High Bridge Pottery

A wiring diagram sure would be nice! Can the manufacturer get one to you?

@High Bridge Pottery Thank you so much for this. So helpful...and makes it all slightly less overwhelming.
My kiln does have four elements up each side and two at the bottom, with the bottom two having a bigger hairpin (...is that right?!) than the side ones. 
I did get in touch with pottery crafts and they told me I would have to find an element winder to make them for me specially. Am I right in thinking I can send the coils to someone for them to make something similar? Would I just need to know the correct voltage, if so? Thanks again!
 

Nice research Joel.

The only reason I brought it up was because I feel if the door interlock was faulty then the controller would also be having issues and as that is not happening I feel you can rule that out even with it being old.

Just to mention the discussion of unwanted crystal growth in http://ceramicstoday.glazy.org/articles/flambe_magic.html
... it also makes me wonder if there could be a "pumping" action if the liquid is repeatedly warmed and cooled.

Interesting tests. (I didn't see this at first, thank you Min!)
What does jump out at me is the comment, "It's not any colder than..." By this can I presume that your studio is on the chilly side? (My historic low was 55 degrees at a studio, in a very poor part of town, many years ago.)
While I've never really thought "room temperature" had any bearing I do wonder what your actual temp is?
Also the state of the molds. Are they cold as well? Could the state of the molds, and the slip, be contributing to this problem?
My only other suggestion would be to take individual components and mix up small batches and leave them for a few days in the studio. Then, in an oversaturated liquid state, pour them out onto a plaster surface and see if any offer a similar reaction. You might get lucky and the offending party is obvious or maybe not?
 

Yes, it's Bill from Sedgefield I know. He's actually retired and his assistant now runs the supplies side from Darlington. Bill still does repairs though.

I have managed to find Transactions of the American Ceramic Society vol 2 through 19 so got a lot of reading to do. I haven't been able to locate Professor Binns article in volume 7 which seems to be looking into matte glazes too which is talked about in the comment/discussions. I want to try and figure out why they are interested in the oxygen ratios.
 
Edit: I managed to find C. F. Binns article in volume 5 after looking in the collective index  Strange that the files don't total 1000kb but it seems to stop me putting them all in one post. Will continue in another post.










 
 

Close up. Yes, it's wired in. On the original photo you are seeing the stripped with and the plastic tie

Yep, Stull! He was limited by available fluxes and his claybody at cone 11. The most useful for me is his matte / gloss line and with some indication of how it ought to fire which then prompts further diagnosis such as is this fully melted, etc…. We get the question of how to make a matte glaze here every so often.  Slow cooling, magnesium matte are the typical responses and they are fine, but moving something between matte and gloss generally follows Stulls trend which is fairly easy.
I have designed visually as well and Stull folks often group. I do like the simple true matte definition though and have observed the over fired runny matte as well as added silica from matte to full gloss.
Sue M has some nice in studio testing and research detailing how to get better clarity etc….
Derek Au (Glazy) I believe is trying to gather data for a heat map to apply to the Stull chart. I am partial to Flux ratio as being an initial indicator if a glaze likely can be durable. The Katz research on boron required I find very useful as well.
Cullen W Parmelee also interesting work - (Stull Era), lots more for sure not to be forgotten.

It is a front loader and the ones I have seen are split into a separate circuit for each side wall and one for the floor so I assume each pole is switching one of those circuits. 

Thank you for the link to her presentation, I will watch that today. 
I am not sure stull's research was as popular back then but looking at Ian Currie's method it is the same idea. Vary Silica and Alumina while keeping flux the same relative to each other and he was a big inspiration for the test.
 
Edit: Very interesting results in that video, particularly around B2O3 and cone04 glazes leaching a lot less copper than cone10 glazes and matte glazes leaching less than gloss. Funny that they used Lucideon for testing, I have tried and failed a few times to get a job working there.

You may find this a good watch. https://youtu.be/DptgFBkynHA
Sue is one of my favorites and recreated Stull and presented at 2018 NCECA. Her presentation was to simulate Stull in test tile form. To answer your question Si:Al ratio of 4.34:1 ends up to be relative as that glaze needed additional boron to ensure it would melt over heavy underglaze applications which was the specific issue we were trying to solve the summer of 2017. The additional boron does affect the surface.
However, that glaze was designed as a true matte, meaning even over-fired it will be a runny matte. Anyway, no method is foolproof but if you use Stull as a reasonable guide to the expected surface it can become a game changer. Predictable surfaces often lead one to inquire and test whether things are under fired for the composition.
Anyway, Stull kept his fluxes at 0.3:0.7 for good reason at the time, and fired and mapped the result. Sue emulated that in tiles as Stull becomes another tool in analyzing glazes. Sue does a great job of explaining it IMO and is worth the watch and read.
Additionally there have been studies on mattes and durability and there certainly are many true mattes that are durable, so testing IMO is always wise. Funny, everyone wants to slow cool to get the matte look but a matte that develops later is ok and durable? I am not sure why that would be better but believe testing is always wise.
Anyway, Stull can be helpful in my view and SI:Al has a pronounced effect on the final expected surface texture. Like anything though, just another tool, have not found the one stop analysis tool, limit formula, experience, etc…. Yet. It is interesting you sort of re-created Stull on your own.
Sue has a wonderful site IMO and generally shares her research. Worth the read in my opinion. Her site: https://suemcleodceramics.com/understanding-cone-6-nceca-presentation-2018/
 

