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I check every round I build to ensure it drops into the chamber of the rifle I plan to shoot it in. But for pistols I check the first round for fit and cycling function, and then load them all.
I shoot a lot of old 1800's single shots in long range events, and nothing more embarrassing than to be on the line ready to shoot and have a cartridge that wont fully chamber and I have to fight or struggle to get the action closed. So I'm a bit picky about those rounds for my old single shot rifles.
I know your rifles! I've seen them, and talked to you, at the OAC show. A true artist you are! :s0155:
 
but it does not like Hornady 185 grain JHP bullets as they are just a bit longer which is enough for the tip to catch on the barrel and cause a jam.
Re. Hornady pistol bullets. You said you are using 185 gr. "JHP" bullets. What Hornady makes now for a JHP in .451, 185 gr. bullets are two designs. The HAP and the XTP, which both have the same profile. The only difference is the XTP has the little serrations around the hollow point at the tip.

Hornady loves to use the secant ogive design, both on rifle and some pistol bullets. The HAP and XTP have an especially aggressive secant ogive which gives it that cone shape. The design provides an abrupt juncture between the bearing surface and ogive of the bullet and in the case of the aforementioned Hornady pistol bullets, it's far forward. Moreso than other, more typical pistol bullets which utilize the tangent ogive. Accordingly, it's usually necessary to take care to ensure the Hornaday HAP and XTP are seated deep enough to ensure proper function. Sometimes you can't even use them in a bore with a short leade; seating to a recommended depth will result in the seated bullet being jammed into the leade. I've even had to do weird stuff like cut the case back slightly to get the bullet seated so it wasn't set into the leade upon chambering.

My personal thought is you can only expect so much from reloading books. There is a lot of nuance in reloading for individual given weapons, enough that technique starts to merge into art.
 

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