Min

Wedge a pound of each together. Make some pinch pots. Glaze to check for fit. See what happens. 

Yes to both questions. 
I would suggest just putting that 5 gallon bucket of glaze to one side for now without trying to adjust it. Make up some slip with your claybody and try that with your colouring oxides or stains. Your altered glaze might be just fine the way it is. 
 

I would put furniture in.
I think it is the clay. Hoping a more fluid glaze will fill the pinholes but might not be enough. Plates are going to be the litmus test as there isn't gravity to help.
 
I have a newer bag of wollastonite that isn't as agglomerated since I wrote that I needed to whiz it in a blender, now I just add an extra little bit extra when I'm weighing out the materials to compensate for what is left in the sieve. My bucket top up batches have 985 grams of wollastonite, so I bump this up to 995 when weighing it out.

Hi and welcome to the forum.
Crazing means the glaze doesn't fit the claybody it's on. A simple analogy would be a pair of jeans a few sizes too small for someone, they are going to stretch and rip. This is what your glaze is doing on the clay. It has nothing to do with taking them from the kiln at 100F and firing cooler will just make it worse. Since it's a commercial glaze the simplest thing to do is ask your supplier or Laguna Clay which body they recommend for this glaze. It is hard to see crazing with some glazes, try rubbing a permanent marker or calligraphy ink over the glaze then wiping it off, the crazing should be visible then.

Trimming tool I mentioned above arrived yesterday. Edges were hardly sharpened at all. I gave it a try this morning, not great. I'll try sharpening it but definitely will not be buying another. 

Yes to both questions. 
I would suggest just putting that 5 gallon bucket of glaze to one side for now without trying to adjust it. Make up some slip with your claybody and try that with your colouring oxides or stains. Your altered glaze might be just fine the way it is. 
 

I would put furniture in.
I think it is the clay. Hoping a more fluid glaze will fill the pinholes but might not be enough. Plates are going to be the litmus test as there isn't gravity to help.
 
I have a newer bag of wollastonite that isn't as agglomerated since I wrote that I needed to whiz it in a blender, now I just add an extra little bit extra when I'm weighing out the materials to compensate for what is left in the sieve. My bucket top up batches have 985 grams of wollastonite, so I bump this up to 995 when weighing it out.

@Marilyn T, you could shorten the bisque schedule for typical domestic ware pots. Have a look at Steve Davis's schedule for problematic clay. Note the slowing down during carbon (both organic and inorganic) and sulphur burnoffs. (It's behind a paywall but you can access 3 free articles a month) Skip the length candling if your greenware is bone dry, shorten it to an hour or two if not. I usually warm the kiln up to 220F in the evening then shut it off and let the pots sit overnight in the kiln then start it up in the morning. Davis schedule is really slow, but still faster than the Clement one.
https://ceramicartsnetwork.org/daily/article/A-Bisque-Firing-Schedule-to-Help-Prevent-Glaze-Faults

Hi and welcome to the forum.
Crazing means the glaze doesn't fit the claybody it's on. A simple analogy would be a pair of jeans a few sizes too small for someone, they are going to stretch and rip. This is what your glaze is doing on the clay. It has nothing to do with taking them from the kiln at 100F and firing cooler will just make it worse. Since it's a commercial glaze the simplest thing to do is ask your supplier or Laguna Clay which body they recommend for this glaze. It is hard to see crazing with some glazes, try rubbing a permanent marker or calligraphy ink over the glaze then wiping it off, the crazing should be visible then.

The talc is going to have a lower COE than the dolomite, that might be it? Do you have a big bucket of it? 

@Marilyn T, you could shorten the bisque schedule for typical domestic ware pots. Have a look at Steve Davis's schedule for problematic clay. Note the slowing down during carbon (both organic and inorganic) and sulphur burnoffs. (It's behind a paywall but you can access 3 free articles a month) Skip the length candling if your greenware is bone dry, shorten it to an hour or two if not. I usually warm the kiln up to 220F in the evening then shut it off and let the pots sit overnight in the kiln then start it up in the morning. Davis schedule is really slow, but still faster than the Clement one.
https://ceramicartsnetwork.org/daily/article/A-Bisque-Firing-Schedule-to-Help-Prevent-Glaze-Faults

Making the glaze more fluid might work but before trying that I'ld give the other firing schedule a try. Having a longer time leading up to the higher temperature might be enough.
edit: if you want to try a more fluid glaze at the same time this might be worth testing. It is a lower expansion than your Wollastonite Clear though. I kept it to materials you already have.
^6  Test White - fluid
Ferro Frit 3134 - 34
Silica (325 mesh)  -27.5
EPK  - 16
Amtalc  -  12.5
Nepheline Syenite -  10
total 100
Tin Oxide  -  5
 
 

If nobody here has used that glaze maybe it's worthwhile contacting him and asking about it. Just looking at the materials it's going to be an opacified calcium alumina semi matte. Calcium tends to bleach out iron a bit. I'm sure you already know this but some people think zinc in a reduction firing helps get the melt started but then given it's volitility is gone by the end of the firing. Your dolomite glaze shivered? 
Pat Horsley's website and contact form here. 

