Piedmont Pottery

Move it in sections, don't try to lift it all at once. Unhook and remove the lid. Stack the sections in the truck, making two stacks if you can. Put foam board underneath each section. The pink house insulation board works well. Set down the wall sections first, with the lid and floor slabs on top (if the floor is a separate piece). Foam board separating everything. Wrap it all up with plastic stretch wrap and secure the load as best you can. I use a cargo tarp and that works really well. If you put straps over the top, put foam board between the straps and the kiln. Don't crank down too tight with straps or you could crack the bricks.

The oil worked like a dream! We found a 3-in-1 solution, cleaned off the grease, and have a slab roller again. Thanks for the help!

I got one this year partly because of the ability to export log files. But they're incredibly hard to read. I'm a software engineer so I made a website to extract and graph the info (and then got really carried away). 
Menu on the home page has a demo feature if you want to give it a spin. 
www.fire-graph.com

The dip in pressure you are getting is the vacuum finally getting to the mixing chamber.  When the mixing chamber is full and you are mixing mode, there is a seal of clay that forms between the back chamber (where the vacuum port is) and the mixing chamber.  When you start pugging it allows a small gap to form along the mixing shaft that then removes the air from the mixing chamber.   This is more pronounced if the mixing chamber is overstuffed.
After getting the vacuum established in the rear chamber using mixing mode, I switch to pugging mode and slow speed.  Usually where there is about 4-8 inches of clay out of the nozzle the seal will break that releases the vacuum into the mixing chamber.  Keep slowly pugging until the gauge shows the vacuum back up.  then reverse direction to mixing and allow the extruded clay to be sucked back into the chamber (be sure to replace the cap).  After a few second of mixing, then return to pugging and extrude the full batch.  Usually, the first 6-8" has some minor bubbles so that just goes back in the next batch (or I keep that aside for handles and other attachments).

I would definitely agree - it should not be viewed as a rule for sure. Even Katz believes working within a range is practical. Definitely more research, but something to help design within and when significantly outside a reasonable range that knowledge would hopefully cause folks to investigate. For folks that are science oriented, proving something true is usually impossible just because all conditions never can be accounted for. 
From a design standpoint I find it as helpful or a bit more than relative references we see in glazes such as High, as in high alkaline - how much is high, who knows? Same with high calcium matte or high alumina matte. They are all somewhat helpful references though as folks sought to characterize for the benefit of others so totally dismissing those efforts probably not productive or fair.

So more successful testing under as many conditions as practical likely would increase confidence for sure, dismissing the results entirely, without reasonable contrary testing probably not the best path either.

I'm not convinced there's much evidence that 0.3:0.7 is the most durable ratio. I mean even in that ratio there's so many different fluxes included that there's too many variables for it to be a useful rule.

I have made  ten exterior murals so far.   You need have the size of mural you want to make and then a design that works with it to start.   Your design need to have small,  medium and large pieces in it and a flow of color and design that will encourage the viewers eyes to follow.   I have made terracotta and C6 stoneware clay murals,   using a cone 6 hand building  clay will give you the best results.   I see you live in PA and have a lot of freezing weather,  your clay needs to vitrified and your glaze has a perfect fix.   Any crackle in the glaze will allow water to leak in  and freeze popping the glaze off.  This is a good time of the year to make some test tiles and lay them outside and let the ice and snow.   I made a two foot mural and  mortared it on a cement board and placed it in the yard to see how it would hold up.  It survived the winter so I knew I was set to make more murals.  I wouldn't recommend making a mural for a horizontal surface after several years the weather takes it toll on it.   I have made two ext floor murals that were on  porches.  The tile was a purchased one inch porcelain tile that holds up freezing condition and epoxy grout.  It was the grout that didn't hold up,  it popped out of the grooves and molded.   I will be glad to answer any questions you have.       Denice

Stainless steel sheets are shipped from the factory to the product manufacturers with a thin blue plastic film to protect them. Often the manufacturers leave the film on the steel to protect it from scratches until it reaches the customer, only peeling the parts that need to be peeled for assembly. When you buy appliances they often still have the film on them in areas. Is that what you're seeing here? Photos, please. Typically, metal ribs are stainless and do not rust, however cheap stainless can rust over time. It may also just be some discoloration from the clay.

