Hulk

Elderly MacBook connected to Studio's surround sound makes selecting locally produced KCBX* shows simple/easy; when not listening to "live" radio, I'll pick a favorite to stream. Sometimes I'll play music from my library, but not often - I listened to familiar music in my working life and have stopped collecting music since retiring. When the weather's nice, I'll roll up the door halfway or so and listen to the birds, breezes, waves... *Evening Blues, The Road Home, Across the Tracks, Morning Cup, The Club McKenzie, the Saturday afternoon folk music show (I like everything about it, except the Name - negative associations with broken spokes, see?), and several others. The nationally syndicated shows can be streamed as well, however, I'll usually catch them when broadcast, else skip it, e.g. Democracy Now, TED Radio, Fresh Air, Bioneers, Latino USA, Counterspin, Hidden Brain...

Hi ShanRums! I'm finding manuals for that controller e.g.: Ipco Studio 3000 Controller Manual - · PDF fileIpco Studio 3000 Controller Manual Multi Program Multi-stage Degrees Per Hour Ramp Rate Controller with Soak NOTE: Please read instructions (pdfslide.net) From there, Keramikos model, or better, wiring diagram? Any road, welcome, and bumping the thread.

Skutt phone support has been excellent (in my experience); have your serial and model numbers ready. The wheel head should be solid (zero play) and run absolutely vertically true (less than a .001" of run out). If you've already tried removing the wheel head and reseating it, maybe try that again in the other position (180 degree turn). Carefully clean and inspect the shaft - the tapered contact portion and the pin; inspect the wheel head's tapered contact and slots; relube with anti-sieze; mount in the direction opposite (per the directions in the manual, "...opposite direction the wheel will be spinning..." ); compare how much the wheel head rotates until lock against the slot (the manual indicates "...about a quarter turn...") is achieved. Likely you've already done all that. Please do post back an update 'bus! My Skutt wheel does run a bit louder than some others, but not by much. I bought it "used," however, it hadn't actually been used; it quieted down a bit after logging some hours.

I'd though a case would be made for fresh/clean air source and not so much cleaning, having seen many studios/workspaces in video clips (and a few in person) where layers of dried clay splash are ...ubiquitous. The air currents in my studio are capricious, I'm not choosing to spend for and install a suitable hepa system, keeping the floor and work surfaces wiped down is straightforward and simple, I'm at a hobby level, etc., so. I'm still curious how others (attempt to) measure or somehow quantify dust in the air? Per (many) prior, I'm watching accumulation on horizontal surfaces. It takes a few months to build up a layer on the shelf just above my wedging area that compares with two days' accumulation at local studio X (where canvas covered tabletops and crunch underfoot is norm).

I'd like to suggest that you identify the clay(s) you're looking to use in the studio, then look at glazes to fit them*. I'm also using several of the recipes from van Gilder's book, a few from local JC recipe book, and a few others ...however, have tried many others and then abandoned them, due to problems, including crazing, pitting, foaming, yucky, expensive, etc., hence: Test carefully, particularly clear and liner glazes for fit and performance. Test carefully for fit and performance! Midrange (cone 5/6) clays exhibit a wide variety of behaviours! In my search for a well-fitting clear (or slightly white) liner glaze for white stoneware, I've abandoned three white stoneware clays and five glazes, well four - the fourth one started out as a recipe with promise that could be easily reformulated. The fourth reformulation of the fourth glaze is in production in my studio. If you're considering IMCO DC 3-5, Clay Planet Venus White clays (and/or have crazing) I've a glaze for you! That said, I'd like to suggest that you identify the clays you're looking to use in the studio, then look at glazes to fit them. ...and now I'm copying that last sentence to the top! *Thanks to several of the regulars here for support, analysis, suggestions and a recipe.

Several vendors list the Bluebird 12 as current/available, however, not finding any support... Ah, try calling the number listed here: Pugmills Clay Mixers Potters Wheels Extruders Pottery wheel Bailey's BigCeramicStore Aardvark Clay and Supplies Axner (bluebird-mfg.com) ...have your model and serial numbers ready. My guess would be the unit is designed to be maintained.

I'm holding at ~1500F for half an hour to forty-five minutes, which seems to help drive off gassy/bubbly stuff in the red and black clays, particularly. My kiln is set up with a downdraft vent, which, in theory, helps extend the life of the elements (less caustic gasses) and burn off the organic stuff (supply oxygen).

Boiling point of pure water should go up as concentration of solutes increase. ...I've no idea how salty the moisture in clay is... Another variable may be the amount, size and type of grog bits. I believe that bits of grog allow clay to (a) get wetter, faster, when exposed to water, and also (b) dry out faster once exposure to water stops.

