Rauschpfeife

This bore profile combined with the unrestricted vibration of the reed within the windcap produced an instrument that was exceedingly loud, which made it useful for outdoor performances.

The 20th century music historian Curt Sachs believed these were the same as the capped shawms found in several European museums although their appearance is somewhat different from the extant examples.

[1] The names associated in the period with the extant museum capped shawms are variants of the word "Schreierpfeife" (German for "shrieking pipe".)

Michael Praetorius in Syntagma musicum II (1619) gives "Schreyerpfeiffen" as the German word for Schryari, which, judging by his description, ranges and illustration, were cylindrical bore instruments something akin to loud cornamusen.

A similar instrument, the hautbois de poitou, is depicted and described by Marin Mersenne in his "Harmonie universelle" (1636.)

German Heinrich Moeck company produced two instruments in sopranino and soprano which visually refer to the Naumburg pipes.

The vast majority of the instruments are built in open, German recorder fingering system, and have a tonal range of a ninth.