I ran an absorption test of the new 630- 44 hour soak with a 2 hour boil in the middle, the best I could do with my schedule this week. Absorption came out to 1.2%, which is great. My kiln fires to a strong cone 6, probably closer to 6 1/2, but even at 6 it should be well within acceptable range. I don't fire to cone 5 and my baby kiln is out of commission right now so I can't do a cone 5 test for a couple more weeks.
I gave some of the clay to one of my students yesterday and her initial reaction was the same as mine- it didn't feel at all like the old 630 and she didn't like it. However after throwing a couple of pieces she again had the same realization as me, which is that it still throws well, it's just different. I'm going to make a few pieces with it tonight and see if it's still as forgiving as the old formula. You could really abuse the old stuff without any problems- very little S-cracking and handles never pulled away.

Low fire white cookie previously fired twice at cone 06 for reverse side decoration experiment, fresh Speedball Royal Blue underglaze modified with CMC powder and gum arabic solution, not dried down, Keoker ready-made screen, "half-ripe" xuan paper printed smooth side. 
Underglaze transferred and fired without overglaze at cone 06, then Mayco Crystal Clear overglaze fired again at 06.  No soap in transfer, just damp sponge, dry brush, wood tool burnish.
Previous tests had color softening and running in overglaze when overglaze was applied directly after printing, so I went with two firings.  This also allows any remnant paper fibers to burn away in the underglaze firing, reducing tedium and color damage in trying to clean those off.
I feel that CMC was sufficient to give printably thickened color without dry-down of new glaze, but gum arabic added alongside CMC gave less color spread and better image thickness at printing, and better color adhesion to the ware at transfer.  By look and feel, no measurements. Toothpaste consistency with a little gloss on the surface after a minute or two rest after mixing.
Preparation from newly opened jar underglaze, printing, and transfer to bisque can likely all be handled in a one hour instructional session. 
An instructional hobby studio with commercial bisque ware, or a classroom, would need only inexpensive screens and paper, and two safe materials beyond conventional underglaze.
Tools: plastic dish and wooden craft stick for color preparation, ordinary glazed tile as printing platen, commercial prepared screen, blue masking tape, plastic scraper, sponge, brush, smooth wooden burnisher.  Screens clean ok in slop tray water soak and rub then brief running water rinse.
Size reference: 61 mm diameter.  Conforming damp decal behavior gave transfer over and onto the edges, hinted at here.

I have been experimenting, and having good results with underglaze finer-detail screen print impression and transfer with two additives: yellow dextrin (dry powder) alongside gum arabic (dry powder now rather than bottled solution).  Both ingredients are safe but are nutrient materials that could spoil if not dry.  Partial drying of the underglaze helps to reduce bleeding in the screen impression, and to get ink that stands on the paper.  The two gums help it to stand on the paper, bind to the ware, yet unbind more readily from the dampened paper.  My current guess is that gum arabic both helps standing and binding to the ware, and that dextrin both helps standing, and loosens more rapidly with dampening to facilitate transfer.
Yellow dextrin is an industrial paper and fabric sizing and adhesive.  It is available in smaller quantities from a few sources, mostly offered as a composition binder for fireworks.   The good news is that you can make your own yellow dextrin by roasting dry corn starch in the kitchen oven.  Old industrial recipes suggest around 320 F / 170 C, but I have had better results around 375 F / 190 C by uncalibrated oven dial.  I let it roast for a few hours, with interruptions, testing occasionally.
Final result should be a yellowish buff color comparable to corn flour.  Mine is a bit lighter than the commercial product, but might benefit from hotter or longer roasting.  You are breaking the starch down into something more soluble: like old-school envelope and stamp glue.  Test by placing some in a dish, add small increments of water, and mix with a fingertip.  After some work you should get a yellow (mine so far) to brown (commercial dextrin) slippery goo that will readily coat the dish, become tacky, then dry to a uniform film, like envelope flap glue.  Also it smells quite appetizing.  Do not allow yourself to imagine delicious underglazed donuts.
I don't have a quantified recipe yet.  Starting point was 7 units of gum arabic to 5 units of yellow dextrin, but I don't have a ratio to underglaze, or an initial dry-down factor.  All I can say now is gloss-surfaced toothpaste consistency, and that I usually add gum arabic beyond the initial amount, until it looks and feels "right", and proves in a print and transfer.
If anyone is aware of a small quantity source for the darker, more deeply pyrolyzed starch sizing/adhesive called "British gum" please let me know.  Easy to find in container loads from India, not so easy otherwise.
Experimenting with papers, in addition to half-ripe xuan previously noted, has brought good results with two papers thinner than the xuan. 
First is Yasutomo hanshi calligraphy practice paper, nearly tissue-thin, which looks like a machine glazed (MG) paper.  One side is nearly shiny, and the other is dull.  This gives good impression and transfer, and may be a better choice than xuan for curvatures.  The wet strength is sufficient to safely pull a screen print (I oven dry and the print goes very waffle-crinkly), but sponged application requires care.
Second, surprisingly, is dirt-cheap smooth (not creped) medical examining table paper (also has MG surfaces). I gave up on this immediately for hot oil intaglio transfer years ago, because it did not survive the soap sizing needed for that process.  It is just good enough, however, for this process, and I already had plenty.   More fragile than xuan or hanshi, but readily available and economical.  Results may vary.  I spoke to a converter/wholesaler some time back, and he cautioned that this paper varies more than some due to price-driven commodity sourcing.
Hanshi peels more cleanly than exam table paper; xuan peels more cleanly than hanshi.
In this round I have been using Speedball and Amaco Velvet underglazes, both with good results.  A cookie cutter, Amaco Radiant Red, and a commercial hearts screen, have given  quick cute not-identical  Valentine charms that have brought exclamations, smiles, and even tears from recipients.
 