Good question! Tools: Big sponges; buckets for yucky, cloudy, and clear water; commercial mop bucket, wringer, and mop; shop vac; mask; supply of clothing and rags. Practices: Keep it clean; clear the floor to make cleaning it easy. I'm trying to keep the dust under control because I a) don't want to breathe it, and b) don't want to track it into the house Generally, dry clay is "bad," on account of how easily it becomes airborne dust (wet clay is, therefore, good); clay on the floor gets stepped on - bad! Clean floors and studio shoes, that's a great start. Dedicated (slip on) studio shoes, good idea. Clean clothes and rags - change'm out when there's any clay on them. Tips*: Keep it clean - a few minutes before and after each session - becomes a habit. Hit the work areas and the floor each time, and cycle through the shelves, and et cetera that collect dust as necessary - weekly, monthly, ?ly. Wipe down all the dry clay (excepting, of course, the actual wares) - better yet, wipe it down afore it dries. Use big sponges (big! e.g. grout sponge, car cleaning sponge) and big buckets. I use one and two gallon buckets for throwing and clean up water. Wipe down the work surfaces, routinely. You'll see where the dust is coming from - at the clay prep/wedging area, where the clay bags are opened and closed, where the clay is being worked, particularly trimming. Get and use a commercial roll around mop bucket, ringer, and mop. I pour off clear water and re-use it for cleanup. The cloudy portion goes in the yard; the heartier plants can take it. The wrung-out mop head makes a great foot wiper**. Keep it ready and use it often. Consider getting and using and use a shop vac, particularly if you have spiders, heh. The vac exhaust will blow dust around, so put on your mask, open the doors and windows, run the vac, then wait on everything settling down afore breathing***. Move storage off the floor, less things to move about for cleaning. This may be challenging! I have wall mounted shelves almost everywhere now. Rags are bad, on account of they puff dust clouds, however, how else is one to dry their hands? Hold the rag up next to a bright light; squeeze it - see the dust cloud? Put that in the wash and get a clean one, pronto. Use the rag on rinsed clean hands only. I do use towel rags in some of my processes - they get clay on them, so I start with a clean one and cycle them out afore they become dust spewers. *Many of my (evolving) ideas and practices I came up with on my own, however, all my ideas (and more!) are not unique - see archived threads... **Any time a job can be done without bending at the waist, let alone getting down on hands and knees, go with it! The wet mop is a super tool, sees lots of use in my studio. Wring it out, lay in on the floor, wipe feet, go. Run it around the wheel area, boom, done. Take a pass around the counter area when glazing, done. ...etc. etc. ***Dust and air movement = airborne dust. Be aware of air movement and plan accordingly. Note: I looked, the "k" very likely represents Kathy, hence her post.

Raleigh "Sports" model, circa 1971 Not seeing anything near Harper's Ferry See "Stevenjess63" Etsy shop; they have an early 60s step through model, asking $250, not baad. added: Although the listing indicates "...five people have it in their carts..." it's still available (search string: "Stevenjess63") Looks like the tires are rotted. The seat and saddle bag may be serviceable, but well worn. Likely a new chain, cables, grips, brake blocks, pedals and perhaps some bearings will be required. I'd check it over carefully for corrosion, cracks, etc.

Please add kiln glasses safeguarding against harmful rays and any superheated flying bits, anytime when facing a hot kiln, particularly when looking into the peep(s). Excepting the rare occasions when I load pieces that are still wet, I run the kiln up to about 200F the night before, leaving out one peep plug, then go full gas (all three switches on high) the next morning, as the kiln is typically ~140-160F, hence was very warm all night and everything is bone dry. When I do load wet or damp ware, I run up to 180F or so, leave a few peeps out and run the kiln fan, then double back after several hours and run up to 200F, and leave the fan on all night. I'd fully avoid the fumes coming from any kiln, particularly an old/used kiln.

The small cones "...bend about 9 F hotter than the big ones." Orton has corrected the online doc that contradicted this - there's detailed reference archived in this forum somewhere*... My experience has been to place a small cone six in the sitter to get cone five witness cone to bend. That said, witness cones are the way to go, and a pyrometer is super helpful - once the relationship between pyrometer readings and witness cone results are established, it gets easier, but stay on top of it as your pyrometer may drift with time and wear. I would not want to rely on the kiln sitter for accurate heat work; I'm sure it can be done, but why? If starting over, I'd place cone packs where they can be seen (eye protection vitally important, against harmful rays and Any Flying Bits) and stop firing once target has been achieved, noting pyrometer readings. Once repeatability has been established, viewing the cone packs during firing not as important. The sitter/timer mechanism is a failsafe, imho, in case I fall asleep or somewhat, the kiln will eventually shut down on its own. Within the next several years, I do expect/hope to start over, with a new kiln, numerically controlled. The new kiln will come with its own thermocouples, and so, since I would not want to ruin several loads whilst learning, I'll go back to watching cone packs and taking notes during firing, eh? *aha! Kiln Sitter cone for witness cone - Studio Operations and Making Work - Ceramic Arts Daily Community Maybe start at the bottom and read up...

