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Non-Chemical Pouring exactly 1 troy ounce at a time

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In this video you can get a short look at the burner they play on the top of their ingots. The tops look glass smooth.

http://www.youtube.com/watch?v=nQ37SFKahc0

I would guess a large propane torch with a gentle flame would accomplish the same thing.
 
I am guessing you are using a gas furnace of some sort. For silver I am building an electric furnace (not induction)so I can place some sacrificial charcoal on the floor of the furnace to consume the oxygen present once the door to the furnace is closed. The charcoal should last as little oxygen will enter the furnace while melting. The hotter you have the melt the more oxygen it can absorb even in going from furnace to mold. Just some thoughts.
 
Oz,

Unfortunately, I am using electric furnaces for now.

When I used the hard graphite block to absorb the O2 from the furnace it rapidly caught fire and was about 2/3 decayed after the melt. I was very surprised at the reaction of the graphite while it was in the furnace. I have used the same graphite to make gold molds which have never even showed a hint that they were used as such (zero decay). These same types of graphite blocks show no signs decay when used in numerous electrolytic reactions.

I have a carbon rod I may try on my next silver melt.

I'm also going to cover the top of the silver ingot quickly with a large piece of the hard graphite after it is poured to reduce the exposure to air while cooling.


Steve
 
Steve,

I know I posted somewhere on this forum a piece on crucible casting silver, in particular the use of a graphite block which sits upon the crucible filled with the silver you are melting. The block oxidizes on the inside of the crucible just above the melt, forming carbon monoxide. This does not react with the silver and is not absorbed into the melt. Silver's affinity for absorbing gases is a function of both time (how long it sees atmosphere) and temperature (at what temperature it is held at). If you are really trying to preclude oxygen, then you can lute the graphite on to the top.

As for controlling solidification, I am positive that I mentioned that one should have the mold quite warm (but not overly hot). In the case of an open face cast iron mold, it must be sooted and of sufficient draft to withdraw the ingot (by draft, I mean no under cuts, and no really sharp corners). The key to controlling solidification is by putting the hot mold in an insulating medium--perlite is what I have used. For polishing the surface and preventing spitting, you need a slightly rich fan flame that is rather diffuse. If one has any skill with sheet metal, it is a triviality to make a burner tip; these tips can also be purchased commercially.

As far as casting temperature goes--that depends on how thick the bar is. The bigger the bar will be, the lower the temperature your silver or gold may be cast at. Thinner bars generally need higher temperatures so that the metal has less surface tension to fill the mold, and moreover, more heat so it has a longer cool down period.

I might also have mentioned the graphite trick once before to Oz in private communication.

If the graphite block is rapidly oxidizing (let me warn you: a wispy light blue flame is strongly indicative of CO), then you are letting air into your furnace, or it has a leak.

You will never cast exact weight ingots by skill--it will happen in a random spread, some over, some perhaps under if one is not careful, but very rarely, one will be spot on in its mass.

I am a big, big proponent of what Chris suggests--getting a very fine grain, hard graphite block and having it machined into a multi piece mold (or bank of molds). There was a proprietary, nonstick coating (I think it was boron nitride? the name escapes me at the moment) which was meant for spraying onto graphite molds to prevent oxidation and improve surface finish...I haven't used it in a long time, mainly because it is very expensive. I wish I could remember the name.


Lou
 
goldsilverpro said:
I would definitely smoke the molds with acetylene.
The same smoky torch played on the surface of the silver immediately after casting will eliminate spitting and crabbing of the silver. The soot is burned away, absorbing the liberated oxygen, and the flame, which should have a little oxygen introduced, slows the cooling of the ingot so it can cool from the bottom up. That is an important step in achieving a reasonably flat surface. Mold should be preheated as hot as is possible without igniting the blackened surface.

Beyond that, I had no secrets. I hated pouring silver ingots. Too much time spent on something that had so little value.

Harold
 
The 10 oz "book mold" I used had 5 depressions and 5 sprue holes. The depressions were lined up in a row, side-by-side. I can't find them on the internet. An open 10 oz graphite mold, with any number of side-by-side depressions, could be easily converted to a book mold by carefully cutting a sprue with a round file. I would guess the sprue holes were about 1/2-5/8" wide where they joined the bar and about 3/4-1" wide where they exited the mold - funnel shaped. The cross section of the sprue holes were a half circle. The mold is then covered with a flat sheet of about 1/2" graphite and clamped together gently with 2 c-clamps.

When fire assaying fine silver, the beads spit violently and formed eruptions when cooled and silver is lost. This is solved by placing another very hot cupel on top of the cupel holding the bead, immediately after removing from the furnace. The two cupels, stacked together, are allowed to cool for about 5 to 10 minutes - no peeking. The result is a very smooth silver bead.
 
All,

Over the last four days I tried three different mold configurations, several preheating techniques, and eight pours before I achieved a decent looking ~10 oz. silver bar.

