Bill Kielb

All very available HVAC ductwork parts, available stuff -
For that fan You should be able to use a 12” flanged take off, 12” hard pipe duct and or 12” flex duct to isolate vibration or as needed. Steel duct attachment would be 3 screws for round rigid, worm drive clamp is easy and goof proof for the flex. Seal all seams with metalic duct tape UL181- P for rigid or UL181-FX for flex connections. Duct sealant (brush applied) is more permanent than tape but taking it apart for maintenance a bit of a pain. Advise adding a decent backdraft damper and well thought out discharge louver. Cheapest flanged take off I could spot below:
The take off from the original OP appears to be a bit adapted for use (might be the photo), connection shown below, typical.

Hi TahoeBlue, Welcome to the Forum!
LaurenF hasn't been on the Forum since November last.
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Looks like Lauren had found something - perhaps a sheet metal flange? - that bolts up, per the second image.
...12" fan, 13-1/2 in bolt circle diameter, search string suggestion, "12" round duct flange"
...maybe
duct flanges | McMaster-Carr
or
12" Flowtite Plain Duct Fitting at Menards®
Gotta go to root canal appointment; I'd rather look up more flanges tho'!
 

Just so you know a little of the where and why of all the caution here,  electricians seem to have difficulty sizing breakers and wiring for kilns. The general rule for kilns (known as a continuous resistive load)  is simple in that not less than 125% of the rated load, nor more than 150%. Your kiln is 48 amps so a 60 amp breaker and wiring is recommended by the manufacture and fits this rule.
For everyday stuff, Electricians are usually taught never to load a breaker more than 80%. Brand new from the store, they are rated at 80% of their load. In your case a 50 amp breaker typically would only be used for a 40 amp load following this rule……... So that ……. somehow a 50 amp breaker was used coupled with the initial 120v hookup of a 2 pole breaker raises flags as to how it was all done.

It is #6 copper wire for all three wires, this I know I confirmed with the electrician. 

It's a scam. I get these emails all the time about kiln purchases and they have a specific freight carrier, etc, etc. They'll probably want to use a stolen credit card to pay for it or something like that.

Do not replace the 50 amp breaker with the required 60 amp breaker unless the wire is 6 ga. or better.

I've been tempted to put in the work and see how the ratio holds up. It would make for good content.

Thank everyone, this is a great group!  Just unloaded the kiln with the 5 minute hold, and all looks good.  I was a little worried it might get a bit hot, but seems fine.  I watched the temp right at the end, and it went from 2167F to 2171F, 
I am firing electric to cone 5, but honestly, the witness things would indicate more of a 5.5 or 6.  My first firing with this kiln was a cone 6, and i really felt that it was too hot (colors washed out, etc), so switched to cone 5 with much better results.  I do not see any pitting in this batch.  Tried some different things with stains and clear glaze on white that look good (photo).  Adding a photo of the 4 "horny toads" also known as Texas Horned Lizards.  3 different glazes--slate blue, sage, and  jade.  The jade (most green), is a glaze from my college days, and it has barium carbonate in the mix, so i only use it on non food items.
Giving a good deal of thought to the hold on bisque firing.  I have a black clay that i love, but it is SO messy (turns my hands orange), and tends to blister, but MAYBE if more of the iron or whatever was burned out in the bisque......  I have also experimented with using it as a slip over red clay, and I like some of the results, and will do more with that.
All that said.  I have an L and L kiln with the auto vent system--how do it l Iower the temp for a bisque hold?  I am still learning the menu and I thought I could only HOLD at the final firing temp?

I am not a hold person as to me it simply adds heatwork. In a practical sense there are folks who fire one cone lower but add a hold to get to the next cone heatwork without the peak temperature. In that case firing to cone five with a fifteen to twenty minute hold often gets one to cone six. (Usually verified with cones)
Why do that? Some glazes do not like higher peak temperatures. Some underglazes change color significantly with peak temperature. It is a pretty functional way to fire a cone to two cones max higher without hitting the actual peak temperature. 
Firing higher or for longer has never healed pinholes for me, often made them worse. Drop some temperature and hold however has helped on s some of my pinhole situations.
whatever works for you and your desired glaze results is likely the best answer. Whatever is done, I strongly suggest  always nice to have cones in place so you genuinely know how much heatwork was done. As to suggested time, 15-20 minutes generally gets you to the next cone.

