Victoria raises Interesting points.

1. Steven's firing schedule handles the cristabolite transition with the same rise she uses.
2. It does appear that he ignores the convention to rise (and cool) slowly through the quartz inversion range. Perhaps his porcelain is more forgiving in this regard than many other clays? I've noticed that pieces made from B-mix5 have a pronounced tendency to crack across the bottom when I've tried to reglaze and glaze fire a second time. It causes me to think that quartz inversion is a cumulative issue that gets more severe through multiple heating/cooling cycles. It this is so, then single firing eliminates one of the cycles and possibly the the issue is much less pronounced than for those who bisque. - This is purely speculation.
3. I know he uses a manufactured porcelain exclusively as his white canvas to get better glaze color saturation, since Iron bearing stonewares tend to muddy glaze colors. If he isn't using a lot of recycled clay, I think he has few worries about carbon burnout.

Steven is often in workshop mode where he throws pots one day, quick dries, and glazes and fires them the next day. Perhaps his methods might not produce the highest possible durability, but the beauty of his work is undeniable.

We have other discussions of firing schedules going such as:

http://cone6pots.ning.com/group/sahillproject/forum/topics/cone-6-f...

http://cone6pots.ning.com/group/fireitonce/forum/topics/firing-cycl... 

Yes, quartz inversion is cumulative; good point. And, using a porcelain does reduce the time needed for burnout. (If his work is thin-walled, this further reduces burnout time.)

Thanks for more info on his process-- I do think his methods are risky--for good/predictable outcome--in the school environment, where so many variables are introduced that are otherwise highly controlled in an individual setting (clay purity, thickness, load size, oxygen atmosphere, kiln element wear/damage). Also, there should be more info going out to students regarding the difference between decorative and functional ware, especially if they plan on selling their work. There is an awful lot of potential liability in the faults that may show themselves at a later date (consider families with children), as well as "false advertising" issues arising from claims around cone (an accurate cone is a vouch for low porosity and impermeability/safety of the glaze)-- I see too many kiln owners confusing pyrometer reading with cone/not using witness cones...which means their claim to "Cone X" is unsupportable.

Yes, students need to learn about quartz inversion and realize that single firing is a technique with its own properties.

My kiln too needs a slower ramping after the 1750f mark. 

But,,,I have learned from the digital fire folks that after hitting the target temp and a 15 min hold, dropping 100 degrees and holding 20 min will vitrify a clay to a much more mature state and smooth out glazes, pinholes and the like, remarkably. This practice has reduced worries about getting that last cone to bend properly.