Harlequin

This seems like a general modelling question, not relating to layout or track design. Maybe better in the "Modelling questions, Help and Tips" forum.

This seems like a Layout design topic. Maybe better in that forum.

I think Peco’s N gauge IRJs work with Code 75 bullhead rail - but not an exact fit, obviously.

You would need to do a bit of cutting: The angles are roughly 27.5 and 28.75 - the tangent between the R2 curves is at roughly 40 degrees from horizontal. On DCC the simplest solution is probably to just isolate the flexitrack section and feed it through an auto-reverser. But isolating and auto-reversing almost any section of the centre track would do.

Is the top level 9mm or 12mm MDF? Is it supported anywhere other than the edges?

That is wonderful! I'm glad you are back in full colour mode. I think your colour sense is one of your greatest skills, and where LM pulls ahead of many other well-known and much admired models.

The track will usually curve before running parallel with the edge and if there’s a wall or backscene against the edge then the you should consider the outswing of your longest vehicles. 2” should be safe but you could get closer if you need to by using large radii and/or transition curves.

I have joined the SRS so I now have access to various sectional appendices. (I am extracting and transcribing small sections of huge documents below for the common use so I hope that's OK.) Looking at the May 1920 appendix for Section 3 (Reading, Chippenham, Westbury, Taunton and Weymouth) there is no common standard and each station or junction has it's own codes which are all listed individually. For instance, these are the "Engine Whistles" for Patney and Chirton: Main 1 Branch to Main and vice versa 2 Main to Bay and vice versa 3 long Branch to Bay and vice versa 3 and 1 crow Dead End to Loop 1 crow There's no pre-amble explaining the numbers so I assume that the unqualified 1, 2 and 3 mean short blasts. (At Newbury one move requires 7 short blasts!) Conversely, the July 1923 appendix for Exeter District section has a "Standard Whistle Code", which applies across the whole area. In this appendix unqualified numbers seem to refer to long blasts: Main Line 1 Relief Lines 2 To and From Platform Loops 2 Branch lines 3 Goods lines 4 Bay Lines 2 short To Engine Sheds 4 short Yards, to and from 1 crow Crossover Road, Main Line 1 crow, 1 whistle Crossover Road, Relief Line 1 crow, 2 whistles In Siding clear of Running lines 3 short sharp whistles For Crossing operations, Whistles should be used made up of a combination of the Whistle for the road upon which the Driver is standing and the road to which he wishes to be transferred, as for example:- Main Line to Relief Line 1 pause 2 Relief Line to Main line 2 pause 1 There's also a small list of supplemental codes for specific stations in this appendix. But, what is a "crow"? Is that perhaps where two tones come into use??? Edit: A Google search reveals that this topic has been discussed many times before, often with Mike’s input of course. A “crow” is probably a “cock crow” - i.e. cock-a-doodle-doo. And it seems the codes evolved and converged over time. But the purpose of two whistle tones is still unclear.

You could install DCC Concepts Powerbase and run the layout while it's suspended upside down on the ceiling - a great use of space that has hitherto been ignored by modellers.

You're surprised? You did see it the first time, right?

Good point. The scale doesn't seem to be given for the drawing of that particular building but if we assume it's the same as drawings in Volume 1 then I reckon it's reproduced at 1:76. pretty much...? That would make the shed footprint ~21ft 9in wide. If we knew just one major dimension of the actual building everything would fall into place.

The suggestion, way back at the start of this thread, was that if they can make imaginary CGI aliens, why not correct CGI trains???

Hi DevonCottage, You need to obtain a copy of “Great Western Branch Line Termini” by Paul Karau - either Volume 2 or the combined edition. You should be able to find one secondhand online. Various photos and 3 line drawings.

The art of printing... Here is print number 2. (I won't show you print number 1...) The spectacle plate and ladder were much better in print #1 but both prints are covered in unwanted gloopy gunky bits. This may be caused by the very fine parts that have become disconnected during printing. Amazingly both prints have successfully reproduced the very fine upright rods (5/8th inch in real life) which support the top platform's guard rail. I need to experiment further.

Hi Colin, If you change the through station to a terminus, and the double track to single, then the track work will have to change significantly to make sense. The infrastructure will probably have to change too: no need for a footbridge, probably no need for two platforms, no nearby over bridge or level crossing, revised signalling, etc. So you have to ask, how much of Gorleston will be left? If the idea is to capture the feel of the place in a fictional station, then fair enough.

Lovely stuff! The second picture is very Trumpton-esque (not sure why). And that is, of course, a compliment!

It depends what you intend to use Templot for... Remember it's not a general layout planning tool and if that was the intended purpose then a solution might be to use different software. Specifically, RailModeller Express/Pro on the Mac.

Hi Kevin, It looks like Affinity is combining the colour channels to make grey levels in a different way than your camera does. You can, of course, control that in excruciating detail in the Affinity program but one of the simplest ways is the "Curves" function. It will show you a straight diagonal line across a histogram when you first click it and if you drag that line gently upwards in the middle you should see something closer to the camera's version. Grandmother? Eggs?

You probably also need a Home signal with a directing bracket to route traffic into the main platform and the bay respectively. And ground discs in various places. All subject to approval by the Stationmaster, of course. (The Dapol signals are a bit chunky and not very detailed, by the way.)

I think you've got the platform length and curve exactly right! It was designed to allow a 4-6-0 to stand alongside the platform with 6 coaches behind it, all inside the run round loop without fouling the points ahead so that other traffic can get past. The water crane would be positioned on the platform just alongside where the tender would stand. If you went with that 6-coach restriction, then a beautiful double-bracket signal could stand on the platform just before (or maybe on) the ramp, providing the starters for both platforms. You could plant a non-operational Ratio signal (or scratch built or 3D printed signal if my idea works) until such time as Dapol produce one...?

Everybody sees different things and it's fascinating that you focused on that part of the picture, Mick. I didn't see that until you mentioned it. The original image is really two photos in one and we can see what you saw by cropping out the left side, which is then a nicer composition:

Hi Ralf, You need to plot the curves coming out of the turnouts because they will throw the track much further off the centre lines than you imagine. Along the quayside you might need to use straight points - unless you’re going to curve the quay.

Hi Jamie, What will you do with the space in the top left corner? It’s hidden by the station buildings and taking up valuable baseboard area while not doing much... You need to think about the fiddle yard at the same time as the scenic part of the layout because each one will affect the other. It’s nice to see trains articulate a bit as they enter and leave the scene and dead straight track doesn’t help with that. Everyone is always crying out for space so if you have a choice of scales maybe choose the smaller scale to get more space, effectively, unless you have a really strong reason to use the larger scale.

Shallower angles with 51mm track centres means longer parts. Reducing the track centres, keeps the lengths under control and, of course, is more prototypically correct and sits better with the Bullhead drive towards authentic looking UK format trackwork. It's much easier to add a straight section (or a curved section) to achieve 51mm spacing than it is to cut parts down to achieve 45mm. Cutting marks for use with the suggested 9:12 adaptors are described in the PDF above.