I am not a hold person as to me it simply adds heatwork. In a practical sense there are folks who fire one cone lower but add a hold to get to the next cone heatwork without the peak temperature. In that case firing to cone five with a fifteen to twenty minute hold often gets one to cone six. (Usually verified with cones)
Why do that? Some glazes do not like higher peak temperatures. Some underglazes change color significantly with peak temperature. It is a pretty functional way to fire a cone to two cones max higher without hitting the actual peak temperature. 
Firing higher or for longer has never healed pinholes for me, often made them worse. Drop some temperature and hold however has helped on s some of my pinhole situations.
whatever works for you and your desired glaze results is likely the best answer. Whatever is done, I strongly suggest  always nice to have cones in place so you genuinely know how much heatwork was done. As to suggested time, 15-20 minutes generally gets you to the next cone.

I am not a hold person as to me it simply adds heatwork. In a practical sense there are folks who fire one cone lower but add a hold to get to the next cone heatwork without the peak temperature. In that case firing to cone five with a fifteen to twenty minute hold often gets one to cone six. (Usually verified with cones)
Why do that? Some glazes do not like higher peak temperatures. Some underglazes change color significantly with peak temperature. It is a pretty functional way to fire a cone to two cones max higher without hitting the actual peak temperature. 
Firing higher or for longer has never healed pinholes for me, often made them worse. Drop some temperature and hold however has helped on s some of my pinhole situations.
whatever works for you and your desired glaze results is likely the best answer. Whatever is done, I strongly suggest  always nice to have cones in place so you genuinely know how much heatwork was done. As to suggested time, 15-20 minutes generally gets you to the next cone.

There is a very good explanation of the effect Dick reminded me of on Digital Fire https://digitalfire.com/article/deflocculants%3A+a+detailed+overview.  Clearly, when I thought the glaze was too viscous, it was already past the point on the graph when adding a deflocculant would reduce rather than increase the viscosity.  I couldn’t understand how that could have been until I just retested my water supply and found it to be significantly alkaline.  I live in a very hard water area, and the calcium and magnesium in hard water supplies causes it to be alkaline.  Usually this is not a problem as I have a water softener, and my water is usually about pH 7.0, but on investigation it seems to have stopped working.  Mystery solved.

Thanks Bill; I was aiming to do that. 1.42 was recommemended for this glaze so that it why I was intending to start there.

As a general rule, mixing gerstley borate and bentonite is a bad idea because it creates this situation. Enough Gerstley can deflocculate or even gel a glaze under its own power, and bentonite will make the effect worse. Add in Neph Sye, which can also be soluble, and it’s not super surprising this is happening. I haven’t done any tests with Gillespie to say if it does something similar to GB in the bucket or not, but I’m going to guess you’re finding it does.
If you mix this glaze again, try it without the bentonite. There’s enough clay to keep it suspended without.
Another thing worth checking is how long you’re mixing your glaze. Mixing factors heavily in Joe’s glaze process, as he uses a stick blender for tests, and he’s written blog posts about how that changes his results. I’m working with another of Joe’s recipes right now that someone else put together. We’re finding the bucket does loosen up significantly with a good 3+minutes with a drill mixer.

Commercial glazes, err, some commercial glazes may contain less expensive ingredients and/or behave poorly.
Less behaved glazes may: settle quickly, crawl, craze, pinhole ...have washed out color (especially where expensive colorants are involved) ... etc.
When looking for recipes, starting out*, a few ideas (which I'd found here, in this Forum, and a few other places**) were helpful:
   from a reputable source;
   with helpful notes on application, durability, and heavy metal leach testing results;
   with pictures!
I just picked several recipes, made a materials list, and went shopping***!
From there, learned, err, learning from successes, failures/mistakes, and more reading.
...and thanks to several Forum regulars for insight and assistance.
 
*Coming up on six years ago, how time flies
**Digitalfire.com, a trove of information; the glaze recipe book at local JC ceramic lab (we were using the glazes - direct experience!); Petersen's  book The Craft and Art of Clay; Van Gilder's book Wheel-Thrown Pottery; and several other books, magazines, and web pages. Oh, web pages! ...Hesselberth's website can still be found, FrogPondPottery, Tested Glazes | Frog Pond Pottery (archive.org) 
Lakeside Pottery also has glazes sub-pages with pictures and notes...
***took the pickup truck, packed the load up against the front of the bed and tied it down tight, some twelve hundred pounds of clays and glaze materials...

