neilestrick

@HenryBurlingame I own 8 of the 1/3 hp models and 1 of the 1/2hp models. I cannot tell the difference unless I have something really, really, really big on the wheel. I've centered 25 pounds on the 1/3hp models just fine. They can handle anything a Brent CXC can handle because they have a ton of torque despite the lower hp rating. As for the controllers, there are 5 or 6 different adjustments that can be made in the Skutt controller, such as IR Comp, top speed, low speed and a couple others, so you can dial in the pedal exactly how you want it. If you like IR Comp then you can turn it up. It's there, they just turn it off at the factory. Brent only has top and bottom speed. The Skutt pedal also has a much longer travel, which gives you better control. Skutt parts will be cheaper, although you shouldn't need any parts for either brand for a long, long time. I don't know what changes they made with the new Red line, but they still offer the SSX drive, so it doesn't sound like they changed much.

I've seen it done both ways, and it totally depends on the kiln and how it was designed. Often the flue opening is tall enough that putting the shelf up high enough to be above it isn't possible and wastes too much space. In that case I would leave the bottom shelf a couple inches from the back wall. If you have a flue channel in the floor of the kiln, so that the bottom shelf can be above the flue opening without wasting space, then I would first try it with the shelf against the back wall and see how it goes. In general, I think the target bricks and the bag wall height are going to have more of an effect on performance than the orientation of the bottom shelf.

Isn't that pretty gritty, though? I think the 60 means 60 mesh grog/sand?

I'm not familiar with Laguna bodies. Is that the only brand you have available near you? Is vitrification and glaze fit important to you, or do you prefer a cone 10 body so it's more forgiving? I assume you want white, not brown, since you were using BMix?

Hi @Wtimmins What upgrade are you referring to? How many thermocouples does the kiln have? Make sure it's set for the correct number of thermocouples. Does it take the program ok, and how long does it fire and how hot does it get before you get the LAG error code?

B-Mix, even with grog, does not have a good particle size distribution. It's mostly very fine particles, and then large particles from grog. Not a lot of in-between sizes. You want a body that has a good variety of particle sizes, so a stoneware body that has fireclay, ball clay, grog, etc.

There's certainly a lot about it that looks like Paragon, but also a lot that doesn't. The inside of the control box looks very Paragon. could be they made it to someone else's specs. For comparison, the L&L and Skutt kilns of that size pull 48 amps and are rated to cone 10. They are a bit overpowered, though, because the 27" tall version also pulls 48 amps and is rated to cone 10. The Paragon TNF233, which this kiln may very well be, is rated to cone 10 at 40 amps. I would definitely contact Paragon and see what they think. You have solid state relays. Are there any mechanical relays in there, too, that function as safety relays? Are your bricks 2.5" thick or 3" thick? That will affect the peak temp as well.

It will pull 17 amp regardless of which switch is in there. The elements determine how many amps the kiln pulls. The issue is that we don't want to run 17 amps through a 15 amp switch. What model is the kiln? How many element does it have? Post some pics of the current switch, the serial plate, and also open up the control box (unplug the kiln first) and takes some pics so we can see how it's wired. If the switch is indeed dead, there may be other options depending on how it's set up.

The bricks look similar to Paragon, but a lot of kilns are made that way. Without seeing them in person I couldn't say if that blue kiln is a Paragon or not. What type of connectors does it use for the element feeder wires? The control box does not look like a Paragon to me because the vent holes are not the same. Paragon uses louvers, not holes, and a different color blue. Paragon elements may fit it, but they may not. Can you post a picture of the bricks where the elements transition from one row to the next?

Does it have a Kiln Sitter? Start with the lid propped open an inch or two. 1. Bottom switch on. Wait 1 hour. 2. Second from bottom switch on. Wait 1 hour. 3. Close lid. Wait 1 hour. 4. Next switch on. Wait 1 hour. 5. Top switch on. If it has a Kiln Sitter, wait for the cone to bend the kiln shuts off. If it doesn't have a Sitter, you'll have to put cones in the kiln and watch through the peephole for them to bend.

Normally I'd say yes, letting it sit for years can cause problems with glazes. Specifically, the level of solubles in the glaze water. However your shino already has a ton of solubles, so I don't think it will be a big issue. I'd look at the kiln setting first. You won't get good carbon trapping if you didn't create enough carbon or did it too late in the firing. You also need to let the pots dry well, so the salts have time to migrate to the surface.

