Again, open the reed. That will almost certainly cure your problem. If your bridle is slipping all over the place and not staying put, make a new one. If your reed isn’t acting the way you’d like it to make a new one. Cane can last a long time, but even on very good reeds it won’t last forever. And some slips will give out before others…depending on the quality of the cane in the first place.
All the best.
OK, thanks Brian and djm for the tips.. I have a wire for bridle, which is something that will be difficult to re-shape since it does not really have a shape.. 
But I have seen the kind of bridle you are talking about; they are simply brass or copper, not closed and stay fixed by their own material stiffness; right? And the purpose of it is just to keep the reeds from vibrating below the point where the bridle sits? So I can probably make myself one.. But is there anything to watch out for wrt weight and stiffness of the bridle?
I cant possibly find time to start making my own reeds. There might be a tionol/reed making workshop in Oslo during winter/spring, and I am still waiting for some spare reeds for my set that I hope to be able to tweak.
Thanks again o<:-)
Use copper. Brass tends to be too springy to work well. Also the bridle does not necissarily (sp?) stop vibration below it, it simply controls tensions throughout the reed and thusly affects tone and playability.
I prefer 0.020 - 0.025" thick copper, cut into a strip approx. 1/8" wide. There are lots of sites out there that show how to fit a bridle. Best!
John Maze provides sound advice on this topic…especially re Koehler reeds.
Fitting a bridle and coaxing it to perform precisely the job you want it to do,whether it be to slightly open, slightly close, or just fix the position of a reed is perhaps the most mysterious aspect of reedmaking for me.
David comments on leaving the little burr teeth on a new bridle…an excellent idea that I must try…I usually file them off…then wonder why my bridle slips.
I’ll often use a dab of sobo fabric glue or a gob of beeswax to hold a bridle in place if needed. This is applied to the bridle - cane interface on the edge of the bridle towards the staple on the side of the reed where the bridle is continuous, and is removable.
Keep in mind that some chanter rushes are used to tune the chanter and not the reed. I’ve seen chanters that seemed overbored, especially in the lower hand area, and needed to have a rush to get a reed made by the maker, one that would presumably be the best fit, to play in tune. If Benedict thought that a rush was needed, it probably still is, so leave it alone.
I’ve seen autocrans on bottom D improved in some cases and worsened in others by adding a bread tie, roll of paper, etc to the bore in the bell of the chanter. I do not look at junk in the bell to adjust the D as a rush…any ideas on what we should call it?
I’ve seen lots of people feck up ther reed doing permanent irreversible things to it in attempt to fix weather-related reversible phenomena. Sometimes you just have to put the set down and choose to do something else related to music while waiting for a front to pass through. If that approach fails, call the maker and ask for advice. Benedict Koehler would much rather have you call him to sort this out than to be required to craft another reed for your chanter due to monkey business on your part.
I call the rolled up piece of paper/rubber o-ring/twist tie/whathaveyou a ‘choker’, as that seems like exactly what it does to the pitch of my chanters. 
I call it “The Disruptor” (think Ah-nold, here). There’s already a perturbation causing the harmonics to go out of phase, so all you’re really doing is creating a second perturbation to cancel out the first one.
djm
I rec’d a PM indicating where the term “suppository” has been applied.
How about calling it an “Intra Uilleann Disruptor?”
Oh yes. Oh my goodness yes… :roll:
If I don’t find that ‘happy place’ soon, I’ll end up in the ‘happy farm’! 
j.i.