Dick White

Often, that clicking sound indicates the bat is not securely fastened to the wheel head because the bat pins are not securely fastened, and both the pin and the bat are wobbling. I lot of potters I have observed believe it is sufficient to just stick a bat pin in the hole and it will solidly stay there. Until it begins to wobble in the hole with the varying pressure on it while centering. Others know that the pin will be loose in the hole and try to accommodate that by wrapping a bit of paper around the pin before shoving it into the hole. Until the paper gets wet and the pin begins to wobble in the hole. The solution is wing nuts to tighten the bat pin to the wheel head from underneath. Wing nuts take some facile finger work to get them started on the pin, and more finger/thumb strength to twist them tight. Sometimes they will work themselves loose and the clicking is the signal to stop and tighten them again.
As for the one oblong hole on the bottom of the bat, note that the oblong dimension is aligned with the radius (diameter) of the bat. That allows one to get the first pin set and still be able to move the bat crosswise to set the other pin. The movement is restricted to across the diameter of the bat, not tangentially around the circumference of the bat. Once set the bat should not move either crosswise (because the hole for the other pin exactly fits) or around the wheel (because the oval hole does not have any tolerance in that direction). Thus, the only  possible movement is a loose pin not firmly tightened against the wheel head.

The OP shows a location in the UK and price limits in pounds. The standard electric service there is 230V. In the US, standard residential electric service is 120/240V, where the normal household receptacle is 120V and other special purpose receptacles are 240V. Thus, in the US, there are a variety of kilns designed for either 120V or 240V service. I don't think there will be any 120V kilns in the UK, but I could be wrong.

The OP shows a location in the UK and price limits in pounds. The standard electric service there is 230V. In the US, standard residential electric service is 120/240V, where the normal household receptacle is 120V and other special purpose receptacles are 240V. Thus, in the US, there are a variety of kilns designed for either 120V or 240V service. I don't think there will be any 120V kilns in the UK, but I could be wrong.

All the time now. Gerstley is gone and Gillespie is not a perfect match. 3134 requires a complete rewrite of the recipe. Custer is gone from the market, but I still have some. G200EU might be ok, haven’t tried it yet. Still have some old Amtal talc, but some Fabi is in my future. What’s next?

All the time now. Gerstley is gone and Gillespie is not a perfect match. 3134 requires a complete rewrite of the recipe. Custer is gone from the market, but I still have some. G200EU might be ok, haven’t tried it yet. Still have some old Amtal talc, but some Fabi is in my future. What’s next?

All the time now. Gerstley is gone and Gillespie is not a perfect match. 3134 requires a complete rewrite of the recipe. Custer is gone from the market, but I still have some. G200EU might be ok, haven’t tried it yet. Still have some old Amtal talc, but some Fabi is in my future. What’s next?

At 800 degrees, the glaze particles have not begun to sinter, they are just a little toasty. Fix the kiln and refire.

At 800 degrees, the glaze particles have not begun to sinter, they are just a little toasty. Fix the kiln and refire.

At 800 degrees, the glaze particles have not begun to sinter, they are just a little toasty. Fix the kiln and refire.

At 800 degrees, the glaze particles have not begun to sinter, they are just a little toasty. Fix the kiln and refire.

As others have already noted, neither zinc oxide nor chrome oxide used in reasonable amounts in a stable glaze are toxic. A different issue arises when both are used together in the same glaze - ugliness abounds. Chrome is supposed to be green when in a glaze that does not contain tin. A combination with tin in the right amounts creates a variety of pinks and reds. Zinc with chrome, however, turns assorted shades of brown, when copious amounts are used. It won't hurt you, but you probably don't want to look at it. Perhaps your glaze recipe doesn't have enough for the adverse color reactions.

As others have already noted, neither zinc oxide nor chrome oxide used in reasonable amounts in a stable glaze are toxic. A different issue arises when both are used together in the same glaze - ugliness abounds. Chrome is supposed to be green when in a glaze that does not contain tin. A combination with tin in the right amounts creates a variety of pinks and reds. Zinc with chrome, however, turns assorted shades of brown, when copious amounts are used. It won't hurt you, but you probably don't want to look at it. Perhaps your glaze recipe doesn't have enough for the adverse color reactions.

As others have already noted, neither zinc oxide nor chrome oxide used in reasonable amounts in a stable glaze are toxic. A different issue arises when both are used together in the same glaze - ugliness abounds. Chrome is supposed to be green when in a glaze that does not contain tin. A combination with tin in the right amounts creates a variety of pinks and reds. Zinc with chrome, however, turns assorted shades of brown, when copious amounts are used. It won't hurt you, but you probably don't want to look at it. Perhaps your glaze recipe doesn't have enough for the adverse color reactions.

As others have already noted, neither zinc oxide nor chrome oxide used in reasonable amounts in a stable glaze are toxic. A different issue arises when both are used together in the same glaze - ugliness abounds. Chrome is supposed to be green when in a glaze that does not contain tin. A combination with tin in the right amounts creates a variety of pinks and reds. Zinc with chrome, however, turns assorted shades of brown, when copious amounts are used. It won't hurt you, but you probably don't want to look at it. Perhaps your glaze recipe doesn't have enough for the adverse color reactions.

