Anybody else using like “Roggeway” cuttingmethod with slips , inside 14mm from head to tail to make more inner capasity ..tone chamber? .Any other measurements with concert pitch chanter reed?
Just for curiosity 
I do not use a tone chamber in the reeds for my pipes.
I do make a “tone chamber” when I make my reeds, however I didn’t like using a gouge (not smooth enough and not doesn’t allow as much precision). I sand my tone chamber out by hand on a very small diameter block, much more like Benedict K.'s method, checking for the flex/feel of the cane. Sometimes, depending on the feel, I need to sand out a lot until I reach the right flex, and sometimes I barely have to sand out any. It all depends on the cane (softness and flexibility). So it takes longer but I feel I I have more control by sanding.
hope that gives some help or insight.
all the best
Hi Mikko,
I don’t use a tone chamber anymore, but I do thin the tails of the slips and bring this thinned area up above the top of the staple. It accomplishes some of the same things, but in my opinion with a bit more control.
To elaborate on what Joseph S. said: rather than just gouging the tails out thinner, to make them less stiff and to make room for the staple, I extend the “thinning” into the area above the staple. If you watch Benedict Koehler’s reedmaking videos (now available on the NPU website for watching, or on the Heart of the Instrument DVD at a reduced price), you will see that he pays special attention to the thickness/stiffness of the area where the “tails” meet the main part of the blades. This is where you carve out a curved/thinned section, but I prefer something that is not just a local “chamber” (as Rogge sometimes does), but extends and blends this idea into the tails and blades. I think Benedict’s carving of the inner “gouge” here does something similar (but which I prefer).
best regards,
Bill