) fiber papers. Varying the development time
can make up to some degree for errors in exposure but the
range is not great.
  Again, I don't like water rinses and think they really
have no advantage.
  Paper fixes out faster than you think but Dave Valvo,
formerly a division manager at Kodak, tells me that longer
fixing times are necessary for fiber paper because of small
amounts of halide which gets into the substrate. You can
check for completeness of fixing by using a Sodium sulfide
test solution or a 1:9 dilution of Kodak Rapid Selenium
Toner (works only where prints are well washed). Neither
solution should produce a visible stain after a 3 minute
period.
   KHCA will neutralize the acid in acid fixing baths
eliminating the advantage of shorter washing times of
alkaline or neutral baths. Treat double weight paper for 3
to 4 minutes as specified. The short wash times following
this treatment are due to the same consideration of residual
hypo above.
   For best permenance treat prints with Kodak Brown Toner.
KBT, and other Polysulfide toners, tone all densities evenly
so that partial toning provides protection to all parts of
the image. The use of KRST at 1:19, as long recommended, has
been found to leave the light density parts of the image
with insufficient protection. If used at a dilution of no
more than 1:9, and for a minimuj of three minutes, KRST will
tone print highlights sufficiently to protect them but will
cause a noticable change in image color. AT this time there
is no really effective treatment which does not change the
appearance of the image to some extent. Agfa Sistan (now
discontinued) is a stablizing agent (Potassium thiocyanate
in a wetting agent) which provides significant protection
without any change in image color or density but it is not
as effective as a toner.
  Any sulfiding toner or KRST will provide excellent image
protection if allowd to tone to completion, however, this
results in a sepia color print.
  Rapid fixer has relatively little advantage for print
emulsions but may be convenient. As for film use a two bath
system to insure complete fixing. The capacity of a single
sodium thiosulfate bath for archival fixing is extremely
limited, Kodak and Ilford give figures of 10 8x10 prints per
_gallon_. A two bath system will extend this from 4 to 10
times. The use of KHCA will further extend the capicity
because it makes some otherwise insoluble halide soluble.
  Conventional processing with fresh chemicals will result
in film and prints capable of 'archival" life. However, for
long term survival storage is very important. Even properly
processed materials are still vulnerable to strong oxidizers
and sulifdes in the atmosphere.
  Another toner suitable for image protection is Gold. Gold
toners are standard for microfilm but are expensive. Gold
tends toward a blue image. On neutral or cold tone papers it
produces a little intensification with little color change.
On warm tone papers it tends toward a more vivid blue but
never as vivid as Iron-blue toner.

  To summarize: If you follow conventional processing and
use conventional materials you will have pretty permanent
results. Its simply not necessary to jump through hoops or
use unusual procedures or solutions.

  One notion needing more of a change is the notion
that fixer need be quite strong if it's to have lots of capacity
and work fast. Lots of capacity means lots of dissolved silver
in the fixer. No one wants that. After all there are archival
limits for film as well as paper.
   Last night I processed a 120 roll of HP5+. It was fixed
in 1/2 liter of solution containing 1/64 liter or 15.625 ml of
unadulterated A. Thio. concentrate; 1:32,  ph 7.5.
   I checked after 6 minutes. The roll was clear and had no
sign of color. I allowed 3 more minutes. I'll repeat the
test and check after 3 minutes.
   An archival fix using fresh fix and well within ten minutes.
I think it worth the 2 or 3 minutes more. Dan