As others have already noted, neither zinc oxide nor chrome oxide used in reasonable amounts in a stable glaze are toxic. A different issue arises when both are used together in the same glaze - ugliness abounds. Chrome is supposed to be green when in a glaze that does not contain tin. A combination with tin in the right amounts creates a variety of pinks and reds. Zinc with chrome, however, turns assorted shades of brown, when copious amounts are used. It won't hurt you, but you probably don't want to look at it. Perhaps your glaze recipe doesn't have enough for the adverse color reactions.

The Sentry FTH error is similar to the Bartlett E1, in that both are in response to the controller detecting the temperature not rising as expected according to the program. The difference is that the Sentry continues to fire, albeit slowly, until the target temperature is finally reached, whereas the Bartlett error will terminate the firing.

The Sentry FTH error is similar to the Bartlett E1, in that both are in response to the controller detecting the temperature not rising as expected according to the program. The difference is that the Sentry continues to fire, albeit slowly, until the target temperature is finally reached, whereas the Bartlett error will terminate the firing.

No, it does not warp. In my experience, Hardibacker brand is the best of the several available brands. Be aware that there are 3 types of Hardibacker - one is 1/4" thick and two are 1/2" thick. Of the two that are 1/2" thick, one is the original Hardibacker which is somewhat absorbent but is not degraded by the moisture; and the other is a new super non-absorbent type. It can be distinguished from the original type both by price (it's more expensive per sheet) and one side of it is lightly sprayed with a red "paint." Get the original for its absorbency, not the red one. The 1/4" stock is also the original type, so choose the thickness that suits your intended usage.

There is no good clear glaze recipe for red clay; they all will turn the clay dark. The issue is that calcium in the glaze reacts with the iron in the red clay turning it brown. Calcium is a necessary component of a durable glaze.

Digitalfire has a materials analysis of it here:
https://digitalfire.com/material/451

Many years ago, one of the students in the college class lost the bottom nut from the extruder die holder while cleaning it in the cleanup bucket in the sink. Irritating, but not the end of the world to have to go to the hardware store for a replacement nut. We periodically scoop the sludge from the cleanup bucket into the main recycle barrel, and when that barrel is full, I pug the recycle in to a proprietary mix that is so proprietary that even I don't know what I put in the pugged clay logs. Despite the unknown mix, it's usually nice enough to work with for class demos and experimental practice work. About a year and a half later, I was making a batch of Empty Bowls, and felt a lump in the wall of the cylinder. Thinking it to be an air bubble, I poked it with my needle tool, but it was a hard chunk. So I dug it out, and there was the long lost nut.

For Flux Sake is one of the offshoots from the inestimable Matt Katz, who in one of his webcasts long ago expressed an opinion that in addition to the usual list of pinhole suspects, poor application of the glaze was often a cause, particularly with brushed glazes. If the first coat of glaze had irregularities, those nooks and crannies could be covered by the next coat, leaving a tiny air pocket underneath. The problem is especially acute on textured surfaces. As the glaze melts during the firing, those little air pockets would rise to the surface and pop, leaving the pinhole. So, in Matt's opinion, pinholes could be from user error as well as decomposition of the glaze or outgassing from the body. Matt typically uses porcelain tiles for his testing, and bisques to 08 for consistent absorbency. A clean body such as porcelain does not need the higher bisque to burn out the organics and impurities.

For Flux Sake is one of the offshoots from the inestimable Matt Katz, who in one of his webcasts long ago expressed an opinion that in addition to the usual list of pinhole suspects, poor application of the glaze was often a cause, particularly with brushed glazes. If the first coat of glaze had irregularities, those nooks and crannies could be covered by the next coat, leaving a tiny air pocket underneath. The problem is especially acute on textured surfaces. As the glaze melts during the firing, those little air pockets would rise to the surface and pop, leaving the pinhole. So, in Matt's opinion, pinholes could be from user error as well as decomposition of the glaze or outgassing from the body. Matt typically uses porcelain tiles for his testing, and bisques to 08 for consistent absorbency. A clean body such as porcelain does not need the higher bisque to burn out the organics and impurities.

Dunno, I don't have a Skutt Touchscreen, and the "user manual" is a help screen embedded in the controller. All I know is what I hear from others who are struggling with it.

Many years ago, one of the students in the college class lost the bottom nut from the extruder die holder while cleaning it in the cleanup bucket in the sink. Irritating, but not the end of the world to have to go to the hardware store for a replacement nut. We periodically scoop the sludge from the cleanup bucket into the main recycle barrel, and when that barrel is full, I pug the recycle in to a proprietary mix that is so proprietary that even I don't know what I put in the pugged clay logs. Despite the unknown mix, it's usually nice enough to work with for class demos and experimental practice work. About a year and a half later, I was making a batch of Empty Bowls, and felt a lump in the wall of the cylinder. Thinking it to be an air bubble, I poked it with my needle tool, but it was a hard chunk. So I dug it out, and there was the long lost nut.