Here's a shot of my eighth and best try:

293g_Ag.jpg


I poured the same silver so many times that I ended up losing some weight so the bar is only 293 g instead of 311 g, but I'm still pretty excited about it. I also ended up with a slight bit of contamination on the surface of the bar.

This one was just to get the hang of the bar casting process and to determine the best mold for my set up. After trying the store bought iron molds for three attempts, I quickly realized the cast iron was not going to give me a shiny surface, even with heavy soot and external heating on the pour.

Open top, shallow graphite molds exposed too much molten silver to oxygen and wart up quickly as do long narrow horizontal graphite molds. Even with a continuous propane flame during pouring the bars made with these mold configurations all absorbed Oxygen rapidly.

Oxygen absorption was a major factor that lead me to a good homemade graphite mold design. I finally realized that the best way to minimize oxygen absorption was to pour a vertical bar that had minimal cross sectional area at the top (just as GSP had suggested:wink:). Finally I added external heat and a graphite cover to reduce the exposure time of the molten melt to the air. It's very tricky for a single person to switch from pouring a white hot crucible to covering the top of the mold quickly, especially with bulky aluminumized gloves on.

The right end (the top as it was poured) of the bar in the photo did slightly absorb some oxygen, but the top still remained solid, without a pipe or warts. The sides turned out mirror like aside from a few surface imperfections from the mold. The edges were all very clean, sharp, and square along the length. I removed some flashing (excess material) from the top of the bar. The flash appeared as a result of oxygen absorption as I was covering the hot melt in the mold.

Another thing that I learned was that it is very important to clean the graphite mold between each pour. The silver leaves a fine grayish white powder on the inside of the mold that builds up after a few pours.

I think my mold cold be a little hotter also. I'm using a combination of flat top single burner to heat from the bottom and a over sized propane torch to heat the mold from the top. It almost seems like the propane is accelerating the oxygen absorption, but I can not be certain. If anyone knows for sure, that would be great. Any recommendations on a reliable preheating method for graphite molds would also be helpful.

I'll post photos of the other bars once they are done.

Steve
 
lazersteve said:
It almost seems like the propane is accelerating the oxygen absorption, but I can not be certain. If anyone knows for sure, that would be great.
Steve

Steve

You may have to tune your propane torch. This is a large roofers torch that runs straight from the tank with no regulator 150k BTU if I remember correctly. The combustion air is syphoned through "as cast openings". I found a piece of thin walled tubing that fits this particular torch well enough to adjust the air it is able to draw. It helps on this particular torch as the mixing chamber is very short. It's not as easy to tell lean and rich with propane as it is with acetylene but some adjustment can help.
 
Steve

If you are using EDM graphite be certain it is not the copper impregnated type. Not all graphite is created equal. I have run into this with motor brushes.

http://www.moldmakingtechnology.com/articles/030703.html
 
Thank you, but I'm certain the graphite does not contain copper.

Steve
 
Steve, your graphite starts to noticeably oxidize above about 900F. Heating your mold can be done by resistance or by placing it on a hot surface. It should not be heated with a torch.

Graphite works well, but it's fragile, prone to decay, and gives somewhat limited use. It can be machined to high tolerances, but it is of small importance when a little bit of the mold is lost after multiple heat ups.

As I said, perlite is your friend. It helps control solidification rates. Steve, remember to let the silver cool in the mold til it is below red heat. If you open it up too soon, your graphite will oxidize.

Lou
 
I just joined today and this is my first post. I have virtually no experience in the many aspects of gold refining, but with a beginner's bravado I don't see any logical reason why my method would not produce an ingot of exact weight.

First cast your ingots as close to the target weight as is feasible for you. Then use a scale to get the exact weight of each ingot, adding gold leaf or carefully filing as needed to reach the target weight. Lastly, place the modified ingot back into the mold and remelt; since there is no pour involved there is no extra or missing metal to vary the weight.

To introduce myself, I am a self employed coining die engraver and will be following the forum to learn as well as to try to answer any questions regarding making dies, coins, or custom ingot molds, etc.
 
Let me take the opportunity to be the first to welcome you to what I call "Our little slice of heaven."This forum is dripping with experienced and corteous people that will tirelessly help and it sounds like you will fit right in.This is the Guided Tour Link. http://goldrefiningforum.com/phpBB3/viewtopic.php?p=6873#6873 It will help steer you and answer some questions you may have.Have fun,
Johnny
 
diecutter said:
Lastly, place the modified ingot back into the mold and remelt; since there is no pour involved there is no extra or missing metal to vary the weight.
That won't work. Full stop. One does NOT melt in an ingot mold. The reasons are numerous.

Welcome to the forum. Please take advantage of those of us that have years of refining and casting of precious metals to our credit.

Harold
 
Welcome,

A sheet of gold leaf weighs about .012 grams. It would take a bunch of them to a difference. Also, they have rouge on them. I have seen a lot of 100 oz silver bars cast in book molds that have obviously been ground on one end, at the sprue, to reduce the weight.

