The best imitation of the orchestral Saxophone has been achieved by Haskell using labial (flue) pipes; labial Saxophones are described under Cor Glorieux. Reed saxophone stops are large-scale Clarinets, found at 16' or 8' pitch; most sources describe them as being rather less than completely successful. Free reeds have also been used; see Contra Saxophone. Regarding the Brass Saxophone, Strony writes: This is one of the most sought after voices in modern day theatre organs. Original Brass Saxophone pipes are made of spun brass, and look like small brass trumpets. Unfortunately, many examples did indeed sound like small trumpets. Maclean describes Wurlitzer's brass Saxophone as having half-length resonators, and a �somewhat raucous� tone �bearing but little resemblance to that of the actual band instrument�. He also describes another interesting example: There is an interesting reed Saxophone by Anton Gottfried in the C.B.C. studio organ, Toronto [Ontario, Canada]. The resonators are mainly cylindrical, with a narrow, flared bell at the top. The same builder also experimented with the productionof Oboe and Saxophone tones from what he called �Flat-Front� open metal pipes, in which about one third of the circumference was flat, and parallel to the mouth. Other attempts to imitate the saxophone have employed compound stops. Bonavia-Hunt says �it is perhaps best imitated on the organ by using a fairly powerful clarinet and violoncello.� Audsley suggests combining the Corno di Bassetto and Viol.
Of the two dozen examples in Osiris, nine are from Wurlitzer theatre organs.