Just to add, much of this will end up to be surface observation. Does the glaze melt fully and for instance does it appear uniform and thick enough for 100% coverage. Sort of subjective but also can be obvious for glazes that are applied too thin and end up rough to the touch. Glazes not fully melted that should be gloss but are more matte.
Observing the finished product often reveals whether the application thickness was appropriate for the glaze as well as whether the firing schedule was appropriate.
Test tiles created while varying coverage or schedule usually reveal a best or minimum application, best schedule etc….. absent any glaze defects like crazing etc… generally visual observation and correlation to how the ware was prepared.

Not to worry, folks have made glazes forever and experimented looking for predictable ways to characterize what happens. They publish their findings or research and you get to decide if it is useful to you. Commercial glazes have the issue of - what is in them and how does one correct a defect such as crazing. The good part is commercial glazes don’t use lead anymore (for the most part), vanadium pentoxide etc… generally because someone found out it was a bad thing. If you mix your own then you know what is in it and can reasonably test for durability, fit, etc…. to your satisfaction, before selling it or giving it as a present for human consumption. I think it does help to inform but definitely not for everyone.

Not to worry, folks have made glazes forever and experimented looking for predictable ways to characterize what happens. They publish their findings or research and you get to decide if it is useful to you. Commercial glazes have the issue of - what is in them and how does one correct a defect such as crazing. The good part is commercial glazes don’t use lead anymore (for the most part), vanadium pentoxide etc… generally because someone found out it was a bad thing. If you mix your own then you know what is in it and can reasonably test for durability, fit, etc…. to your satisfaction, before selling it or giving it as a present for human consumption. I think it does help to inform but definitely not for everyone.

Ok, everyone has to cheer for my IG friend Renu!
(You don’t, but I will be. She’s the sweetest person, and she’s the art teacher that everyone has super fond memories of.)

Thanks everyone. Kiln is on with Alumina dusted between the sheet. Fingers crossed it works. Ill let you all know how it goes
 

As I see it, there is a lot of good work establishing ground zero for the perfect glossy durable midfire glaze - flux ratio of 30:70, Si and Al molar within limits, Si:Al ratio around 7-8, boron molar within limits, etc. Yes, perfect, but boring glazes. Mayco Stroke and Coat, a solid performer from 06 to 6.
In my glaze chem classes, I tell them to consider theoretical perfection, but also realize there is are a lot of more interesting effects to be found outside of ground zero. Some of it may not be durable, though some may be just fine, do your tests. I have to this point stayed away from subjective experience with this particular recipe, but one of the reasons it is so popular in my community studio is because of the interest it creates. When layered with certain others of the studio glazes, we put the Amaco drizzles to shame. It is a solid glaze by itself, or Amaco/Mayco Flux in the same bucket.
Why? In my studies of glazes, it is the high boron in this one when layered with other lower boron (conventional theoretic levels) glazes. Higher boron levels create a borosilicate glass. Lower boron levels create an alumino-silica glass (not quite soda-lime bottle glass, but the chemistry is moving in that direction). Layered borosilicate glass and alumino-silica glass do not mix to a homogeneous blend, but rather they are immiscible and flow through each other in rivulets or create a faux-oilspot effect. Now I have the student's attention (and if they are not careful, a kiln shelf to clean). As DuPont said 90 years ago, better living through modern chemistry.

Katz himself might have thrown a wrench in the works in regards to his testing into flux ratios, also into further exploration into silica:alumina flux ratios. From his 2016 NCECA presentation taken from this pdf.

Can they have an unglazed bottom or foot ring to allow for display? If not, how about casting a sacrificial ring or tab (maybe 3/16” diameter eyelet) into the bottom, suspend while firing, grind off after finished and finish the remaining dot with paint, or a bigger dot and insert logo?  
Just thinking …….

Thank you Bill. I would never have thought of that . I think I will try your suggestions. Sandi

@Min et al, I just pulled the tile after 24 hours half submerged in 30%* cleaning vinegar. There is no change in gloss or color (we use this glaze with a bit of copper and some tin/zirco for a nice turquoise). I will go shopping to find some plain lye (Drano brand has other stuff in it) - when home-brew testing, I like to hit the sample tile with something stronger than kitchen cabinet chems (since I run my dishwasher so infrequently, it would be next year before I would complete the Katz-recommended 30 cycles...).
*Grocery store vinegar is diluted to an acidity of 5% - sometimes. In recent years as manufacturers everywhere try to reduce costs by invisibly reducing quantity in the same package, some grocery vinegars are now 4%. That might not make any difference in your oil and vinegar salad dressing, but if you like to make your own pickles, you need to check the label and make sure you are getting a 5% vinegar. And there, I did it again, took the pottery discussion in another direction. Now we can share recipes for pickles...