Since it is happening with different colors of different brands, and different glazes, the problem is not with the underglazes or the glazes themselves, but rather the clay. When you say you've used 3 different white clays, what is the max firing temp for those clays? Were they all rated to 1300F? If so, that may be part of the problem. Using a clay that is made to mature at the temperature you're glaze firing to may solve the problem. When glaze firing to cone 05, were you using a body specifically made for low fire? Does the underglaze shiver if i you don't put a clear glaze over it? Adding kaolin to slip is problematic, and adding slip at the wrong time (too dry) can also cause problems. One other possibility, do you have lotion/moisturizer on your hands while touching the bisque? I've seen that cause crawling, but I suppose it could also cause shivering.

A 4 minute difference and a very small difference in the cone is incredibly accurate for one of these kilns. No worries whatsoever with those results.

As I mentioned in your other thread, cone 10 in a gas kiln is not the same as cone 10 in an electric kiln. It's about atmosphere, not temperature. There is no difference between cone 6 electric and cone 10 gas in terms of durability or quality of work. There are a small handful of glaze types that require a reduction atmosphere for them to work, and therefore need a gas kiln, but other than that you can do just as much in an electric kiln. Cone 6 has the benefit of more stability with colors, and a lot more options with commercially available glazes. If you really like shino and tenmoku glazes, you need cone 10 reduction. They will not work in an electric kiln. If you don't have experience in firing a gas kiln, it's going to be a long hard learning curve, and a lot more expensive to get started. If you want faster success and a simpler process, go electric.

You can't go wrong with either one. They are very similar in construction aside from the element holders. Both have zone control, neither one requires element pins. The L&L will be easier to replace bricks, but if you're careful with your kiln you won't need to do that. There's very little reason to fire to cone 10 in an electric kiln unless you're doing crystalline work. Glazes won't turn out the same as if fired in a gas kiln to cone 10, because most cone 10 glazes are made to fire in reduction. If your'e firing in oxidation, cone 6 is a much smarter way to go. Your kiln will last longer, your elements will last longer, and your firing and maintenance costs will be much lower. If you are going to do crystalline work, then the L&L JH model is the way to go. It's rated to cone 12, is built with K26 bricks, and has type S thermocouples, so it can handle the high temps much better. Shop around for best pricing. 'Packages' aren't always the best deal. Since you're in Washington, I highly recommend calling Rob Battey at Northwest Potter's Supply if you go with the L&L. He's a great guy and has been providing tech support for L&L for years.

If you measure the resistance of the elements you can calculate the amperage draw. AFAIK it's not a Paragon, although the color is different. Pacific Kiln is a company in California, which may or may not be the same company. Their web site doesn't show any studio size kilns, but it might be worth sending them an email.

Also make sure your bat pins are tight.

The knocking is likely from the bat slipping. The oblong hole is not ideal, but that's how Brent makes them. There are other bats on the market that do not have oblong holes, like Northstar, but another solution is a BatMate or Bat Gripper. There's a few on the market but I know Xiem and Bailey both have a version. It's a think piece that sits under the bat and gives it more grip. My students love them.

Definitely build it right on a kiln shelf. I'd also put it on a waster slab. It's okay if the waster breaks, it'll still work. Keep the kiln shelf up on bricks or something that will allow you to get your fingers under the edge to pick it up without having to tip it.

Only very small kilns will run on 120V service. Any kiln of functional size will need 220/240 volts. The smallest kiln I would consider is an 18" wide model. But ideally a 23" wide model would be the most functional, as you can fit plates and serving bowls in it much easier. First thing to do is to take a look at the web sites of some kiln manufacturers in your area to get an idea of what's out there, and see what the electrical requirements are for the size of kiln you want. Then have an electrician check out your system to see what size circuit your system can handle. Minimum you'll need a 30 amp breaker, on up to 50 or 60 amps depending on the size of kiln you want. At £800 you'll have to buy used, but looking at the new ones will give you an idea of what you'll need to do as far as hooking it up. If the kiln is indoors, it will need to be vented, or at the very least have 2 windows that can create a cross draft with fans.

Here you go! B1 Revised.pdf

Many commercial underglazes just don't hold up at cone 10. They start to flux out and that causes them to behave poorly when you put a glaze over them. If you're just looking for black or blue, you'd probably be better off making your own underglaze or slip. If you do want to use commercial underglazes, each color will need to be tested to see how it holds up and cone 10 and with your clear glaze.

Sourcing used bricks is becoming increasingly difficult since US manufacturing has been in decline for so long. You probably won't find any on FB or Craigslist, as those are listing by individuals. Instead, you want to look at industrial liquidations, commercial auctions, and even government surplus. Also contact manufacturers of refractories and see if they have factory seconds.

I'd go with the 325 unless it's really expensive compared to the other. The finer it is the easier it will enter the melt.

The thermocouple offset will effect everything. It makes the thermocouple read higher or lower. If your glaze firings are fine, then a cone offset would be the way to go to dial in your bisque firings, but do the pre-programmed firing first.