Much of Praetorius' instrumentation is still extent today. Although few organs that Praetorius might have touched are still in even an approximation of their Renaissance condition, the foundational specifics of flute and reed stops have not been radically changed, and thus may be found and observed with much greater ease than, say, the Schryari. For this reason, I am unlikely, in the near future, to turn my attention to the organ wood cuts. Lip Reeds Sackbut, Cornetto, Crook horn, trumpet, zink, straight trumpet. Praetorius makes mention of a sackbutt which was the same length as the bass sackbutt, but produced notes an octave lower, indicating the possibility that four slide-tubes were used instead of the normal two, with the bore making two full loops.
Trumpets are, of course, still in fashion, even valveless, straight ones.
Double Reeds Shawms, Bagpipes. On the other hand, the shawm was considered very much the proper instrument. They are the precursors to our modern oboes, or more correctly to the baroque oboe. However, their strength was in the open, bright tone that was obtained by the barest of lip pressure or no pressure at all, which was allowed by the use of a pirouette , which encased the lower part of the reed, and sealed against the top of the shawm or the end of the bocal. The pirouette allowed forming a kind of wind chest about the reed, which in this free-beating fashion could be controlled only by breath pressure, and could provide the most intense of sounds.