neilestrick

I would order whatever you want from an online source. I'm a big fan of Speedball underglazes.

No worse that any other forced air system. Follow basic cleaning guidelines (wet cleaning- mop, sponge, etc) and you shouldn't have anything to worry about.

I would order whatever you want from an online source. I'm a big fan of Speedball underglazes.

That type of crack is likely to continue to get worse, especially in the glaze firing. Sometimes it's best to just move on and make another one.

Any fix on bisque is a gamble. If it's applied to the surface it will probably flake off. In the crack it will probably hold if the crack doesn't get bigger, but it can't prevent a crack from growing. Whether or not a crack grows depends on what caused it in the first place. Post pics.

That type of crack is likely to continue to get worse, especially in the glaze firing. Sometimes it's best to just move on and make another one.

Congrats! If one of the switches goes out again, replace them with 240V infinite switches with the element pairs wired in series. Better control, simpler wiring. Have fun!

Well, I put it all back together carefully this afternoon. After attempting some of PeterH's solid multimeter testing advice but becoming more confused the more things beeped at me, I gave up and just fired it up.
It VERKS! It fired up and the correct elements turned on and got orange.  I actually have no idea what the magic sauce was in rewiring or grinding down that switch hub. We'll see if it lasts through a glaze firing tomorrow. I will admit the brand new element gets a little hotter faster, but they all got there. Resistance is close to the same on all of them, so I don't think I'll replace them all. 
Thank you all for your help and I'll wager that this is not my last time with a pottery related problem. My wife and son have taken up pottery as a hobby, and I have apparently taken up electrical engineering, induction motor repair, refractory masonry and material science along with various other brain growth activities to keep them at it.
As payment for your assistance, I colorized the wiring diagram for us all. 

could it be impending bankruptcy?

I describe underglazes as being somewhere between a slip and a glaze. They melt/fuse more than a slip, but don't don't totally melt into glass like a glaze. Also, commercial underglazes can be applied at any stage of the process- wet, leather hard, bone dry, or bisque. When to apply them depends on how you're using them and the brand you're using.

I describe underglazes as being somewhere between a slip and a glaze. They melt/fuse more than a slip, but don't don't totally melt into glass like a glaze. Also, commercial underglazes can be applied at any stage of the process- wet, leather hard, bone dry, or bisque. When to apply them depends on how you're using them and the brand you're using.

That type of crack is likely to continue to get worse, especially in the glaze firing. Sometimes it's best to just move on and make another one.

Knowing this, firing hotter should allow the glaze to take the copper into the melt and go green.  I don't know how the cooling will affect it, but I expect if it went glossy green it should stay that way with a fast cooling. The question will be whether or not it will respond the same in a refire as it does in a first firing. Nothing to do but test it!

Lots of possibilities here, but it all comes down to you can't expect a glaze to do the same thing in a totally different kiln. First, wood kilns don't just fire in oxidation. They cycle between oxidation and reduction every time the kiln is stoked. Second, you've got a different atmosphere in the wood kiln due to ash and vapor from the wood. Third, the temperature was different, but maybe not depending on where it was placed in the kiln. Fourth, the cooling cycle was different. Different clay body? At this point I would hold off on refiring your pitchers and instead run a couple of test firings with other pieces at a higher temp and with a slower cooling cycle and see if you get the desired results. Once you've figured out what's needed, then refire the pitchers and hope they do okay with refiring. In meantime I would also start making a new batch of pitchers and offer your client a different color that you know will come out as intended. FYI, many of us, including me, have been in a similar situation at some point.

Knowing this, firing hotter should allow the glaze to take the copper into the melt and go green.  I don't know how the cooling will affect it, but I expect if it went glossy green it should stay that way with a fast cooling. The question will be whether or not it will respond the same in a refire as it does in a first firing. Nothing to do but test it!

