neilestrick

They'll be a lot cheaper if you don't get them from Paragon. Check Amazon, or just Google search.

Top- 15 amps Middle- 9.5 amps Bottom- 21.8 amps If you put the bottom and middle on the same relay you're going to be at 31.3 amps. I don't see on the diagram where it says, but chances are that's only a 25 or 30 amp relay. What you could do is connect the middle elements directly to the infinite switch along with the control side of the top relay. That switch would then only be handling the 9.5 amps of the middles section and the very little power to switch the relay for the top section. Plus that way the bottom section is on its own for candling/preheat. Ditch the timers and the middle control relay. L1 and L2 of both switches should connect directly to the Sitter, as well as the power inputs to both relays. Someone please confirm as I'm not drawing this out as I write it!

You bet. Sorry I didn't catch that!

Assuming it's not due to the pedal being caked with clay like mine, open up the control box and look for the adjustment dials. If that wheel has the same controller as mine, there are 6 dials that you'll need a small screwdriver to adjust. There's one labeled MIN SPD (minimum speed), which should fix it. Yours may be a little different than the one below, because mine is an old wheel, but it should be similar.

A typical electric kiln (in the US) has walls that are 3"/7.6cm thick. They're built with standard 3" x 4.5" x 9" bricks turned on their sides. At 12.6cm you're going to get better insulation than a typical kiln, but yes, less brick with more wool would insulate better since the wool is much lower mass. Personally, I wouldn't mess with the wool at all. It's a health hazard, difficult to work with, and not at all durable. If you really want to back up the bricks with something, use some sort of fiber board insulation, not ceramic wool blanket. Regardless of the thickness of the brick, you'll have to calculate the wattage of your elements to account for the mass of the brick, heat loss, etc. Also bear in mind that as the walls get thicker the kiln will cool more slowly. That means longer turnaround times and less control over the firing cycle if you want to add cooling cycles to the firing program. It's better to have thinner walls and let the elements control the cooling rate if you want good control. For instance, L&L builds their crystalline glaze kilns with power to get to cone 12, but uses 2.5" thick K26 bricks so the kiln can cool quickly when needed, and there's more precise control over the firing cycle.

The timer switches at the bottom of the control box are supposed to hold the temp on low for 2 hours before it ramps up, so there is likely a problem in one or both of those switches. Replacements may or may not be available. I worked on a similar Duncan last week where we tore out all the relays and timer switches, and wired the elements directly to infinite switches. The original setup had two switches, but with 3 element groupings I had to add a third switch to the panel. It's now a fully manual kiln, but the owner has a lot more control over firing speed, and can candle overnight with just the bottom ring on low. Doing this is a good option for keeping these kilns running and making them more user friendly. You just have to make sure you don't overload the switches since infinite switches are only rated for 15 amps, however these kilns usually max out at 15 amps per element grouping.

In my experience, they may or may not warp back. Doesn't hurt to try, though. Just make sure they're really clean on the bottom so they don't drop stuff onto your pots.

One of my undergrad profs used to say 'If you can't center your life, you can't center your clay'. I think there is some truth to that. I see my students struggle on the wheel when they're having a bad day. They have to put aside their troubles for a couple of hours and just focus on the task at hand. They often refer to pottery class as therapy, because they know that the other students will listen to them if they need to vent about something that's troubling them. It's nice to see, all of the them supporting and helping each other. They come to class as much for the friendships as they do for the pottery.

I would make holes before firing, into which you could epoxy two threaded rods after firing, that could then be bolted to a base. Make the holes slightly larger than the rods to allow for shrinkage and make room for the epoxy.

If they element is sitting in a U, then I would try tilting the top in.

They've got to pull out somehow. I even searched Google Italy and couldn't find any information on them. Maybe try a little more force? Maybe they tilt up or down and then pull out?

@Mike-H is there an access point inside the control box where the element can be slid in and around? It would be a nightmare to get the old one out but unless those holders can tilt out or be pulled out completely I just don't see how to do it.

Did a little searching, and in their catalog the ceramic pieces are listed as 'Element Covers', so I'd think they would pull out somehow. I don't see how you could change the elements otherwise. Plus that transition slot between the two rows in each section indicates that the elements are installed from inside the kiln.

Can you post another picture that shows the ceramic strips better? Are the elements completely sealed off by them? Are you sure they're not just wedged into place? What do the connections look like inside the control box? What's the max temp rating of the kiln? It should say on the serial plate.

I think you're probably dealing with a lot of inconsistencies in your materials. Especially the clay- it's a big unknown. I say simplify things as much as possible- if the engobe has been problematic for a long time, use a slip or something else instead, or start with a new recipe. Or even find a different approach to what you're trying to achieve in your work.

Even plastic bats will grow mold if you keep pots on them covered for a long time. At some point you've got to let them dry.

I think that in the last few years we've figured out that fair amount of what we thought were glaze problems were actually clay problems, and bisque firing hotter was the solution. I was raised on 08 bisque, but knowing what I know now I would never do 08 again. I prefer 04 bisque for my porcelain because any cooler than that and it's too absorbent for my glazing tastes. I think the stoneware bodies we use in my studio are a hair tight at 04, but I do it anyway because I'd rather have the stoneware a little tight than the porcelain a little loose.

Have you tried coloring the engobe instead of the glaze? Is there texture in the surface of the clay, like lines or pits from trimming? Are there any pits/holes in the glaze surface after applying the glaze, that could be rubbed out before firing?

You should only put it in an outdoor location if you can ensure that the weather isn't going to change during the entire firing process, which could be a full 24 to 36 hours depending on the size of the kiln, because you can't cover it until it is completely cooled. I'm also not a big fan of having coverings over kilns in humid locations because you'll get a lot of corrosion, and there could be issues with the controller. Security is also an issue. Do your apartment rules allow for a kiln? Do you rent? Can you run an electrical line out there? What size kiln are you considering getting?

Mark beat me to it. Tape the lids on, and put them in ziploc baggies. Also carry your reciepts so you can show theyr'e an acutal purchased item.

I like the bolt method, too. With high temp ring terminals and washers on both sides it's a pretty secure system. Very low corrosion factor with stainless hardware. Similar to the L&L system but without the porcelain block.

You'll need to see what the max temp rating of the hose is. I wouldn't use anything rated under 250F. Check out McMaster Carr or Grainger if you don't need 25 feet of hose.

Clean up the end of the element with a grinder like Mark said. The high temp ring terminal with a bolt through it should work.

Can you post a picture of the connection? That will help us see exactly what we have to work with.

Most kilns can't really keep up with the fast firing schedule unless the elements are brand new. With a heavily packed kiln even less so. I would fire on the medium setting. With quad elements you should be able to get 200-300+ firings for bisque and cone 6. This is probably related to the fast firing schedule, too. The slower profile will go slower at the end and be more likely to fire accurately. Elements should be replaced when the resistance is off by 10%. If you fire them till dead it will be a lot more difficult to get them out, and you'll be spending a lot more per firing as they have to work harder.