This stop is listed only by Wedgwood, who says: In the organ at the Colston Hall, Bristol (Norman & Beard, 1905), occur three stops named Kerophone, Harp Aeolone, and Saxophone, respectively. These stops are composed of free reeds, of 8 ft. pitch, with very broad tongues and no pipes. They are under the control of an expression device (Gale's patent), whereby every shade of power can be instantly obtained, either for accenting a single note or a whole chord. These stops add considerably to the �wood-wind� resources of this organ. A patent tuning device enables them to be rapidly tuned. Audsley also mentions the stop: Free-reed stops devoid of resonators have recently been introduced by certain English organ-builders, with favorable results in tonal combination and registration. In the Organ in Colston Hall, Bristol, built by Norman & Beard in 1905, there are three such free-reed stops, labeled Harp Aeolone, Kerophone, and Saxophone. The name comes from the Greek words keras (�horn�) and fônê (�voice�).