Middlepeak

Slowly but surely! Maybe another post towards the end of the week when there's a bit more to photograph. All the best, G

Jay, The four slots relate to the four stop blocks at the top of the down road. Each block has a brass wire pivot that passes through the baseboard in a length of brass tube. The wire is then cranked in a Z shape so that the wire is offset from the centre line of the block pivot. The 'tail' thus formed then runs in the slot, which is shaped to turn a longitudinal movement of the plate into a rotational movement of the blocks. Note that the slots are slightly offset. This is to ensure that the blocks are moved in the right order. The main blocks across the rails were held up by a smaller block to brace them against the weight of the wagon. To start the run, the Hanger On would knock the small block to one side with a sledgehammer, which would allow the larger blocks to be pushed away from the rails by the wagon as it moved under gravity. Hope this makes sense. I think I retrieved the mechanism from Middlepeak when I dismantled the layout. I can dig it out if that would help. Regards, Geraint

Hi Jay, As far as coupling choice is concerned, the most critical area is the abrupt change of gradient at the top of the 'up' line of the incline. I would recommend that you do some trials with various couplings running wagons over that before you go any further. I suspect that most tension lock or knuckle type couplings will have problems there. Dinghams or Sprat & Winkle may be better. On Middlepeak, I was planning to use Alex Jacksons, which on the face of it are the most flexible of all coupling types, but the problem there was actually at the incline foot, where the change of gradient replicated the action of uncoupling the wagons, leaving one of the two in the run stranded at the bottom! Hence my decision to stick with three links. That actually worked very well, as apart from them being functionally very reliable, it also drew attention to the process of attaching the wagons to the incline rope, which the viewing public seemed to appreciate. Regards, Geraint

As the Danish Oil is being applied to the expanses of virgin plywood, a few words about the next stage would be in order. Just about the only downside of using a plywood skeleton is the potential for vibration to be transmitted from locos through the track and the baseboard framework, producing an annoying drumming noise in the worst case scenario. Previously I've tried various options such as foam underlay and camping mat, but never really solved the problem. With an exhibition layout, any such drumming is usually lost in the ambient noise of the venue, but for a home layout that's not going to be the case. This time I'm planning to use a variation on the cork sub-base for trackwork which I've also used on my current p87 project. Apologies to those who have already seen it described on that thread. The idea is to use a thick layer of cork mat, in this case 10mm thick, which is stuck down to the plywood with a rubber based adhesive such as Copydex. The track and ballast are then stuck down to the cork using the same adhesive. The principle is that the glue will only penetrate the immediate surface layer of the cork, leaving a section of 5 or 6mm in the centre unaffected by the glue. The cork's sound insulation qualities are therefore preserved. The other element of the plan is to have the Templot drawing laser etched onto the top surface of the cork, allowing the trackwork to be accurately constructed in situ. The attached photo shows one of the 900x600 sheets after the etching has taken place. The shapes are then cut out with a Stanley knife before they are attached to the boards. I'll be back to explain more once the cork is down on the first couple of boards and track laying has commenced. Geraint

Jay, Looking back to the photo of the track plan laid out on the floor. Is there any reason why you've omitted the siding into the loading dock at Redhill Quarry? I'm not sure how much, if at all, this was used in later years, but the turnout through the gate was certainly still there and there was a rusty old building on the dock which would look great against the backscene. Geraint

Helps to prevent any future warping through application of any water-based glue, plaster, etc. G

Thanks Jay. A shame it will all disappear under track and scenery in due course! G

* Yes it was. 3 layouts in the workshop at Cromford Wharf, plus a gathering of former employees. The only time we had to operate the layout under an umbrella because of the marauding swifts nesting in the roof! Geraint

