In the schematic below, we see the split-load phase splitter cascading into two cathode followers, which not only allows phase selection, but also a balanced output. The manner in which the phase is selected is important. The worst-case scenario is the two-position toggle switch. The ear requires a quiet pause in which to reorient itself to the phase's reversal, which the snap of the toggle switch denies. A better choice, therefore, is a three-position toggle switch or (better still a rotary switch) with muting in the center position.

Position Control:
Recessed and Close
     A slight shallow dip in the 2000 to 3000 range creates the illusion of the sounds originating further back behind the loudspeakers. Conversely, a boost at these frequencies causes the sound to move toward us. The following circuits create the dip and boost required.

    In the second of the above circuits, we see a series attenuator bridging the input grounded-cathode amplifier to the output cathode follower. Because the attenuator terminates into a shorting capacitor to ground, the DC voltage relationships remain constant no mater what the attenuator's setting.

Phase Control: Minus and Plus
    Controlling this aspect of the signal requires a balanced signal to occur somewhere in the circuit. If the input signal is balanced, our work is done for us, as we only have to switch phase at the input or the output. But if the signal is single-ended (unbalanced), then we must split the signal into two phases. Here the split-load phase splitter's superior balance recommends the circuit's use. As long as the plate resistor and cathode resistor match in value, this phase splitter will provide a balanced output signal. But as this phase splitter has dissimilar output impedances per phase, it should not be used as the final stage.

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