Properties of solders

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: Gary, You're like a lot of old Pros...hopelessly old fashioned when it comes to solder. I'm copy-pasting here the properties of solder as outlined in the Inland "how-to solder like a Pro" online tutorial. I perceive a few inaccuracies in your rebuttal. : ======================================= : 60/40 Solder: Composed of 60% tin and 40% lead, this solder melts at 374oF, but doesn't become completely solid until it cools to 361oF. This means it has a "pasty range" or "working range" of 13 degrees. This solder is your best choice for copper foil work. The liquid temperature and narrow "pasty range" make it easy to form and maintain consistent high, rounded, beaded seams. Because of its relatively low melting point, "60/40" solder is easy to rework to maintain a smooth finish solder bead. : : 50/50 Solder: This is composed of 50% tin and 50% lead. It is liquid at 421oF, solid at 361oF and has a pasty range of 60 degrees. This solder will produce a much "flatter" bead than 60/40. Because of its higher melting point, 50/50 solder is often used on the back (or inside) of a stained glass project to protect against "melt through" when soldering the front. Because it spreads and flattens out, 50/50 solder is often used when soldering lead came joints. : : 63/37 Solder: This solder is 63% tin and 37% lead. It becomes liquid at 361oF, and solid at 361oF, with a pasty or working range of 0 degrees. This solder is called a eutectic alloy which means at 361oF, you can go instantly from solid to liquid to solid just by applying or removing the heat source. You will often find "63/37" solder referred to as decorative or quick set solder. It is primarily used to create dimensional effects in the solder itself and can be "pulled" and manipulated to produce a variety of textures and designs. 63/37 solder also makes an excellent solder to bead up the outside rim of copper foiled pieces. : ======================================== : GD--: First<<<<The more lead present, the higher the melting point.>>>>> Only till you reach 63/37. As you add tin past this point the melting point goes up again. It's just that nobody uses higher tin solders for stained glass, (or much of anything else that I can think of), so your answer is true if limited to stained glass solders. : Angel--My answer was specifically aimed at Stained Glass solders. You can see in the 3 paragraphs above that 50/50 melts at 421 degrees...has a longer "pasty range" produces a flatter bead because of this...IS good for places where you want to prevent melt-through. Melting point is just that...it's NOT the same as pasty range, We consider both when deciding whether we want flat seams or rounded ones. Your statement that 50/50 melts at the same temp as 60/40 and 63/37 is simply wrong. : GD--: Because of both this pasty range and the fact that the metal is a bit more viscous (thicker) when fully melted than higher tin stained glass solders it is much easier to work with for many applications which include soldering seams in lamps without run-through, building a bead on the edge of a suncatcher, soldering seams on came projects without seeing the space between the cames, etc. : Angel--semi-accurate. 50/50 melts...stays liquid, spreads out flat. If you solder OVER it to get a raised bead with 60/40 that melts at a lower temp, the underlying 50/50 won't melt through. Good for some applications but it stinks for routine seams and beading, because most SG artists value the rounded, raised seams that you can't get with 50/50. If you edge bead with 50/50 it will run off before it solidifies producing a "tinning" effect instead of a "BEADING" and a whole lot of frustration. 63/37 melts at the lowest temp....has NO pasty range, heats and cools at the touch of the Iron and produces the highest bead...on panels or edges. This is also why it's used for decorative soldering. Because of it's moderate pasty range, 60/40 is the easiest to work with on most stained glass. 50/50 produces the dullest solder lines that take the poorest patina. 60/40 is better and 63/37 is the brightest...all properties of lead that's so high in the 50/50. True of ANY brand sold. : GD-- As for the "flat bead", what are you talking about? If you don't use enough solder you'll have a flat bead, if you use enough metal it simply can't be flat. Something to with "the conservation of matter". The metal can't just go away. : Angel--hahaha....now, you're getting irritated. Never let that show in a debate my friend. You want a raised bead with 50/50, maybe a VERY experienced Pro can get it with one-pass soldering...without it running off and making a mess...but anybody else will need to let it cool and re-pass until the right effect is achieved. This is a problem for newer people because it increases the chances of messing up a seam or cracking glass if it's not alloweed to cool completely between passes. We AIM for one pass soldering. Touch-ups (though everybody does a few) are the product of poor initial soldering. They are actually easier with a solder that melts at a lower temp than 50/50 and whether you can do them effectively is a product of technique, not solder composition. : GD--: I'd probably rate the solder and flux equal in importance with the iron (and temperature control) coming in second. : Angel--I agree that Temp control is important, but WE use the Hakko 456. Some people use the Weller 100 that shouldn't be put on a controller and a LOT of the pros don't like them (fools) and advocate soldering with full heat, no control. So, for the sake of this litle diatribe, I didn't include one. : GD-- Finally, the big difference in everyday soldering between 50/50 and 60/40 solder is in the ability to do touch up work. Either one will give you a few imperfections in your line, no matter how good you are. 50/50 is very easy to do touch ups on. Just stick your iron into the flawed area, let it melt, then a shorter dab to melt solder just left, then just right of the affected area and the line is patched. Attempting to do patch ups with 60/40 is frustrating at best. Every touch-up seems to spawn a new problem just adjacent to the patched area. You can spend the rest of the day just chasing the flaw around your panel. : Angel--Gary, you really need to practice your 60/40 usage. This entire statement is totally reverse to what really happens in use. I reiterate that touch-up are a factor of technique, not solder. I WILL add that you'll be doing a LOT more touch-up with 50/50 because of it's inherent nature. Maybe because you use it almost exclusively, you're used to the drawbacks. It takes fresh experience to sort out whether the Emperor is really wearing any clothes. Most of the people who do a LOT of Lead came work have stopped using 50/50 because it's not necessary. I like it for came joints, but I do more foil than came so I won't get into that aspect. It's going to be a moot point eventually because 50/50 solder is the first thing on the endangered list for those idiots who are trying to ban lead in solder. Some suppliers (like WC) are in states where it's already banned and they can't sell or shop it. : Well, this has been fun. Nobody learns much from simplistic replies or lack of opposing opinions. People on here don't realize how peaceful the board is. Nobody seems to enjoy debate. I'll do it anytime if it adds to MY knowledge or somebody else's....and it shows how diverse the opinions and practices are in the Stained Glass field. There's really no ONE right way to do anything. Whatever works is fine...but to discover that one way for YOU, a little infomation is good.

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