Unless you know something that we don't, I don't think you'll have much luck melting directly in a mold. I know you can't do it in a graphite mold because it will soon fall apart. Maybe Harold can clue us in on what would happen with a cast iron mold. Maybe a tantalum mold in a vacuum, using resistance melting, would work.

The best way, as you must know, would be to use a coining operation.
 
I should have figured it could not be that easy. I was basing the possible success on the fact that the Kerr Electro-melt furnaces and the large vacuum furnaces sold by Rio Grande both use graphite crucibles which are quite durable for that use. The fact that the metal does not solidify in the crucible (at least not intensionally) probably is the reason for their durability.

Maybe if the sides of a graphite ingot mold were highly tapered it would make the mold more durable as the ingots cooled? I saw a demonstration by the Royal Canadian Mint of the entire process used to create their gold coins. They pour the refined gold directly into preheated cast iron ingot molds (50 # ingots if memory serves!) that are lightly oiled. From there the ingot goes through a series of rollers before blanking.

I guess the only sure way to be exact is to strike a planchet or ingot blank that has been already adjusted.
 
Graphite oxidizes away. Once you bought the furnace they sell you many crucibles over it's life time.

Kinda like Gillette giving away the razor handle and making it up on blades.
 
diecutter said:
I should have figured it could not be that easy. I was basing the possible success on the fact that the Kerr Electro-melt furnaces and the large vacuum furnaces sold by Rio Grande both use graphite crucibles which are quite durable for that use.
They may present the appearance of being durable, but they aren't. Because the temperatures involved are well above the combustion point of carbon, they burn away rapidly, primarily from the shoulder upwards. That's one of the reasons they provide a cover, which limits the exposure to oxygen, but not enough to be totally effective.

When the furnace is up to heat, even for melting silver, there is a visible flame coming off the graphite around the rim. Failure of the crucible body isn't the problem, the problem is the top burns away such that the crucible is no longer supported by the rim, and there is no pouring spout to allow the crucible to be emptied in a safe fashion, where the discharge is desired.

I went so far as to coat the top of a crucible with a refractory wash in an attempt to extend the useful life of the crucible, all to no avail. It lasted longer, but not significantly. In the end, the expensive (at the time) furnace was relegated to a shelf in my storage room, never to be used again. They clearly are NOT a good idea.

The fact that the metal does not solidify in the crucible (at least not intensionally) probably is the reason for their durability.
As stated, above, they are not durable. The typical foundry crucible is far more durable, being made of graphite AND clay, which protects the crucible to some degree. They are also made of silicon carbide, which is far more stable.

Maybe if the sides of a graphite ingot mold were highly tapered it would make the mold more durable as the ingots cooled?
That's not an issue. Gold contracts upon cooling, it doesn't expand, so an ingot is inclined to end up loose, assuming it isn't keyed to the mold by lack of draft, or from undercutting by oxidation (graphite mold).

Melting in a metallic mold would be a horrible idea. Assuming one could use cast iron, remember, it has two properties that are less than desirable. One of them is that it is very poor in tensile----and subject to thermal shock. That's part of the reason it's so damned hard to weld. The other problem is that iron is readily dissolved in molten gold. You not only would struggle with your gold soldering to the iron, but you would suffer contamination of the pure gold from dissolution.

While I am not the least bit familiar with tantalum, I am of the opinion it, too, would be a huge mistake. It may not fracture from thermal stress, but it surely would be problematic in the way of contamination, and most likely soldering.

I guess the only sure way to be exact is to strike a planchet or ingot blank that has been already adjusted.
That is my opinion. Certainly, I'd avoid any ingots that had signs of having been altered---by any method. Shaving coins used to be a way of stealing----when the value of the coin was in the metal contained within. That problem was addressed by reeding the edges of coins, or otherwise making them such that any removal of material was obvious. It is for that reason that I never altered any of my ingots. They were always left as cast, although I did make attempts to create a smooth surface by controlled cooling. That appears to be common practice and leaves no damage to the surface of ingots.

For the record, casting ingots is not easy, not if you desire attractive ingots. Gold is far easier to cast, if for no other reason, oxygen isn't a problem as it is with silver.

I own several 100 ounce silver ingots made by one of the major refiners. They are die struck, which boggles the mind. I can only imagine the tonnage required! Very nice, they are :!: :!:

Steve commented that his graphite molds slowly formed a gray surface, which must be removed.

Yep, that they do. That's the result of the adsorbed oxygen being consumed as the silver solidifies. It can be limited, but unless one is able to melt and pour in an inert environment, it can't be eliminated. An inert atmosphere induction furnace would be the answer. Doesn't everyone have one of those in their garage? :lol:

I wouldn't use graphite for a mold, not under almost any circumstance, but then I also had the ability to produce my own cast iron molds. Nothing rivals a nicely blackened iron mold, especially if the iron is ductile instead of cast gray iron.

Harold
 
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