Mick Bonwick

I had decided some time ago, during the early planning stages, that electrical continuity and reliability would be an absolute necessity on this layout. I had, on too many occasions, been through many iterations of install, test, fail, re-install, test, alter, curse and was determined to put a stop to that. All pointwork would be live frog and every piece of rail would have a dropper that connected to a screw connector (choc-block) under the baseboard. The idea was that when it came to wiring up there would be the ability to connect any piece of rail to any power supply that might eventually be present. Although I had a DCC system to use, I was still considering the ability to switch between analogue and digital control to avoid having to convert every locomotive before being able to use it on the layout. I also had it in mind that it would be nice to be able to change points from a DCC handset, a mimic panel and a computer screen, whichever I fancied at any particular time. The plan involved 50 or so points. That's not beyond the bounds of possibility, is it? All points, Peco electrofrog code 75, would be modified to remove the dependence on blade-to-stockrail contact to conduct electricity, and would have power to the common crossing switched by the point motor. I set about the task of modifying all the fiddle yard points with a certain degree of gusto. At this point in time (no pun intended, honest) I hadn't quite mastered the art of close-up photography. I'm not claiming to have done that even now, 7 years later, but I think I'm getting better. The laying of the trackwork in the fiddle yard was quite straightforward, if not quick. Once I had worked out how to join and fix two points next to each other without upsetting the geometry of the rest of the yard, everything went quite smoothly. I was pinning track straight onto the Sundeala and that allowed a little bit of adjustment as things progressed, without the hassle of ungluing things and breaking them in the process. Things would be different on the scenic area.

Thank you, Colin. Work continues on the layout, especially now that there are few other distractions. I have been tracklaying, point motor installing and wiring up things to the extent that yesterday saw a Class 24 testing everything from the fiddle yard through to Park Quarry sidings. But that's getting ahead of the story. We need to go back to the photographs on the previous page . . . . . . .

That's funny, she never mentioned you.

Wouldn't that be classed as a 96xx?

What you need is automatic drawers.

Marvellous! When it's explained step-by-step like what you has done, it all makes sense. I have seen many diagrams depicting diode matrices, but never what they look like when completed, until now. When I'm stuck for what to do next I often look in this topic for inspiration, and it never fails to motivate me. If you can make decisions about what to do next, in the face of all that there is to do, then how can I justify just sitting here and procrastinating?

OK. Next idea - is your paint too thick, thus not passing freely through every aperture? If water works OK then it's probably not an airbrush fault. When the 'crazy paint spray' happens (all over everything) is the ventilation hole in the bottle lid completely clear, i.e. not restricted in any way by dried paint? Try all the tests using the same bottle (the Iwata one). Start with plain water, then move to airbrush cleaner and finally to plain thinners. If all those work OK, then start with a mixture of five drops of thinners to one drop of paint, then five drops of thinners to two drops of paint and so on . . . . . . .

Ah! Could this be the reason the paint doesn't fall back into the bottle in normal use? Does the same thing happen if you use plain water?

If you don't look out there'll be another one along B4 ewe know it.

Yes, you must!

Using a glass jar or a tin (not anything plastic) place cellulose thinners to a depth which will allow you to soak the rear end of the airbrush, up to but not beyond, the rearward end of the air valve. That means the upper end (in your photograph) of the oblong hole in the top of the body, where the trigger goes. From what you have now described I expect that some enamel paint has well and truly locked the thread of the spring guide to the main body. Cellulose thinners will eventually loosen that. Do it outside the house!

All airbrushes, top feed, side feed and bottom feed, will have fluid in the body between the paint receptacle and the nozzle when you stop spraying. With top feed and side feed that fluid stays where it is until you spray it out, but with bottom feed it does what fluids do - take the path of least resistance to do what gravity tells it to do. The best way of dealing with this is to continue spraying (onto a paper towel or similar), while removing the bottle, until all of the fluid in the body has been expelled. You may have a seal that is not airtight at the front of the airbrush that is contributing to your problem, so I suggsest that you ensure that all components are tightened fully, but not overtightened.

If you can see traces of paint on the inner parts of the trigger (lever) you have a problem, but it's not insurmountable. The safest fluid to use, as suggested by michl080, is isopropyl alocohol (isopropyanol) but if you don't already have any it will be extremely difficult to find at the moment. You could also try an acrylic foaming cleaner, but I guess if you have some you'll already have tried that. If you are in the habit of using cellulose thinners then you may have already damaged the o-ring that protects the rear half of the body from paint ingress. I think (although I'm not absolutely sure) that the Neo range does not have ptfe o-rings, and I am quite happy to be corrected by somebody who has the technical knowledge. Prolonged immersion in hot water will loosen an acrylic paint from the internals, but be prepared to spend some time at it. Avoid using pliers on the body if you can. Neo user manual attached. NEO IM-Long_REV3.pdf

In this case I have to agree with Bogie, even though he's a lawyer. The backscene is less obvious in colour than it is in monochrome. It's still a good model, though!

Pity you can't nip into MacDonalds for a quick coffee while you're waiting.

Interesting to see the difference in contrast between the two B&W versions. The camera does a pretty good job, doesn't it? I really must get mine to do more than just take snapshots! Once travel restrictions are lifted I must come for some lessons. :-)

That's good enough for me.

I like that idea! Haven't seen or heard that approach before, but that's not saying much, really, I suppose. Must get down to doing some ballasting soon, but only once the track is down and fully tested . . . . . .

Your first two resaons would only be apparent to you and my eyes were drawn to the ruined shed. That, for me, was the main focus of the scene and so it worked fine. I completely understand the concept of scrapping photographs in this digital age, although mine still seem to hang around for ages years. A sort of, "might be able to do something with it one day", approach.

Please excuse my photographic ignorance, but what is wrong with that? All I can see that could be improved is the repositioning of the coach so that the driver's windows can be seen.

I expect you do.

After decades of 'helicopter' views (apologies to Sopwith pilots) it is refreshing to see photographs taken from realistic heights. Since photographic technology has permitted such shots to be achieved (relatively) easily, the realism portrayed has increased dramatically. My choice, therefore is the first of your latest two, Kevin, and thank you for continuing to entertain us.

Wiring up a few point motors and putting off the moment when I have to start crawling underneath the boards to install them.

Greenery. There is a goodly amount of the green stuff in your model, so I think we would all benefit from seeing fresh green (request) shoots.

Speed weathering. I like it!