The design period for Friden took some months, firstly getting to grips with Templot and then transferring the output to my CAD program. As I've mentioned before on my p87 thread, CAD drawing is now such an integral part of my modelling projects that I don't know what I would do without it. I quite enjoy the challenge of working out how to construct something by drawing it out first. It should, and in most cases does, make the construction easier. Aside from the basic track plan, I was able to map out the other key features of the layout, including the position of the road bridge and the basic shapes of all the buildings. All of this was done before any consideration of baseboards and the like. I suppose that it might have been slightly easier to imagine things if I had drawn it in 3D, but that's a whole different ball game for me and not something I can profess to at this stage. Maybe some day? As I said earlier, the layout is designed primarily for home use and has to fit into a somewhat confined space in my workshop. The space isn't rectangular and it's blessed with various bits of extraneous plumbing and pipework on the walls which reveal its previous use as a utility area. I wanted to keep these facilities intact in case we want to sell the house in the future, so the design has to allow for these. Also, I have various workbenches and bookshelves in there, so the main run of baseboards would have to sit on top of these, rather than being supported by conventional legs. Space to move baseboards around during construction is also at a premium, so partly because of their odd shapes, the boards had to be relatively small for easy handling. I was also conscious of the need to position the baseboard joints carefully to avoid difficult track configurations, and the locations of turnout operating units, point motors and uncoupling magnets were also determined at this stage. The first picture below shows the eventual design of baseboard layout - 6 boards in all, with the Middleton fiddle yard at the left hand end removable for normal access to the room. Taking each baseboard in turn, I then began to draw out the parts for laser cutting in 6mm birch ply. The basic carcass is 90mm deep, which allows for installation of Tortoise motors in the future, if I decide to stick with these. Baseboard ends are formed of a double layer of the ply, with the holes for pattern makers dowels being cut in the outer layer. All around there are access holes to allow easy routes for wiring, and in most cases there are diagonal braces to strengthen the structure. When completed however, the final boards are very light and strong. The second picture shows a cutting plan for one of the boards. From this you will see that much of the construction is on a 'tab and slot' basis. The colours used reflect the three stages of cutting on the machine. Blue is the first cut of what I call 'surface marks', essentially a line drawn on the surface of the ply for track centrelines, backscene locations, etc. Red is the second cut to remove sections within the overall shape of each part, principally the lightening holes but also the locations of uncoupling magnets and tiebar mechanisms. Finally comes the green cut, which separates all the main parts from the sheet. It's vital that the cutting is done in this order, otherwise the parts would start to move on the cutting bed before the detail is cut. Assembly of the boards is done with PVA glue and large numbers of squares and clamps. A flat surface is helpful and it's also important to ensure that there's not an overtight fit to the tabs and slots, which might build distortion into the final structure. There's then a final sand down, especially important where you have dimensionally critical joints. For the boards that sit on top of the bookcase, adjustable rubber feet have been fitted to each board for levelling purposes. The first four boards are now virtually complete, and will have a coat of Danish Oil before final installation and the laying of cork and trackwork. That's all for a later post! Hope you found the above informative and helpful.

Al, Just thinking about it again, there is a more radical solution, which I'm hoping to progress for Friden, of making the fiddle yard a scenic cassette, in which case you don't have the problem. All depends how you see that working for exhibitions, I suppose. I won't necessarily have that problem, as the layout is being built primarily for home use. Geraint

Dave, An interesting idea, which would appear to solve most of your problems. I just wondered how this area would be screened from public view at the front. If it's open to the audience there, the problem is simply transferred from one hole in the backscene to another. I'm therefore guessing that the only public view would be through the bridge, in which case this bit of scenery could almost be fully enclosed in a box. You would have to experiment a bit with lighting, and you would need to have an additional mask across the end of the fiddle yard. It really depends on the viewing angle for punters. Your photos seem to be taken from over the layout, rather than behind an imaginary barrier line, which might be confusing me. Anyway, in my view - go for it! Geraint

It seems like a good day to be starting this new thread, not specifically because it's a new project but because today marks the 53rd anniversary of the last rites on the Cromford & High Peak, a day captured by many hundreds of enthusiasts on film. The project to model Friden has been on the drawing board for some time. Having covered the subjects of quarries and working inclines in previous layouts (Rise End Quarry and Middlepeak), and then spent many years pursuing my other interest in Danish railways in p87, I thought it was time to come back to old haunts. The ever growing collection of High Peak photos and research material prompted me to look at other options, this time with a view to constructing a home based layout for my retirement. I've never had a permanent layout at home, so all my modelling activity up to now has been focussed on exhibitions. With the current hiatus in such activity, compounded by the fact that my wife's health renders her as 'extremely vulnerable' and me as the self-isolated carer, I reasoned that now was a good time to start. The initial problem was that the space available in my workshop, about half the size of a conventional garage space, is not particularly conducive to layout design. I wanted something that would allow shunting of trains and if possible more 'main line' stock, but retained the High Peak theme. Various locations were examined and Friden seemed the best option. This was the interchange point between the High Peak and the main line in more recent years, so two trains would be in the yard at the same time. As a bonus there was a lineside industry providing traffic for the railway - the Derbyshire Silica Firebrick Company. Design commenced using Templot in late 2018. Although the layout at Friden was basically long and straight, I could fit something in by creating a long curve and using two sides of the workshop. With the operators on the inside of the curve, the curvature would be less noticeable. All of the elements of the prototype track plan could be fitted in, and to improve the presentation and operation, the fiddle yards at each end would be fully scenic with some form of cassettes to change the trains over. Having sorted out the track plan, the design was then transferred to my CAD package, which allowed the baseboards to be designed for laser cutting. The first three boards, which are small and in strange shapes to allow easy movement within the confined space, are now being built, whilst one or two rolling stock and research elements to the project can continue in parallel. I'll leave much of the detail to later posts as things develop. A word of warning however - this will not be a speedy project in terms of construction and completion. There is no great hurry and a great deal of enjoyment to be had by taking my time and doing things properly. If you can be patient and bear with me, I hope to entertain and inform as the project goes on. In the mean time, attached is the layout plan and a couple of photos of Friden to whet your appetite. Thanks for looking in! Geraint Friden V4.pdf

