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Everything posted by PeppernPatches

  1. Thanks Bill. The cord doesn't get too hot, just warm to the touch. My model is a 30 amp, 240v, 7200 watt kiln and about 16 years old. I'm trying to check with the electrician on the wire gauge but I suspect it was wired for the dryer at #10. Ugh, I'm not feeling good about this either.
  2. This is such an informative thread, thank you all for your postings. Wyatt, sorry for hijacking this thread but I hope this adds to the conversation and informs potters on what not to do. I have a Paragon TNF823 and it is located about 50ft away from the load center also. I have a 100 amp panel. The kiln sits 5'-0" away from an 10-30R outlet that is for a 30amp dryer located on the other side of the wall. An electrician came and made me an extension cord adapter so the original 6-50 Paragon plug can plug into the 1030R outlet. He said I can swap out the kiln plug when I fire. He didn't seem t
  3. Thank you Stephen! Yes I do set alarms at night and am pretty diligent about that and can't sleep well when I fire anyways LOL!
  4. Thank you Bill! I am learning so much from this process. For the larger Skutt kiln, the room is small and there is no window - only a 14" X 20" W hole where an A/C unit used to reside. We've taken that out and built a galvanized sheet metal box that the Skutt Envirovent air duct will connect to and exhaust out. The Envirovent blower is only 140cfm. There should be enough fresh air in, but I'm concerned about heat getting out. And rising. Should I add another in-line fan next to the air duct to pull more of the warm room air out?
  5. Thank you Tom! I drilled holes in the lid and I've tested it and it's drawing fine. Did the lighter test! Now my next issue is how to deal with the room getting really hot. The door opens out into another room that has a big garage door so hopefully that will be okay.
  6. This is years after the original post, but I found the information everyone provided extremely useful because I'm going through a similar thing now with installing two kilns actually. I hope it's okay I add to the discussion thread here? The first kiln a Paragon 3 cuft electric digitial kiln in my house in a backroom 120sf studio which has wood floors and wood walls. It's sitting on a 9" H metal stand and is 16" away from the walls. I've already fired it several times with just a piece of cement board under it, I'm ashamed to say. I don't have a downdraft vent but there is a window box fan nea
  7. Thanks for input! I agree, it really is unfortunate that we are being forced to rent vs. buying software outright. But membership fees seem to be the standard now and I don't see any way around it. Technology is rapidly changing and maybe in a couple years there will be something free or cheaper and then I won't have invested in hundreds of dollars in something that is outdated. In terms of pricing, I haven't looked at the nuts and bolts of how their software works, and totally agree you have to price in terms of market value. I would definitely use it as analysis only, so I understand what my
  8. Hello everyone, Wondering if anyone has tried Craftybase and whether they can compare to Quickbooks. They're currently offering a free 14-day trial and monthly membership costs are pretty reasonable now with their 40% off sale. See: https://craftybase.com I've used Quickbooks before, but Craftybase seems tailored specifically for us and so was looking for some feedback. I started off just using Excel spreadsheets but as my business expands it's no longer practical. Suzanne
  9. Thank you Callie and Neil! I think for the US, what Neil is saying makes sense, although it seems like some non-profits are paying far less. I find that the percentage formula gives the artist more incentive to help fill the class. However, some studios will start with a flat day rate, with a minimum enrollment, and then add $50 to the rate with each additional student past a certain number. So if the minimum enrollment is 6 people and maximum is 15, then after 10 people enroll, each additional student helps the organization pay more money to the instructor. In this country the strain is being
  10. I know there is no set formula for what to pay teachers for teaching pottery workshops, and have heard a wide variety of answers, which only seem to confuse the issue more. The standard, and most simplest compensation format, seems to be 50% of the total workshop fees collected (with min and max enrollment). I've had organizations offer an hourly scale based on experience, from $20 hrly to $50 hrly for only the workshop hours taught, which I feel is problematic and doesn't take into account other important artist costs (prep time, self-employment tax, travel time). The hourly scale also puts
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