Ooh yeah, forgot to add this: The layer of clay right up against the bat (or wheel head) can't move the same as the clay above it, hence, if there's inconsistent bits in that layer, no amount of coning up/down will sort it, start over. While I believe "wedging on the wheel" (aka coning up and down) is very important, it can't be a complete replacement for preparing the clay afore putting it on the bat.

Hi Finn! Hope your centering gets sorted to the point where you are so focused on next/new challenges that you're able to almost forget centering*. Some thoughts: i) Consistent Any inconsistency in the clay, whether bubbles, bits, chunks, drier spots, wetter spots, sticks, lumps, anything that causes the flow of the clay to speed up or slow down will make centering more difficult! When worked on the wheel, the clay is flowing/moving in the opposite direction of the wheel. The clay flows, in a circle. The clay accumulates where it slows down and thins where it speeds up - both throw centering off, boom. Give yourself a good chance at the start, where clay is totally mixed/wedged/homogenous with no contaminants. From there, try putting your well-prepared clay balls in a container to slow down any drying that may occur whilst waiting turn on the wheel, for a bit dry on one side or the top can "throw" you off. Inconsistent clay can be forced into center, or close, but the problems will just present as you throw, with inconsistent wall thickness, varying wall heights, or both, leading to arrrg! ...tearing, lumpy, wobbly Consistent clay leads to easy centering, round and even walls, amazingly round, even, easy. Really. ii) Attach well to the bat or wheel head. When the clay moves, that definitely throws centering off!! Might as well explore and discover this. When your clay ball is getting close to center, then apply centering force to the point where the clay moves - disengages from the bat. Learn that boundry, then stay away from it. They type of surface makes a difference - rough, smooth, how damp, etc. Some clays stick better than others as well. Softer clay is more responsive to centering force. Firmer clay requires more patience, A Lot more patience!! iii) clay Are you using the same exact clay as available at school? Each clay is a bit different, and how soft/firm** makes a difference as well. Perhaps like riding a bike - when you've only ridden One bike, every other bike is like, wow, totally different. When you've ridden many different bikes, you can adapt right away to a different bike. :| *Almost, for the same problems can and will rush right back, difference being you might recognize the cause right away vs. struggle. **Softer clay centers quicker and easier, imo, and throws faster and easier as well. On the other hand, the amount of working time (wetted time) afore it gets too wet is less. Harder clay requires more patience, time, and force to center and throw, however, one might get taller and thinner. :) Harder clay seems less forgiving.

Both. Am using GlazeMaster for glazes I want to compare/analyze/test/use, then I print out the recipe, note the scale values, and keep the printouts in a folder that I keep in the studio, along with a notebook for firing notes, another notebook for glaze notes. I prefer keeping my notes in handwritten notebooks, nice change from years in ticketing systems, code, online documentation, email, etc., literally tens of thousands of hours at the keyboard an' screens. I haven't had any need to search, copy&paste or otherwise manipulate my notes, so, meh. The software is particularly helpful for adjustments and substitutions, on account o' it has material analysis and maths built in, I love it for that.

Big, seems easier with gas. Energy choice, local electric grid may be clean and low impact, or not. Burning wood can be dirty- particulates, particularly - even with secondary combustion flame path design, which I don't see kilns having; I can see it being a choice, just not where I live now. We heated with cordwood for decades, so. Now it's a switch, on the wall, forced air gas furnace. Copying files should be simple. The Pi uses a Linux variant, so cp command (copy), or mv (move). Try the copy first. Command line takes some getting used to. Just try a few commands a day, it won't take long to get the hang of it...

I'm also washing bisque before glazing, two buckets, one sponge, the second, rinse, but I'm allowing a full dry sun and maybe overnight afore glazing - less dust, ashy bits, salty junk, and I do sand a bit*, by feel, so, there's dust. It's a bit of bother, but chatter marking seems to fill much better when washed. If ever getting pinholes from glaze moisture displacing air in the clay as it penetrates, will definitely try your damp glaze Pres. I am bisque firing to a high temp, with a hold, I do sometimes a fast dip, then plunge quickly again, but withdraw slowly, when the gelling action is a bit greater at slower speed - if that closes the glaze layer up, I'm happy. I prefer upside down, where there's more glaze at the top of the ware, being first in and last out. *away outside, with ppe, dust control protocol, etc.

