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Everything posted by Brassey

  1. The usual reason for removable brake gear is to be able to drop the wheelsets out. Is this the case?
  2. The pull rods usually connect to the chassis somewhere below the cab.
  3. Presumably if the train was stood at a platform the brakes would already be on?
  4. This will depend on how far the wheels are from the frames and the thickness of the wheels. Presumably the wire will go through the holes that would be there for fixed brake gear, so the accuracy here is less critical
  5. Thanks Ian, What ratio do you mix the tan with the yellow? I have found the 69 yellow too thin and runny for lining. And, one more question please, what colour have you used for the GWR cream above? Cheers Peter
  6. That looks like a third in which case the seats would all be the same colour. But in a composite the first would be different to the third class.
  7. My first Slaters all third was from the sides and ends etc. during the period when Mr Coopercraft used to sell these separately at shows. I did not acquire the partitions so had to scratch build these. In the absence of instructions and some parts, I glued the sides to the floor. So I need a removable roof in order to paint the compartments and seating and fit the glazing etc. once I've lined it. I am hoping that an interference fit will hold it on but if not will have to devise something else. If I glue it on, then I won't be able to get inside again. For my next one, I've made the floor removable using the etched bracket in the complete kit. This one is in Lake.
  8. This technique, in Mikkel's video, is handy if you intend to leave the beading brown. However, it is somewhat long-winded if you want to be true to the lining as illustrated by the photos in the OP. The gold lining is actually on the quadrant, not the panel nor the beading. So if the cream creeps onto the beading, it doesn't matter as you are going to line over this anyway. So you might as well paint the whole top side cream. Ian Rathbone in his video demonstrates how to line the quadrant with a ruling pen. However he does this on a flat unassembled side which must be easier than a completed coach. In MRJ 52, Jol Wilkinson uses a rotring pen for the black on the beading on LNWR coaches. This should be plum but the line is so thin it is an optical illusion that achieves the desired effect. I have found recently that to achieve a thin gold line the consistency of paint through a ruling pen is crucial. I originally used Humbrol 69 yellow gloss, as some do, but have found this too thin. Although you can achieve a thin line, the paint spreads. I have thus been experimenting with Humbrol 7 gloss which is also less bright too. The Crimson Lake lining is even more unforgiving as there is no black on the beading in which to help straighten up the gold line. Must keep practicing as mine is far from perfect.
  9. I have two of these 4mm Slaters kits in the paintshop at the moment. One in this livery, and the other in Crimson Lake. I have started the lining on one. (pics to follow) On the first I followed the same construction as here but the Slaters instructions are to fix the roof first before the floor. As I have one in the same state as yours, how do (did) you plan to fit the clerestory roof?
  10. Very good and an almost finished coach too. Are you leaving the gold line off? IMHO this is the most difficult line to apply as it's on the beading. And how did you apply the black?
  11. Craig, It is described as "C30 - Panelled third" on the website with an illustration showing panelling. The lack of the panelling suggests there could be an error with the etch which is not unheard of. But on the other hand, in the "gallery" section of the website, there are pictures of toplights devoid of panelling. Did you buy it recently? Peter
  12. As I previously stated, it reads C30 (just below the large bolections)
  13. Is the paneling achieved by an overlay that's missing? The fret appears to be labelled correctly as C30.
  14. According to a message on Facebook, this is cancelled
  15. The copyright rests with the photographer. Ownership of the original images or any other material does not transfer copyright to the owner unless the photographer has specifically agreed to this.
  16. Very good to have put on such a show under the circumstances. However, having looked at the layouts, I am left wondering whether there must be EM layouts set in periods other than BR? The late 50's early 60's period holds little interest for me. In addition, anything that I was interested in from the stores was out-of-stock. But that's no different to the live northern/autumn shows which were the last I attended. Is this year's autumn show going ahead?
  17. Looks like you have a slight kink in the track at that position. My track is ply with rivets which allows for re-soldering to make adjustments.
  18. In Jol's original article (MRJ 52) he uses ink through the pens not paints. I am trying to acquire the technique but using a ruling pen and Phoenix Precision gloss paint as, I no longer have any Rotring pens and, I also want to have a system that works both on GWR as well as LNWR stock using ruling pens and paint.
  19. Jol, in your article IIRC the ink on the raised beading takes better on the Matt surface. I would doubt that it would adhere as well to gloss. Peter
  20. John In Jol's original article (MRJ 52) he says he used Humbrol "facings yellow". This is Humbrol 169 which is matt. All lining experts I have read advocate using gloss paints. He further states that Brian Badger uses Yellow No. 69 which is gloss. Larry Goddard (ex-Coachmann of this parish) suggests a 50:50 mix of 69 and 7. I have used both 69 and the 50:50 mix but I find the 69 too bright, translucent and runny even when mixed. The result is that even a thin ruled line spreads once on the coach side producing too thick a line. However, today I just spent the past few hours lining with neat Humbrol 7 and this has given the result much closer to what I want to achieve. As these are GWR coaches I will post pics in my thread. Peter
  21. Is that right? Humbrol 27 is Sea Grey? whereas 69 is gloss yellow. Some use Humbrol 7 which is Tan. Precision Paints also do an LNWR coach lining paint. Any opinions as to which is best for lining? As I model the LNWR/GWR joint, I am trying to develop a coach lining technique that is common to both and using the same "gold" would help.
  22. The York mail as previously mentioned was made up of LNWR Post vehicles in 1912 which ran between York and Cardiff. I believe the GWR objected and they were replaced with GW vehicles from 1915. (Edit. according to notes I have, no 864 L10/L11 (from Bettabitz etched brass sides) 40' TPO Van was reallocated to this Cardiff - Crewe Mail Train in 1916. The LNWR vehicles were 6 wheel. I have both LNWR and GWR kits so will apply rule 1 to use both!). In the winter programme of 1911 fish trucks ran between Grimsby and Cardiff
  23. From memory and without consulting my documents, in 1912 there was an LNWR through carriage between Newport and Newcastle that was attached to a variety of local trains. It returned as the only passenger vehicle on the south bound York mail. I will double check this but as it was not timetabled on express passenger trains it may have escaped the published through carriages programmes.
  24. Herewith some more projects nearing completion which go back to the start of this thread. All 3 owe a lot to the Martin Finney Dean Goods kit that contains many spare alternative parts: 2306, furthest from camera, is mainly a Mallard kit with a Comet chassis. Some Finney parts including the earlier cab side profile. 2524 in the middle has a sprung Comet chassis and is mainly Finney alternative parts on a Mallard footplate. Tender is also Finney. 2478 has a High Level chassis and Jidenco tender. The loco is a combination of Mallard, Finney and scratch-built parts. Awaiting to be DCC'd. This might get sound too.
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