Al, Agree that the supporting framework needs beefing up a bit. There should be a couple of thousand gallons of water in that tank, so it will weigh quite a lot and will need a substantial structure to keep it upright. Photo attached shows my model on Middlepeak Wharf, which was a copy of one of the tanks at Cromford. One other thing - where's the water supposed to come out? Bear in mind that the tank filler on a J94 is on top of the saddle, so the outlet pipe would have to be higher than that, unless the water is being pumped in. All the best, Geraint

Another few months have slipped by, and what a strange period we are experiencing. Because of my wife's vulnerable status, we have effectively been in lockdown since early March. Ordinarily, one might have expected a ramping up of modelling activity, but with care and social visits severely limited, modelling has had to play a poor second fiddle to head cook and bottle washer duties. The other impact has a potentially much longer term effect. Obbekær's next exhibition outing was due to be in September, but that is looking increasingly unlikely, even if lockdown is eased significantly for others, so thoughts have turned to having something to build and run in the limited space I have in the workshop. I have however made some progress on the wagon fleet for the RGVJ, including the rewheeling of a line of Hobbytrade and Fleischmann vehicles. The more recent offerings from Hobbytrade have bodywork in laser cut wood, such as the Carlsberg beer van and the DSB 4-wheel postal van in the picture. Only about 5 more wagons left to do, which will have to wait until suitable waterslide transfers come back from the printers (whenever they start working again). With that in mind, and in view of the fact that Skibbroen is designed primarily as an exhibition layout and consequently too big to be erected at home, there is likely to be a bit of a pause in activity for a while. Thoughts are turning to a new p4 project, which will take me back to my previous subject of the Cromford & High Peak Railway. But that's a different story, to be told on a separate thread of this forum!

Sorry mate but I think the shed is neither one thing nor another there - too small to have any function and too big against the white background. I'd just stick with the water tank and blend it into the backscene with a few well-placed bushes. Now I'll run and hide! Geraint

Al, Works well, and definitely better side on. Logically the loco would stop there at the yard entrance to fill up before heading back down the line. Two pics attached showing the water tank at Ladmanlow. A more open frame using cast iron pillars. Personally I think the wooden framework suits your location better because it provides a better mask to the fiddle yard exit, and don't forget that because of the damp surroundings, there would be lots of undergrowth inside the structure! Regards, Geraint

It should drop under its own weight, but not be too sloppy. The aim is to avoid any sideways movement at all costs. In my experience, very little adjustment is required to achieve a good fit.

Jay, Good to hear about your new project. Shout if you need any information on Middleton Top. I may have some photos and drawings that could be useful. Regards, Geraint

Martin, One other suggestion here is to use fine grit paper as the basis for this kind of surface. I've used this quite a lot in my p4 and p87 models. It takes paint from an airbrush quite well, allowing subtle variations in colour to be built up, and texture can be enhanced with small patches of dust fixed with dilute PVA. Hopefully the attached photo of the loading bank on my recently completed Danish goods shed will hint at what can be achieved. I love the way your layout is shaping up. Worth experimenting with different techniques in small areas until you get the best effect. Regards, Geraint

Brian, Long ago I gave up trying to guess what might come out of the ZOB workshops next, but that mere statement gave me an idea. Why wouldn't the ZOB repair works be located alongside Quai87, and why wouldn't they have expanded their business to offer refurbishment and maintenance services to all comers, whether standard or narrow gauge? One could imagine all sorts of oddities arriving by ship, by transporter wagon or under their own power - the world's your oyster! I quite understand the need to go back to something that grabs the imagination, and besides, we p87 folk need to stick together! The RGVJ directors will be pleased to see such a renowned engineering establishment staying in business! All the best. Hopefully we can catch up soon. Geraint