Tony Hansen enthusiastically champions this idea and has documented it working well for him. I can’t explain what’s happening, but I use it, a drop and hold strategy, and it’s reduced craters and pinholes for me. 30 minutes at 100° below peak temperature. At the same time, I’m constantly navigating other variables that could explain why things work out well or badly, such as adjusting glaze formulas and changing the schedule of reduction in my kiln, so I won’t flat out say it’s a cure all. I have my own peculiar issues. I don’t hesitate to say it’s worth a try. 

@PeterH @Clay17 @neilestrick @Dick White @Bill Kielb Just "finished" the site (or at least the major features). I'm sure there are some bugs to be ironed out, but so far it's working for me and for the files you all sent me (many thanks).
If any of you guys end up playing around with it and find any issues, let me know. Planning on trying to get the word out in the next few weeks and want to catch as many bugs as I can. 
www.fire-graph.com
 

@NanS, I had the same problem as you a few years ago when firing my new L&L. I followed Neil's instructions after some back and forth and now my firings are consistent at ^6. Not hard to do, and as I came from an all manual kiln. . . .I get more sleep at night!
 
best,
Pres

Will your program accept multiple log files for long firing time programs?  I often have two, sometimes three log files per firing, depending on the program.  Also, I'm hoping that your program will be compatible with first generation Genesis log files.  I'm really looking forward to your finished product.

I am a software engineer by day, and potter by night. Just got an Olympic electro sitter with the Bartlett Genesis 2.0 controller. I've been saving my log files, but they're hard to read, and without some formulas to apply to the .csv, there's a lot of info missing. Thought I'd build something for myself, and while I'm at it share it with the community.
In theory, you'll upload the .csv log file and then be presented with a line graph of the firing, with lines representing actual and target just like the Genesis graph (but ya know, bigger than a postage stamp). In addition, I'd like to provide more info in a table detailing the firing.  I know there are some missing events from the 3 log files I've pulled so far. Errors, aborted firing... ? What else? Here are the things that I've already come up with. 
General info:
start date/time
All info values
program name
diagnostics?
Total time (advance a counter for every t30 with a number in it)
firing complete info and date/time
In a table:
segments (each of these would be a column)
- type? Like "start ramp" for regular segment changes, "start hold" for holds, "skip step" for skips
- create array as we map
- start date/time
- segment number
- segment hold time
- startTemp
- total time per segment
- actual average ramp speed
- setpoint average ramp speed (is this always the same as target ramp, or does the genesis adjust setpoint on the fly?)
- target ramp speed
- any errors that occured during this segment (what does this look like?)
 
If anyone has a recent log file they could send me that might have other entries that I'm missing, that would help. Or some advice on things I should add? @neilestrick maybe?

I installed 2 mini splits in my kiln room and they work well.

It looks like your cone 6 firing got to about cone 7. Your 05 bisque firing was just slightly over fired, probably not enough to worry about. It's not uncommon for them to fire a little hot at the cone 6 range for some reason. I have to program my kiln to 2190F for cone 6 instead of 2232F. You have several options to dial it in:
1. Set a thermocouple offset. I wouldn't do this, though, because the bisque firing was pretty close to where it needs to be.
2. Set a cone offset for cone 6.
3. Do a custom program, setting the peak temp to whatever it needs to  be at to be accurate. I would start with it about 20-30 degrees below cone 6 (2232F). You can copy the firing schedule in your manual for most of the firing. Just be sure to set the last 200F degrees to a rate of 108F/hr.

