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Fixed final > Sweep 1 > Flashcards

Sweep 1 Flashcards

1
Q

Facebow needed for multiple restorations because

A

you need to have the original arc of rotation in order to properly make occlusion in multiple restorations.

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2
Q

Internal space

Uniform space of

A

25 μ to 35 μ for the luting agent

Cement spreads evenly
• Reduced marginal gap width

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3
Q

Most accurate way to adjust

proximal contact with

A

shim stock

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4
Q

Metal proximal contact adjustment

DO NOT USE

A

COARSE DIMOND BURS since they leave a rough finish that is hard to polish.

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5
Q

Check

2. Marginal Integrity

A

§ Disclosing wax
§ Rouge in turpentine
§ Powdered spray (Occlude)
§ Water soluble marking agents (Liqua-Mark) § Elastomeric detection pastes

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6
Q

Use a small bur (1⁄2 round or 330) to

A

adjust the internal surface

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7
Q
  1. Stability
    The restoration should not rock or rotate when force is applied.

Causes:

A

Nodules, distortion during impression making or distortion of a poured cast. In FPD: Parallelism between abutments, Undercuts, Pontic.

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8
Q

Occlusion adjustment

Use for porcelain the

A

porcelain adjustment kit and for Metal, carbide finishing burs, white or green stones

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9
Q

Metal crown occlusal surfaces are best finished with a

A

carbide finishing burs and white or green small stones.

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10
Q

A small football shape bur helps

A

enhance and maintain the anatomy of grooves and triangular

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11
Q

The gold polishing kit contains

A

Coarse Brown points and discs, dark green Medium and lighter green Fine points and discs

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12
Q

FINISHING AND POLISHING METAL

A

Start with a Moore’s fine white sand paper disc to remove imperfections on the axial walls and continue with abrasive silicone wheels

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13
Q

Contouring Porcelain Armamentarium:

A
  • Flexible diamond disk
  • Porcelain grinding wheel • Diamonds
  • Porcelain adjustment Kit abrasive wheels and points.
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14
Q

Today gold solders are given a fineness designation to indicate the

A

proportion of pure gold contained in 1000 parts.

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15
Q

Group I

A

Traditional gold containing solder

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16
Q

Group II

A

Special solders which have the

brand name with a pre or post designation.

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17
Q

Don’t use a coarse or reg diamond bur for proximal contacts, because

A

If you use in high speed, and grind any ceramic, you can cause microcracks in porcelain/zirconia. Feldspathic procelain may correct if put back in oven.

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18
Q

Pre-ceramic solders

Are high fusing alloys that slightly

A

melt beneath the softening point of the parent alloy to be joined.
This solders ideally should flow well above the fusion range of the subsequent applied porcelain

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19
Q

Porcelain fuses about

A

1800o F

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20
Q

Steps in seating a crown:

A
  1. Proximal contact
  2. Mariginal integrity (intaglio)
  3. Stability
  4. Occlusion
  5. Contouring (contacts, embrasures, pontic)
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21
Q

Shimstock tells you exactly how

A

a contact will be. Floss will give you contact, but it is an acquired feel. Tightness is the thing to learn here.

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22
Q

Shimstock -

A

slide in between teeth and pull. IF you push and it holds shimstock, it is too tight. If you push and it drags, you’re good. If you push and it pulls through, check again with floss.

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23
Q

PRE-CERAMIC SOLDERING

DISADVANTAGES:

A
  • Difficult (narrow melting range) • Volatilization of base metal (overheating)
  • Microporosity or pitting
  • Not good bond with porcelain • Color
  • Corrosion
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24
Q

Post-ceramic solders

Are low fusing alloys that

A

melt bellow the pyroplastic range of the porcelain

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25
Q

Post ceramic soldering:

Less chance of

A

sag or deformation of the framework

26
Q

Post ceramic soldering:

• Slightlyweaker andmorebrittle

A

solder joint since framework can’t be quenched

27
Q

Post ceramic soldering:

