Right on, I can dig it.
The notion that the reproduction is flawed would, more than likely, be based on the new makers skill level and/or the original instrument being tampered with by someone during it’s life.
Did that seem like a mouthful to you too? 
PD.
Hmm, the original poster seems to have fled this thread 
but the ‘flaw’ discussed is, unless I misunderstand, not unusual in narrow bore chanters and in my opinion may well be part of the ‘design’, i.e. the original maker’s intent. So I am not sure that I agree with you. My point all along is that one should not expect that all ‘good’ chanters will play a single-finger G in the first octave reliably. It’s just one of many possible design tradeoffs. Of course it can indeed be affected by the reed, but I don’t think it necessarily indicates tampering or error on the part of either maker.
Ahhh…Liam O’Flynn has the same “problem.” Patsy Touhey had the same “problem.” So these pipers, and Rowsome and Taylors didn’t know what they were doing?
The only guys you hear who don’t have this “problem” are Hannon, Keenan, Britton. Guys who play the proverbial armbuster reeds. Britton mentioned in a letter (printed in the Pipers’ Review) that he designs chanters to play one-fingered B and G notes; Craig Fischer wrote about his old keyless Coyne D seemingly having this quirk; and I’m told some Taylors have it, too. It seems to be/have been a special feature certain pipers wanted, to give an even stronger stacatto, or an easier one. Maybe Peter L. can tell us if the Touhey chanter is like this - that you need to play a one - fingered B and G or it’s out of tune.
But this was/is rare; most pipemakers didn’t design chanters to be played like this, as a look at any of the old fingering charts will show. The squeak this piper is experiencing is simply something he needs to work out for himself. If he wants to play a tough reed to achieve this effect he needs to get out the pliers. Be prepared to pay the price for doing so. The pipemaker doesn’t have anything to do with it.
I think that’s what I was trying to say in a round about way 
PD.
Not being an expert on UP low chanters, but having some familiarity in making and playing a large variety of both cylindrical and conical/narrow bored Scottish-style pipes, pastoral-like variants, I’d suggest that the very nature of the narrow bored chanter, any narrow-bored chanter, particularly one with particularly small holes like the G, is absolutely unstable venting that small a hole on that long a bore, with any reed. If it is to work at all, is would have to be with a very bright, crisp, and hard reed like the NSP, which can pop very low notes from silence very cleanly. Having said this, I think the NSP even has bigger tone holes than a B UP chanter’s G. So, read Rowesome’s tutor, and play a staccato G with two fingers the way they did it back in the day.
It’s not that much slower anyway and you get a cleaner G.
As far as reeds go, I find most people looking for low/narrow chanters are primarily whining about the volume of the instrument and how hard it is to blow. Thus, we find (as in the case of many a PC) some very lame reeds being cited as the “norm” in these chanters, when in my estimation, the resultant lack of response/control is not compensated for by simply being easier on the elbows.
Royce