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Seems like a carry-over from the issues on BBb or CC tuba. But since it is a keyed instrument we are not dealing with all the same issues. My take comes from the historic brass band perspective/tradition and certainly the Bb is best suited in that context. Were I to get one for myself it would be in Bb. But talk is cheap and ophicleides cost bucks. Seriously though, the fingerings are rather complicated and having the Bb harmonic series line up with the keys that are common to brass band literature makes life a bit less hectic. Of all the antique ophs that I have seen, only one happened to be in C. It was a beautiful instrument. In the Yankee Brass Band that I conduct we have several players who can handle the ophicleide respectably. They are all using Bbs and seem to get around without undue problems. We play mostly in Eb, Bb, Ab and Db - not so frequently in F or Gb.
Now, were I to do Mendelssohn "Midsommer Nights Dream" Overture I would think the C would be better suited. It centers on an E scale and takes a low B nat which is conveniently the lowest note on the horn. Some Berlioz can go either way but Sym. Fantastic works well on the Bb. If you are planning on having just one, I would personally suggest the Bb.

I was thinking about doubling the tuba/bass to better my chances of finding a gig.

But now that you mention the ophicleide...

Three Valves wrote:I was thinking about doubling the tuba/bass to better my chances of finding a gig.

But now that you mention the ophicleide...

Yes, you can start getting in on those ophiciede jazz trio gigs!

I found the Ophicleide in C well suited for playing Fantastique, both in finger patterns and partials. Had a Bb beside me in the "customary" pairing.

On the whole, seems EXACTLY like the C/Bb Tuba argument...

Z-Tuba Dude wrote:

Three Valves wrote:I was thinking about doubling the tuba/bass to better my chances of finding a gig.

But now that you mention the ophicleide...

Yes, you can start getting in on those ophiciede jazz trio gigs!

I could be the 21st Century Vince Guaraldi!!

Invariably, someone, usually a trumpet player, will ask me why I'm not playing an ophicleide on some work, usually, Berlioz, while I'm sitting next to three trombones with modern, big bore, instruments and the trumpets sitting next to the trombones are also using modern instruments. I think they do this to show how knowledgeable they are. My standard response is "there is a reason they are called awful-cleides".

On the other hand, if you really want to have an orchestra where everyone is using period instruments, just to prove how much better modern instruments are, have fun.

Here you go - a Berlioz excerpt played with ophicleide, tuba and euphonium in succession:
https://www.youtube.com/watch?v=nXsT-4yDK1g" target="_blank

And a Wagner excerpt played the same way:
https://www.youtube.com/watch?v=1_uV_cP90Es" target="_blank

Hello Z-Tuba Dude,

From what little I've managed to learn from my french collegues:

In following with historical practice in Paris in the mid to late 19th century, typically symphony orchestras would use a C Ophicleide where as the military windbands would use Bb Ophicleides. The C Ophicleides tend to be a bit smaller and finer than their Bb cousins. I believe this tradition carried over into the next century with Saxhorns as well. There are however many exceptions to this on both sides. In the end, if you have the luxury of choice, pick what works best for you, or simply buy both...

Good luck and have fun,

TheBerlinerTuba

One good thing I can think of about the ophicleide??

A one way express ticket to All-State Band!!

Take THAT Bass Clarinet Players!!