Electronic‐organ sounds have lacked the “warmth” and beauty of pipes, as reported by Dr. Harvey Fletcher and others. Also, the electronic instruments do not imitate pipe organs sufficiently in sound and operation so that performing artists may be comfortable with and artistically challenged by them. Therefore, electronic‐organ design should begin with analysis of pipe organs. Harmonic analysis was performed on the sound produced by a total of 36 organ pipes from 5 stops. Charts show the average harmonic patterns for each stop and the observed standard deviations. The range of harmonic patterns within each stop was not great enough to destroy its stop identity, although many deviations were aurally detectable. This indicates that each note in a synthetic rank need not, and perhaps should not, have an identical tonal structure. Electronic synthesis of the flute and principal harmonic patterns was approximated through waveshaping and a linear combination of simple waveshapes from octave sources.