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mousey

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  1. So much to digest there, THANK YOU. Honestly this kiln has no chill, getting a smooth sane ramp to 1500 is extremely difficult. At least for me at this point in my evolution. Also that digital control panel is mouth watering, and I'm 3 minutes into the video and already my core understanding of reduction is being redefined. Also note that when I do the electric -> reduction chamber route, I take the pieces out at 1750'ish, max. Higher than that and the nitrates seem to burn off. I'll absolutely get some more experiments put together this weekend and ping back with results.
  2. - It's tricky because I can do celadons fine so I know I'm reaching a measure of reduction.. but its nothing like the vacuum created when a reduction chamber's burning media sucks up all the oxygen.. and the disparity between the two is my primary culprit so far. I've been measuring the jet from the upper most plug, not lowest, however. I'll verify from lowest as well next firing (I have no oxygen probe). - Notes from last firing, which was just testing out some new iron/copper/cobalt blends in an untested base ^6 glaze: 6:45pm start. propane at about 15% throughput, flu open 90%,
  3. I thought about somehow reaching down under the kiln and sealing them somehow with strips of thermal blanket but even with the gas shut off, I feel like there is zero chance I dont bump into something and disfigure myself.
  4. Absolutely fair point but how is this any different than copper raku reduction effects, ultimately? Daly's work with nitrate/copper lusters seems fairly well described but its certainly possible Im misunderstanding the physics/chemistry at the end of the day. The porcelain mix suggestions are intriguing but way outside my comfort zone... that said I'll look for a vendor, definitely.
  5. Certainly viable suggestions, and thank you for them of course, but I think I'd like to understand conclusively why this isnt working as is.. so many possible variables. Celadons come out great btw so perhaps reduction isnt the issue core issue? I'd love to find out that this is simply a matter of technique and finesse and perhaps I'm blowing out the glazes and making the metals volatilize before the actual melt.. this is a possibility I suppose..
  6. So.. bit of background... fell in love with Beato's lusters early on and then discovered Greg Daly's book (and work) and decided to see what I could accomplish with a reduction bucket. This is a porcelain body covered with what is essentially a very melty shino recipe with some nitrate salts added. Fired to about ^06 then placed into the reduction chamber directly from the kiln, and Bobs your uncle. And I'm super happy with how it came out, except that the body cracked. As most of my porcelain pieces handled thusly do (and why shouldnt they; thermal shock, etc). Sometimes I use a
  7. I got an Olympic propane gas kiln set up for reduction work and it's been an absolutely wild ride, but so far the one thing I havent been able to nail are proper reduced nitrate lusters. Once thing I've been toying with; it has 3 burners coming up through the floor with a considerable amount of space around each, so I'm guessing that's contributing to why I cant replicate the classic sawdust / raku bath effects I'm looking for. I would like to see if I can get there without the reduction bucket because the clay bodies I'm using generally cant deal with the thermal shock. Anyway I'm
  8. And this is why the Hudson Valley is famous for its brickworks Lotta old brick kilns out and about as well.
  9. Not to minimize the danger, but a lot of people worked their entire lives around manganese fumes/dust and very few developed the horrific permanent nervous system issues traditionally associated with it. Point being, its not an instant death sentence, and thats coming from someone who really once thought it more or less was. Also manganese isnt water soluble, it cant be absorbed through the skin (according to an employee of Aardvark I reached out to about these exact concerns). Do what is needful to work with it responsibly from now on, but its extremely unlikely you've lit the fu
  10. Went off without a hitch. You folks are the best, thanks for excellent advice as always.
  11. Nod, understood. Skutt's actually terminate the electrical connections per-ring apparently, so there wont be much to worry about there once I remove the control box and unplug the ring-specific leads.
  12. So I decided to go the responsible adult route and call Skutt, who said that as long as the bands on the rings are tight, they can be moved from horizontal enough to make it through a door, but generally its not a great idea because its a lot of stress on it of course. If anyone has anything to add, naturally, you have my gratitude.
  13. I just got my new kiln delivered and have to bring it into the studio, which is going to require breaking down the rings and such and moving them one at a time then reassembling, of course. My question: is there any danger of the rings collapsing / becoming damaged if we turn them on their side to get through the door? EG will bricks slip out, will it bend under its own weight, or is it designed to survive this sort of maneuver? It's a Skutt 1231pk, aka http://www.bigceramicstore.com/skutt-km1231pk-single-phase.html Thanks!!
  14. I appreciate the help / guidance, Neil & Mark, very much. That front-loader thread is certainly thought provoking. It's worth noting that I'm shifting focus somewhat to large sculptural pieces, so the consistency issues that would concern someone doing a run of functional ware apply a bit less here.
  15. That's truly unfortunate, a narrative regarding what problems I should expect is exactly what I need most.
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