“Finish That Isn’t Sticky.” — Ridgeline Tunery I’m Mariah from Ridgeline Tunery, a small turning studio making bowls, pens, and keepsake boxes. Everything we sell is touched by hand. When a bowl comes back because the surface stayed tacky or the price at a show feels made up on the spot, it hurts twice—once in pride, once in profit. Where we were spinning our wheels Finish timing by feel. I love intuition, but show prep meant guessing what would cure in time. I’ve rushed more than one oil and regretted it. Booth blind spots. I couldn’t remember what sold fastest at last year’s fall […]
“Design Without Rework.” — Arc & Spindle Studio I’m Theo, founder of Arc & Spindle Studio. We design and build bespoke dining and lounge chairs. Chairs are unforgiving: a 2° tweak in rake changes everything from leg length to tenon shoulders. Before Woodshop Master, a “small change” could ripple into three remakes because my patterns, finishes, and parts lists were living in different places. Where we kept stumbling I love iterating with clients—subtle backrest sweeps, arm profiles that echo their table, finish tones that play with the room’s light. But version control was a mess. I’d be halfway through a run and realize the seat rail spec I was using was V2 while the tenon jig was based on V1. Material orders were padded because I didn’t trust my counts. Finishes? We had “recipes,” but they lived in my head and three dog-eared notebooks. The two-day turnaround that changed the studio A hospitality client needed a first-article approval fast. I built the design in Woodshop Master with variants for seat height, back rake, and arm width. Each variant carried its own BOM, joinery notes, and jig settings. I attached our finish recipe (dye, seal, topcoat, cure times) and shared a clean client view. They picked their preferred variant, left one comment, and approved within 48 hours. We cut on Monday. What Woodshop Master actually does for us Variants, not guesswork. When I […]
“Tone Woods, Tracked and True.” — Riverbend Luthiery I’m Kai, the builder behind Riverbend Luthiery. I make small‑batch electric and acoustic guitars. A guitar is a machine for turning touch into sound; tiny changes matter. Before Woodshop Master, I tracked top sets, moisture, and brace variations in a stack of notebooks and a spreadsheet that only made sense to me. Where sound met friction Wood set fog. I could describe a set’s tap tone from memory, but not always find its sibling when a client ordered a matched pair. Finish drift. Nitro schedules varied by season, and I’d occasionally polish too early chasing a deadline. Serial […]
“Groove, Not Guesswork.” — Shoreline Percussion I’m Priya, founder of Shoreline Percussion. We build ply and stave drum shells and complete kits for studios and touring drummers. Rhythm is precision; a shell out of round by a millimeter can ruin a session. Our old workflow depended on one person’s memory and a lucky calendar. Where the beat slipped Press scheduling. Our shell press time collided with finish booth availability; glued shells sat too long, or finish ran ahead of hardware. Bearing edge drift. Profiles (45°, double‑45°, roundover) weren’t always logged against specific artists’ preferences. Ship shock. Road cases and pads were an […]
“Consistency with a Soul.” — Copper Hollow Violins I’m Eliza of Copper Hollow Violins. I restore and build violins for players who want warmth without losing projection. My bench is a mix of candlelight romance and humidity charts. Before Woodshop Master, my hide‑glue notes and soundpost tweaks lived in margins and memory. Where tradition met trouble Climate drift. Seasonal humidity swings changed everything from plate tuning to varnish cure. Setup memory. A client would love a sound, and months later I couldn’t guarantee I’d repeat the exact post tension and bridge profile. Photo gaps. I meant to capture […]
