Recently, I’ve been trying to fix a few tuning issue that had been bothering me with the current reed that I had in my Rogge B (an excellent sounding chanter). I could get my As in tune, but when I did my G-g relationship suffered badly, along with my back d (g2 flat, G1 sharp, flat back d if I made corrections that “made sense.”
Untying and tying an already finished reed doesn’t bother me in the slightest, if it means closer octaves. No fear here! Though, no matter where I placed the staple, I’d ended up with “puzzle-unloveable.”
Too, I changed staples, using larger and smaller ones, yet nothing seemed to help.
After much thought, untying and tying 50+ xs, different bridle adjustments etc., I made the decision to go with a wider head (12.2). To my surprise, G1 came down to harmonize nicely with the drones (w/ the standard 2 fingers off on RH). I could lower the pitch with 2&4 on, and further so, w/ just 2 on -off the knee). g2 went up to an acceptable range, while bringing a2 down to where I wanted it. Back d needs a wee bit of blowing up, which is not a bother…yet!.
I will be making a wider one at 12.4 or 12.5 to see what happens. I find this very interesting that the width affected the Gs in such a way. Totally unexpected, for me. Oh, and t’was the same staple that was on the “current”/now defunct reed, too!
My neanderthal pitch balancing theory goes like this: Reed Head vs. Staple. Too much staple, i.e. short head and / or staple too far into head; 2nd oct is too sharp (or as Peter Hunter thinks of it, 1st octave too flat), and vice versa.
Caveat: There are MANY more factors at play when lengthening and shortening a staple, via pushing the staple further into the head, or pulling it out. so mind that one!!! The best way to learn what those differences are, is simply do it! 
Though, if you have someone who can help you, take notes. I should mention that Andreas told me (yesterday) he does not do this (moving the staple in and out of the head) in his method.**
As an aside (and If you didn’t know this already); G-g, F#-f#, and (especially) E-e, back d/bottom D, and high b are all know issues that most chanters have to one degree, or another. GREAT Pipe makers have worked very hard to balance these factors, while trying to retain great tone. The few great makers achieve such a balance (which of course includes any number of sacrifices/tradeoffs). Too, there are acceptable “tolerances” re: pitch between octaves and really, this is the aural “fingerprint” of what (good) Irish pipes sound like. As a reed maker, cursed or blessed with good ears, my goal is to achieve the best out of the octaves (and everything else, but I’m just waxing octaves today) that the instrument builder “built into” the chanter. A good reed maker must embrace the above, know the limits thereof, know the limits of the chanter, and practice! Also, and equally important a good reed maker works on his/her playing, AND their ears!
Some time ago (on this list) I was discussing reed measurements for my Rogge B. I’d mentioned a reed width at 11.9mm and commented that I was going to up it to 12.5. Someone wrote in and told me not to do it, as I was entering into concert-size-reed-ville. As I was speaking with Ted Anderson today, I came up with this gem, " following someone’s recipe, can be a recipe for disaster!" Ted agreed!
If you’re following numbers “someone gave you,” and they are adding up to nothing, don’t be surprised if they simply don’t work! Abandon them, and just go for something you know that has worked for you in the past. Listen to the result, and go from there…if need be!!
Had I not stepped outside the recommend numbers for my Rogge, I won’t have discovered what I did this morning. I made and finished the reed in under an hour, so I will have issues to deal with “getting it done quickly issues,” as it settles. No bother. I used this reed as an experiment in pitch, and expected nothing to come of it. The real questions is, where will I be as I step further, or wider? Only the Shadow knows, but …soon you and I will know as well.
News and sound files as I get to it.