From the bench of David B. Lindow:
The Auxiliary Rosette Holder has two main purposes.  One is to be able to change out rosettes very quickly.  While the operation of changing out rosettes on the main barrel is a big task, the ARH allows them to be changed in just a couple of minutes. This opens up a lot of design opportunities that wouldn’t be there otherwise.
The ARH allows two different rosette profiles to be used simultaneously and phased independently.  This allows one to decorate the sides of polygonal shapes by use of both pumping and rocking, and other rosettes combinations.

The phasing on the ARH is done exclusively through a worm, which phases the rosette 3 degrees per revolution.  The worm wheel has 120 notches.  In order to create the worm the wheel is “gashed” with a thread mill and then the thread profile is set into the wheel with a hob.

The ARH is marked out by divisions for rapid indexing, and that process is done on a pantograph engraver.  It may be obsolete technology at this point in time, but it allows us to choose more traditional fonts that lend themselves to the Victorian aura we’re seeking.
This is how the ARH is made in the Lindow Machine Works shop.
Another worm wheel we make is from our slide rest.  This time we used a 60 degree cutter that is 3/4″ in diameter, as the worm will be that size.


But… back to the ARH !

Once the worm wheels for the ARH have their teeth, they are engraved.  The 120 division lines are done first, after which the numbers are set in.  Rather than set up two machines this is also done in the pantograph engraving machine.  The spindle is well suited for the job, as it runs up to 18,000 RPM’s.

We use a Gorton P 1-3 “copy mill” or pantograph engraver.  It’s capable of ratios from 2:1 to 16:1 in two or three dimensions.  It was the smallest of the 3D pantograph that Gorton made and takes up a foot print of about 4’x5′.   The numbers are set into the table.  The “w’s” were used only as spacers so the stylus didn’t run afoul of the clamps.


After the numbers and lines are engraved they are filled with black lacquer or enamel. The part is then cleaned while the lacquer is still wet, after which it is clear coated with Nikolas lacquer.  This is a nitrocellulose lacquer designed specifically for musical instruments, which will be handled a lot.  This acts as a seal against the environment, keeping it free of oxidation.




The Lindow MADE lathe was the last of the MADE team lathes to be completed. Its physical manifestation represents 6 long years of hard work. The assembly began in 2015 and was only completed in mid 2016, but the idea was born many years before.


The machine was conceived in 2010 in a joint effort between Al Collins and David Lindow to produce a new and better ornamental turning rose engine than had previously existed for fixed tool work. Together, they formulated the most basic design direction, identified constraints and requirements, and developed a vision for the machine. They began to lay out and produce patterns for casting while constructing the logic of the machine’s operation. The project was on its way.
Read the full story here.
David shares a look at his first project on his MADE lathe. A simply beautiful bowl.

Welcome back for another spectacular project by Al Collins – a Lignum Vitae Chalice. It is really quite beautiful and unusual. This time instead of walking us through the project with words, Al leads us with imagery. Enjoy the following videos of the work.

Also – you might have noticed a new menu item at the top of the page – The Book. Find out about another of Al’s cool projects here.



Al Collins, who seems to never sleep, but only invent and make new wonderful things has made an amplitude adjuster for the MADE lathe.
From the bench of Al Collins:
I thought an Amplitude Adjuster would be a nice addition to the MADE RE. In thinking about it, there wasn’t much room for improvement on the Armbruster design. As expected, Fred did some thorough R&D and came up with an amazing design which, again as expected, he shared insight and encouragement. Thank you Fred.
    I didn’t want to copy Fred’s design, but why change what is already proven to work well. One thing I wanted in my design was a more open area above the touch bar. To that end I attached to the headstock at the lowest place feasible and came up from there with 2 arms to support a small dovetailed rail that will rock with the headstock and support a carriage/ Adjuster all the way back to the auxiliary rosette holder without interfering with the Retractor. This design required a new touch holder and touch with a carbide rod the rides against another carbide rod on the adjustable swing arm. The swing arm is incremented to give Amplitude adjustments of 100%, .8, .6, .4, .2 % or anywhere in between. 
   The A/A touch rides on a small linear slide for ease of movement and has a separate adjustable touch to make a proper fit against the rosette. This touch is reversible to put it’s bearing either left or right depending on the rosette used.
    All in all it’s very desirable and interesting to be able to change the amplitude at will. —— AC.
This beautiful video Al put together shows the amplitude adjuster in action.


Al Collins shares with us another of his incredible projects: the making of his remarkable four ball box utilizing his MADE lathe. Such incredible craftsmanship and strategy went into its production.

This piece, like other pieces Al has made, was first researched and planned. Al, having delved into the techniques used to make the Coburg Ivories, based this box on a section of one of the Coburg Ivory Chalices. Read more about his process in the latest edition, Volume 23. No.1, of the Ornamental Turners International Newsletter.



Here Al is cutting the exterior of the box before hollowing out the inside.



Al hollows out the inside of the box for the four spheres using a fixed tool, after first roughing out the inside with a high speed cutting frame.



Al uses a special chuck system to make the top of the box.


The completed piece!

One couldn’t call these spheres pointless!