Hi LilClayLady! Is that kiln max temp rating cone 6? Here's the documentation I found: Item # B23HT-240 On Cress Mfg. Co. If so, it might be more serviceable for low fire. Likely it will struggle to reach cone 5 once new elements have started to wear/degrade. Likely it wouldn't take many firings to lower the actual max. As for being worthwhile, the condition of the unit* and how it matches up with your expectations could matter more than its age. *bricks, casing, wiring, stand, everything, including the control mechanism. My kiln is over thirty years old, it's a cone 10 though, so suitable for cone 5/6 work. Its bricks and lid are going, so I'll likely upgrade when the elements wear out. It might take another fifty firings to wear'm out. The seller included a full set of posts, brand new shelves, boxes of cones, and some glaze materials - so far, it's been a fair deal.

My guess, likely the results will be interesting, maybe very cool, maybe a bubbly breaking pattern, streaking if the glaze moves moderately; chance of yuck, maybe scabby, crawly where the glaze is too thin. Good oh you stopped the dust.

Hi Betty, I'm using this US Balance, which has a small platform, and maxes out at 2000g (not pounds, heh). I have a few different aluminum pie plates for when I need more space, like glaze materials. Seems like as long as the load is squared up/stable and not moving, the weights are repeatable ok.

Have logged many hours on a triple beam, but didn't own one when fitting the studio - inexpensive 2000g digital works fine for me, for glaze batches and up to 4.4 pound clay balls. I've an analog multimeter; it shows variation better than a digi, and although there's an argument for accuracy, at the range I'm working in (cheap instrument and basic electrical stuff), it's more than fine and what I'm used to. I have my Dad's Simpson, but never use it. We have digital bath scales, inexpensive and easy to read, just remember to calibrate Every Time it's moved, and replace batteries, hmm, that it's quiet puts it over a spring scale, just. What we have that's still analog likely a shorter list! Floor pump for bike tires, integrated analog pressure gauge. Repeatability is what matters, meh. Car tire pressure gauges, all analog. Everyday calipers, analog/vernier over cheap dial indicator types, whether mech or digi. I have a large vernier, very high quality, and a few small quality dial indicator types, also analog micrometer set. I don't mind vernier or mech dial indicators for thousandths o' inch, nor analog micrometers, having worked with all for hours countless. Thermometers, all we have are liquid bulb and capillary type, excepting the cars' displays are numeric. No doubt there's more, not remembering just now. Digital doesn't always mean better, nor necessarily mean the sensing strategy is any different, more accurate, or better. That said, some new stuff is cool. Some old stuff is still cool too.

Thank you for sharing Gep! It's one thing to gain experience and knowledge through experience, another to systematically apply same and improve, and yet another to clearly, concisely and successfully communicate how you are doing it. Nice work!

Isn't backerboard a bit rough for throwing? I've used plastic, homemade particle board, and homemade plaster bats; all have smooth surfaces*. Although I've managed to learn to keep my fingernails away from both the clay and the surface of the bat, my throwing requires some finger/skin contact, smooth is better imo. I like cement board and use it in the studio, per above, however, too rough for me for throwing. Try sticking a square of it down with a clay pad, only take a few minutes - watch out for the corners, go. My guess is you'll like it if you don't touch the bat much while you're working, then knock the corners off, done. If you don't like it, didn't cost much - look for a scrap to test with. I wouldn't try for bat pin holes, instead, a clay pad. Since I use bat pins, I just throw a clay pad on a plastic bat (does no one do this?) for unholy bats :| *The plastic seem to stay slick, however, they can get narfed up with metal tools, rough on skin. Some types of plastic bats I like ok, some not. My particle board bats, some are 1/2" thick, some 3/4" thick, stained with oil base stain, then varnished. They work great. I use the molded side of the plaster bats, which is smoother. They work great, different right next to the bat though, that clay is drying.

The boards are* supplied by Minarik. Registration is required to get the docs, here: minarikdrives.com Mine exhibits same capacitor thing, however, within a few minutes, it's drained off. My wheel has the pcmxp ("ssx") board; Skutt also uses the mm23001c board (as standard - it's perfectly suitable). Minarik Drives XP Series User Manual fifty page document has a chapter on calibration (trim pots); it's seven pages, however, several sections refer to other chapters for background info, etc. I bumped up the MAX SPEED and changed the IR COMP setting. *or were; my Skutt will be coming up on five years old. I haven't looked at their website, nor Minarik's, for several years. ...don't know why Skutt doesn't have the manual or at least some excerpts available. Oh well, their support is super, my bet is they would be helpful - I was able to find the doc myself - it was a Saturday, so.

Museum putty holds tighter; wax, also gel, are nice for clear/translucent objects, where putty would show more. We found the putty well suited for the tall slender opaque vase, which has leverage.