• Large gap space for solder =

A

decreases

strength, higher porosity, higher meniscus, more difficult to solder

28
Q

Post ceramic soldering:

• Small gap space for solder =

A

incomplete

joint

29
Q

Note: Excessive soldering gap space will cause

A

undersized mesiodistal FDP widths

30
Q

• TORCH SOLDERING

Use for

A

pre-ceramic soldering mc FDP soldering full gold FDP’s

Difficult for post-ceramic soldering

31
Q

• OVEN SOLDERING

Use for

A

pre and post-ceramic soldering

Can use vacuum Visualization is more difficult

32
Q

• INFRARED SOLDERING

Can be used for

A

low-fusing connectors and pre-ceramic soldered joints

Uses special unit with an infrared light

33
Q

LASER WELDING

• Uses laser energy to

A

joint two pieces of metal

34
Q

LASER WELDING• Used in dentistry since

A

1970

35
Q

LASER WELDING• Used for welding

A

FDP’s, RDP’s

components

36
Q

LASER WELDING
• ——– equipment
• Higher ——- and reduced
——— than soldering

A

Expensive

strength

corrosion

37
Q

ANTIFLUX

Used to

A

limit the spreading of solder

38
Q

Antiflux Is placed in areas of the

A

casting before the flux to prevent the flow of molten solder.

39
Q

Graphite or iron oxide (rouge) with turpentine as a solvent are often used as

A

antiflux

40
Q

SOLDERING FLUX

A

A substance applied to the metal surface to be soldered to remove oxides or prevent their formation.

41
Q 
FLux
Borax Glass (Na2B4O7) used with
A

Au alloys.

Other fluxes available for non Au alloys are available, some of their formulas are not published.

42
Q

SOLDERING INVESTMENTS

A

Are similar to regular casting investments. • Contain fused quartz (lowest expanding
form of silica) as a refractory component.

43
Q

POST-CERAMIC SOLDERING HEATING SCHEDULE

A
  1. Burn-out Duralay in burnout oven 15-20 minutes at 300 oF
  2. Place in porcelain oven at 1200 oF and allow all carbon residue to be eliminated.
  3. Coat piece of solder with small amount of flux (do not allow the flux to contact porcelain).
  4. After a few minutes (3 min) raise temperature to 1620 oF and watch through the furnace door until solder melts.
  5. Remove immediately and lower furnace temperature and evaluate solder joint.
44
Q

650 fine gold use dfor

A

ceramics

45
Q

Ideal gap for solder should be

A

GAP .25 mm

The bigger the gap, the more distortion - solder shrinks as it cools.

46
Q

Metamerism

A

colors changing in different conditions (between two objects

47
Q

CHROMA (saturation) Adjustment:

A

Yellow increases chroma on yellow shade Orange has same effect on yellow-red shade

48
Q

HUE (color) Adjustment:

A

Pink-purple moves yellow toward yellow-red Yellow decreases the red of a yellow-red shade.

49
Q

A restoration with a high ———- is difficult to modify

A

CHROMA

50
Q

§ Using a complementary color of the shade reduces its

A

CHROMA
yellow requires violet
Blue requires green

51
Q

§ Adding stains lowers the

A

VALUE (dark or

light) of the restoration and increases the metameric effect.

52
Q

VALUE adjustment:

Attempting to increase value is difficult, but can be increased if the

A

dominant color added has a higher lightness ranking.

53
Q

white stain can be used but will

A

increase opacity

54
Q

A:

A

red brown

55
Q

B

A

red yellow

56
Q

C

A

grey

57
Q

D

A

red-grey

58
Q

§ No vacuum when

A

glazing mcc retorations

59
Q

§ Polished porcelain is no more abrasive

than

A

glazed porcelain

60
Q

Canines tend to be a bit

A

darker in shade

61
Q

Emergence profile of margin better for

A

metal margin porcelain crowns. Otherwise, this will be overcontoured

Fixed final (3 decks)

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