I struggled with finding a system of contrast adjustment that worked for me with color heads. I switched to split grade printing for a while and really liked being able to separate the shadow and highlight exposure adjustments. It is a very appealing way of approaching contrast adjustment to me, but a bit of nuisance in the details. The dual tube color heads let you do something similar with a single exposure, but I never manage to get that system into my darkroom.

Eventually, I came up with a way to separate the shadow exposure with the color head, and then dial in the highlights I want. It is not as direct an approach as the split grade system, but in real life (at least mine) ends up using about the same amount of time and paper. If you are printing negatives with hugely varied contrast, then the split grade can be an advantage in getting it (or very close) on the first print.

As others have said, the same end result can be obtained either way. This has been proven numerous times. I had to convince myself of that since I was getting to prints I thought I couldn't obtain any other way; I found that I always could match them. Any advantage is in the path that gets you there.