Hi and welcome to the forum.
Crazing means the glaze doesn't fit the claybody it's on. A simple analogy would be a pair of jeans a few sizes too small for someone, they are going to stretch and rip. This is what your glaze is doing on the clay. It has nothing to do with taking them from the kiln at 100F and firing cooler will just make it worse. Since it's a commercial glaze the simplest thing to do is ask your supplier or Laguna Clay which body they recommend for this glaze. It is hard to see crazing with some glazes, try rubbing a permanent marker or calligraphy ink over the glaze then wiping it off, the crazing should be visible then.

I'm SURE this has been posted on this forum somewhere before but I get asked ALL OF THE TIME to host mold making workshops.  So far I haven't, actually.  What I do with claybody work on already fired bisques and my custom glazing is already plenty to cover and isn't info you can really find online anywhere.  But mold making and slip casting there's tons of into out there if you just go looking!  So here is a GREAT VIDEO by my all time favorite ceramics nutcase himself with one of his many helpful videos.  If you have never made even a simple plaster mold of your own before, or even if you have made hundreds, I'm always learning more!  So give it a whirl!
Small Plaster & Silicone Molds by Tiki Technical Tuesday!
https://www.youtube.com/watch?v=rkf1FR7GsuY&list=PLVz2HhcJdyqgyPYSSeq80qnL-0CNgOJeQ&index=5

Really good information Marilyn, thank you for such a comprehensive post.
I'm not seeing anything really glaringly off with the recipe or the glaze firing. Glaze recipe looks like it would make a very durable glaze. I haven't used that claybody but I'm wondering if how it's bisque fired might be part of the problem. Is your kiln vented and do you really cram the bisque firing full? How fast do you bisque fire to 04, using a preprogrammed schedule? Do you have a closeup of a couple of the pinholes? 

@Marilyn T, could you post the recipe, glaze specific gravity and which clay you are using? Also, does firing to 2185/2190F bring cone 6 down in your kiln? No soak at peak temp? 

Another thing you can do to toughen up unfired glazed pots is spray them with laundry starch. (the aerosol kind, not the spritzer bottle)

I aim for 2 glaze loads a week. During the busy times I have 1 kiln firing while the other is cooling. 

Another thing you can do to toughen up unfired glazed pots is spray them with laundry starch. (the aerosol kind, not the spritzer bottle)

Another thing you can do to toughen up unfired glazed pots is spray them with laundry starch. (the aerosol kind, not the spritzer bottle)

I aim for 2 glaze loads a week. During the busy times I have 1 kiln firing while the other is cooling. 

The wedge has to split the air, so the alignment of the mouthpiece and the tip of the wedge is critical. Adjusting the wedge up or down usually solves the problem. The width of your mouthpiece slot may be a problem, since the slot appears to be wider than the wedge hole. Could be a lot of the air is just going into the cavity without ever touching the wedge. I used to do a lot of whistles with my kids classes, and we just used a sharpened popsicle stick to make both the mouthpiece slot and the wedge hole, so everything was the same width. Beyond getting it to whistle, I cannot offer any help with actually tuning an ocarina. I've only ever made whistles.

Anything of interest in these threads?
 

As a regular red clay user, darker clays are going to have a different effect on glazes than lighter coloured ones do. Even leaving out the possibility of oxide interactions, the dark background behind any translucent/transparent glaze is going to reflect light differently than a lighter coloured background will. If you take this effect into account and work with it rather than against, you can get much more satisfying results out of your glazes, whether they’re commercial or homebrew.
 Darker clay bodies DO work well with commercial glazes, they just don’t look the same as the sample they only show on white clay, and that’s frustrating. I have no idea why they only show samples on white clay, because there’s a huge range of clay colours out there, but here we are.
As a general rule, yes, if you’re using brush on commercial glazes, you will have to add more layers over a darker clay for best results. You’ll need the extra pigmentation to overcome that aforementioned dark background. Even on light coloured clays, a too-thin glaze layer is gonna go that yucky green or brown. With darker clays, doubly so.
You may find that variegated glazes, or glazes with titanium or rutile will actually look much better on red/dark clays than they do on lighter lay bodies. The extra iron kicks those rutile blues into overdrive, and it’s really nice.
 If you want a result that’s closer to the samples, you probably also want to choose more opaque looking glazes, or even add a white slip over your red clay to pop certain colours. Or even use it as a way of getting 2 different effects on a piece with only one glaze.
You are not likely to get light or pastel colours to come out true on red clay, unless they’re highly pigmented or contain a lot of opacifiers. Even then, they’ll have a more tonal cast to them.