I use both, sometimes I will gravitate to a certain head for asthetic reasons, but this would be for a discerning photographer whose work is done in a specific style.
When working with Colour Heads, a trick that all professional colour darkroom printers know is to come at your number from the same direction all the time.
for example if you are doing split printing and one of your filtrations is say 100magenta, you should always reach 100 by coming from the lower numbers each and every time, if not you will never be accurate.
Now for black and white work I will admit that this is not as critical as in colour , ( in colour we were splitting hairs over 1 cc colour correction and the direction of placing the number will give you at least a 3 cc difference.) when training new printers this is the first thing the colour correction supervisor would do.
For skin tone I sometimes tend to want to use a colour head over my condensor enlargers.
For documentary work I tend to want to use the condensor over the colour enlarger.
These are small decisions that are made , but in day to day reality I like working with both types and as long as my lens is good , my carrier is aligned, and I am keeping my film flat through the whole exposure sweep , then the difference boils down to slight differences.