@JD1137 &
@Mr. Peet - we have Norway maple here in NYC- this one I took awhile back in Brooklyn Heights on Willow Street, called “Willow Street Identification Project”. This should identify what you have. Norway maple has been discuss that is the species used by Stradivarius. This maple is hard to pinpoint as far as density as there is a wide range from soft maple to hard maple- so it has a mid range density. I am curious to see what you actually have as it dries. I don’t know what you have plans for these, but air dried material gets my interest for guitar building.
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Since I found out an Aggie Professor and Researcher had been looking at Strads, I've become mildly interested in the techniques and woods. Generally, what I read are the following woods he used. Alpine Spruce tops (arguably good because grown during the Little Ice Age of northern Europe - supposedly more dense, but sometimes discounted now), Willow for the interior blocks and linings, and Bosnian Maple (perhaps others) for the back, ribs, and neck. The tops were generally very dense - about 220 growth rings per violin compared to about 120 growth rings (by one writer) for new violins. The maples not much difference in density than today when tested - in fact many say less dense.
Some say Norway Spruce for the tops or even other spruces - but not sure if it has been scientifically proven to be any particular spruce. Interesting reading in that some attribute tonal qualities due to using wood from the north side of trees growing on the north side of mountains. Others say wood from the south side of a tree growing on the south side of a mountain because it got more sun!
The interesting thing that has relatively recently been found is the occurrence of chemicals in and on the wood - Boron, Copper, Zinc, Aluminum - probably from alum, Sodium - probably from table salt, Potassium - from wood lye, and Calcium - maybe from lime water.
Now whether these chemicals contribute to tonal quality or just used as fungicides and bug deterrents, or whether the makers intentionally used them to somehow change the wood - it may never be known. Supposedly from the data, they are now pretty sure that the violin makers bought normal wood and performed chemical treatments by themselves and possibly tinkered with the mix of chemicals over time. The varnish applied, is not generally deemed important to the tonal quality (he apparently used linseed oil and resins), but then who knows for sure.
And then again, most of the instuments have been modified, changed from Baroque form to Modern form and back, conserved, ribs lowered, thickness changes, bigger bass rods installed, stings and bows definitely different than almost repaired, customized, et al, even the most mint one Even "The Messiah" one of the most expensive Strads and the most "original" has had many changes made over the centuries . So with that and the aging of around 300 years - who knows what they originally sounded like?
I think Maple cuts as well, or better, than any domestic hardwood. Absolutely a pleasure to turn while green. 