Lots of possibilities here, but it all comes down to you can't expect a glaze to do the same thing in a totally different kiln. First, wood kilns don't just fire in oxidation. They cycle between oxidation and reduction every time the kiln is stoked. Second, you've got a different atmosphere in the wood kiln due to ash and vapor from the wood. Third, the temperature was different, but maybe not depending on where it was placed in the kiln. Fourth, the cooling cycle was different. Different clay body? At this point I would hold off on refiring your pitchers and instead run a couple of test firings with other pieces at a higher temp and with a slower cooling cycle and see if you get the desired results. Once you've figured out what's needed, then refire the pitchers and hope they do okay with refiring. In meantime I would also start making a new batch of pitchers and offer your client a different color that you know will come out as intended. FYI, many of us, including me, have been in a similar situation at some point.

Knowing this, firing hotter should allow the glaze to take the copper into the melt and go green.  I don't know how the cooling will affect it, but I expect if it went glossy green it should stay that way with a fast cooling. The question will be whether or not it will respond the same in a refire as it does in a first firing. Nothing to do but test it!

A glossy white glaze is just a clear that's been opacified, so a regular clear is just fine as a liner. Plus a clear is less likely to show cutlery marks than a white. A liner simply needs to be durable and safe, which doesn't necessarily mean it can't have colorants in it.

Lots of possibilities here, but it all comes down to you can't expect a glaze to do the same thing in a totally different kiln. First, wood kilns don't just fire in oxidation. They cycle between oxidation and reduction every time the kiln is stoked. Second, you've got a different atmosphere in the wood kiln due to ash and vapor from the wood. Third, the temperature was different, but maybe not depending on where it was placed in the kiln. Fourth, the cooling cycle was different. Different clay body? At this point I would hold off on refiring your pitchers and instead run a couple of test firings with other pieces at a higher temp and with a slower cooling cycle and see if you get the desired results. Once you've figured out what's needed, then refire the pitchers and hope they do okay with refiring. In meantime I would also start making a new batch of pitchers and offer your client a different color that you know will come out as intended. FYI, many of us, including me, have been in a similar situation at some point.

Lots of possibilities here, but it all comes down to you can't expect a glaze to do the same thing in a totally different kiln. First, wood kilns don't just fire in oxidation. They cycle between oxidation and reduction every time the kiln is stoked. Second, you've got a different atmosphere in the wood kiln due to ash and vapor from the wood. Third, the temperature was different, but maybe not depending on where it was placed in the kiln. Fourth, the cooling cycle was different. Different clay body? At this point I would hold off on refiring your pitchers and instead run a couple of test firings with other pieces at a higher temp and with a slower cooling cycle and see if you get the desired results. Once you've figured out what's needed, then refire the pitchers and hope they do okay with refiring. In meantime I would also start making a new batch of pitchers and offer your client a different color that you know will come out as intended. FYI, many of us, including me, have been in a similar situation at some point.

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.

A bisque to cone 04 will be fine. You don't need to do the long 'first firing' program you did when you first got the kiln.

@ByrdIf the cone bent, then it reached that cone. The potential problem is that it didn't spend enough time at high heat to adequately burn out all the organic matter, which could cause issues with your glazes. If you're using a white clay body, then it'll probably be fine. If you're using a brown body then it's more likely to be an issue.
HERE is a thread with a lot of good information about firing Duncan kilns and how to slow them down. If you use the search bar you'll find several other Duncan threads that may be of use to you.

@Olivia Try disconnecting two switches at a time and see if it only trips with one of them. A meter won't find the short. You have to isolate it to figure out where it is. However having a meter is good for future repairs.

@ByrdIf the cone bent, then it reached that cone. The potential problem is that it didn't spend enough time at high heat to adequately burn out all the organic matter, which could cause issues with your glazes. If you're using a white clay body, then it'll probably be fine. If you're using a brown body then it's more likely to be an issue.
HERE is a thread with a lot of good information about firing Duncan kilns and how to slow them down. If you use the search bar you'll find several other Duncan threads that may be of use to you.