 

I opened up a bag of the new 630 yesterday and tried it out on the wheel. It feels totally different than the original formula. It feels like they took out the fire clay and replaced it with ball clay, although the web site still says it has fireclay in it.  It creates a lot of slurry when throwing. Personally, I feel like it has lost most of the properties that made me like it, however it still seemed to throw well. I'm going to give some to my students and see what they think. I don't use it for my work so it doesn't really matter what I think, as long as it is still a forgiving body that's easy to throw and will work well for beginners. I've got a test tile in the kiln right now that I'm going to test for absorption tonight.

I would strain some of the bits out, rinse them off to see the shape of them then try and dissolve some in hot water, see what happens. 
@Jeff Longtin, have you worked with slips containing a lithia spar, wollastonite or a boron frit? Any thoughts on what this is from?

I’d want a slipcasting expert to chime in over me, but calcium is less soluble as temperature increases. Thus kettle scale. So it’s not an unreasonable thought.

This should get you close. Less silica = dryer look, more silica it will go to a full gloss. No guarantees it fits your clay but fits our porcelain, Bmix and some others. And yes it’s relatively transparent. https://glazy.org/recipes/19734
Quite obviously you cannot reduce silica forever nor increase it. Our experience per the recipe posted it’s fairly dry per the existing recipe, fairly transparent and a sample has been in the dishwasher for years now without any signs of degradation. Some folks have posted very positive results on Glazy as well. 

I may as well add, for interior glaze you can add silica till more satin and generally eliminate metal marking etc… we had folks do this regularly so they could clear glaze the entire pot and maintain the look. I have a progression of it somewhere from very matte to gloss. If I can still find it I will post here.
Ok found some of them, not the greatest but they go from a fairly dry matte to a full gloss. If you follow Stull at all, this is a fairly easy thing to work through. Sorry about the order and the Glazy picture is probably truest for the base glaze.
Actually the sugar bowl below is probably the best close up example of the recipe posted on Glazy.
It’s fair to add
I am compelled to add any of the pots or references I post are for educational purposes and often are solely produced by me or in collaboration with my Marcia. The collaborative works can only be attributed to Madison pottery a single entity, but in many collaborations I am the thrower / glazer, Marcia loves the artwork and is truly a gifted artist. We do not sell any of the work, including any technical work I write about where the pottery community is the focus. Even though some of the work is my sole production, most often it is the result of a some form of collaboration over the years. The pot below was thrown by me, decorated by Marcia Grant and glazed using a glaze we worked on together under Madison Pottery. The glaze was subsequently published on Glazy for use in the public domain under Marcia’s Matte.

Transparent matte is a bit of an oxymoron. I agree with @High Bridge Pottery, some of those pots look like they have an immature glaze, maybe an underfired gloss.

The first photo doesn't look glazed to me.
Mostly reminds me of glazes called 'oatmeal' here in the UK.
 
Looking through the instagrams I feel they are half melted glaze and not very functional but that's the only way you can get that look. I wouldn't expect them to hold up well to use as the surface will be very rough and stain easily.

Ran a few glaze tests with the low and lowest expansion glazes from a few posts above, I also tried dropping the clay by 10% and increasing frit and petalite but they settled out within 30 min and didn't leave a nice layer on the bisque so that wasn't a good idea.
Can't see much visual difference in the surface between the low and lowest expansion glazes, need to crack out the microscope and have a closer look but I feel the low expansion is better as I don't need the talc or zinc.
 
I was also interested in how quickly my kiln dropped in temperature from 1100c. The first 100c dropped in 12 min, the second 100c dropped in 15 min and the third 100c dropped in 20 min. Pretty quick but it's a small kiln with a not so great lid. 
 
Low: left has two dips of one second and right two dips of three seconds. Same for all the photos.

 
Lowest:

 
Also tried a few glaze/body stains at 3% and 7%, in the low expansion glaze. They advise sieving the glaze after adding colour but I neglected to do that to see how bad it would be. I have an orange stain too but ran out of space to attach more photos on this post and it was my least favourite.

Thanks to all of you! figured out the pics - we'll see how they look on your end.