I've got an altered cone 1-3 glaze from Charlie Cummings who came up with it from Linda Arbuckles glazes. 
Given the variability of materials and firing conditions if you try it please just try a small test amount first. 
Cone 1-3 Majolica White
Gerstley Borate 10.30
Nepheline Syenite 8
EPK 5.6
OM4 Ball clay 4.5
Whiting 9.75
Silic 24
Ferro Frit 3124 37.5
Zircopax 12
The alumina in your glaze is really quite high for a lowfire glaze, it's probably why you aren't getting a good melt. (alumina stiffens a glaze)
 
 
 

The plaster itself should dry the surface of the clay enough that it will release. If it's not releasing quickly enough, then dust some corn starch on the mold or the clay before pressing it. I would not use any sort of liquid on the plaster, as it will just soak in and ruin the porosity of the plaster.

If I was starting over now I'd invest in nitride-bonded silicon carbide shelves, not necessarily Advancer brand, there are lower cost options from other suppliers.  The lighter weight, durability, and ease of cleaning glaze drips are worth the investment in my opinion.  

I have not used the AutoFire, so I can't say anything about it. As far as the Genesis goes:
1. The touchscreen is no more buggy than the V6-CF, which has proven itself to be extremely durable for decades. The wi-fi is worth it. The app is very handy, the downloadable firing info is very cool, and getting software updates is a great thing. Lots of good diagnostic info, too, which makes troubleshooting easy.
2. The Genesis can control a vent via Output 4.
3. All digital controllers work by stopping and starting the power, whether through the power cord or not. No issues with either method.
4. The ElectroSitter uses a 50 amp relay, so it could be used on other kilns in the future, too. The benefit of a wall mount controller is that the system stays cooler since it's not on the kiln, however the EC sits out a bit and is insulated so it shouldn't have any problems.

While ailing elements may still do the job, albeit more slowly, keep in mind that those firings are costing you more than with fresh elements. I once ran my e18T-3 until the elements would no longer reach cone 6, and the last firing cost me twice as much as the new elements. Also, elements that are used to the point of failure are generally more difficult to remove because they are deformed, and because they coils tend to expand in diameter as they wear out. In non-L&L kilns that means they'll do more damage to the element grooves during removal, and in L&L kilns it means they tend to break into small pieces as you remove them, therefore taking a lot longer to do the job. Although changing elements may be a miserable job, it's a lot easier to do it before the elements get really bad. Replace them once the resistance is 10% off from new, or the coils start to lay over on each other.

Perhaps mom would understand, once the "technical" issues are explained to her, if you simply/honestly said you need to sell it in order to get the right equipment. Since it is new, it shouldn't loose  monetary value, and you can still affirm your delight in the receiving of the gift,  which will just morph into a different object.

A Genesis Mini is $329, and IMO the ease of use and features are worth every dime- cone fire modes, stored programs, diagnostic tools, wifi connectivity and software updates, etc.
I would ditch the switches completely and wire the elements directly to the Sitter. The switches are just another part to fail and serve no purpose in the system. I would also hard wire the interbox receptacle, another weak point.
Mechanical relays are inexpensive and an easy safety addition to the system.

You can't just put digital control parts into that box. It doesn't have any sort of insulating baffle and isn't deep enough to add one. The easiest way to add digital controls is to use an external wall mounted box that the kiln plugs into. Being wall mounted, it will stay cool and last longer. Wire it up with the proper 4 wire configuration going to an outlet on the box, and plug the kiln into it. Set all the manual kiln controls to high and let the controller cycle the power. I also recommend using an existing controller made for kilns, such as the Bartlett Genesis. It's got far more kiln-specific programming than you'll be able to do yourself with a general purpose controller. You want to run each hot leg through an SSR and both hot and neutral through a mechanical relay. The mechanical relay gets wired to the safety output on the controller- it comes on and the beginning of the firing and turns off at the end. The SSR handles the cycling. You'll also need a fuse for each leg. Either get good heat sinks for the SSRs, or put a computer cabinet fan in the box. I like the fan because it generally does a better job around the heat of the kiln and it'a a lot cheaper and easier to install.

Are you bisque firing after the underglaze and before the transparent, or are you single firing?  If you are bisque firing first, how well adhered does the underglaze appear to be before applying the transparent glaze?

Instead of using a lubricant we put the clay to be extruded into a thin plastic bag open at the die end.  Clean up is just the die and the last few centimeters of the extruder tube.