Just to follow on from the Christmas Eve post, I've now finished the crossing keeper's hut for the Overdammen level crossing. This is of a fairly standard Danish design, with dimensions taken from photos found on the internet and a drawing prepared in CAD. The basic structure is in plasticard, with etched windows and door. The chimney stack uses my standard method of producing brickwork with strips of .011"x.022" Evergreen strip, with the vertical joints cut with a scalpel. The base was originally cut from scribed 2mm MDF, but I couldn't get the right combination of colours for the cobbles. In the end I hit on the idea of using a Noch pre-printed sheet, which has been scanned in, adjusted to reduce the size of the cobbles to match the prototype street, and then printed onto 250g/m2 grained watercolour paper. This has a delicate rippled surface, which takes the ink well and removes the flatness of what would otherwise look just like a photograph. A small amount of weathering with powders gives further variation to the colour. The fence is made from microstrip and the large edifice to the left is actually the warning gong for the level crossing. Crossing keeper Mouritsen (one of Modelu's excellent products printed at 3.5mm scale) is anxiously looking at his watch. The afternoon mixed from Gram must be running late today! With the hut finished, I can now turn my attention to the rest of the crossing, which will have two booms across the street. At this stage I haven't decided whether this will be a manually operated crossing (in which case the winch mechanism will need to be added to this scene), or whether it will be one of the new fangled (for the late 50s) electronic crossings with flashing lights. Watch this space! Regards, Geraint

I'm having guilty visions of being ostracised from these portals for making only one post this year, so to make up for it, here's a brief Yuletide update from the RGVJ. Progress has been limited of late, with the focus being on developing a plan for additional rolling stock. This is mainly to provide better coverage for Obbekaer on the exhibition circuit, but also for some additional variety at Ribe Skibbroen, as and when that becomes operational. First off is the small 3-axle B&W diesel featured before in these pages. This is a scratchbuilt effort, which has required a considerable amount of research and design work before artwork could be prepared for etching. Even then, some of the parts have had to be redesigned, either for a better fit or a more simple assembly, but that's actually a part of the whole process that gives me a good deal of satisfaction. So, after well over a year of effort, sometimes sporadic and at other times hectic, I'm only just at the stage of having a working chassis. The final loco comprises three sub-assemblies - chassis, footplate and body - which all screw together. All are made from nickel silver. The chassis is sprung, using CSBs from steel wire running through handrail knobs. High Level hornblocks carry the axles and the wheels are from Alan Gibson. A Mashima motor is mounted centrally, driving through North West Short Line UJs to two identical High Level gearboxes on the outer axles. The basic footplate structure has been completed, with buffers and screw couplings. Springs have been fitted to the w-irons, but the axleboxes (white metal castings from Rumney Models) will be fitted after the remainder of the soldering is complete. There's an array of additional fittings and pipework to be attached before then, and I'm only just beginning to come to terms with what it all does! Brake gear will follow later. Anyway, here's a photo of the unit as it stands. Away from the rolling stock, I've completed a small 'ledvogterhytte' for the level crossing over the main street (Overdammen) at Ribe Skibbroen. It's all plasticard, apart from the cobbled paving surface, which is actually a photograph printed onto a textured watercolour paper. You'll also see from the background that the track gang has started to lay sleepers in the station at Ribe Skibbroen. These are laser cut, with two stuck together to give a full thickness sleeper and a small countersunk head brass tubular rivet inserted in the top layer, to which the rail plates and rails will be soldered. That simple description doesn't do justice to the boring job of putting them all together! Anyway, that's it for now. Hopefully more updates in the New Year, but in the mean time from all the Directors and staff at the RGVJ, a resounding GOD JUL to everybody! Regards, Geraint

God Jul Mikkel! Best wishes, Geraint

David, Many thanks for your kind words. It was a real pleasure to do this show, not only from the point of view of the organisation (which was excellent), but also for the rapport with the many interested visitors on the other side of the barrier. All too often there appears to be very little interaction with the paying public, which in my case I have often put down to the possibility that they don't know what they're looking at, but on this occasion it was exactly the opposite, which made the whole experience all the more enjoyable. I know that many of the exhibitors I talked to felt the same. Judging from the favourable comments that have appeared on the Scalefour Society Forum, it seems that a number of modellers at the finescale end of the spectrum now have marked this down as one of the key one-day shows in the calendar, which speaks volumes for the quality of the event. I have the luxury of family to stay with in Hampshire, so next year's date is already in the diary for a visit as a paying customer! All the best, Geraint

Michael, May I recommend Giles' article in the latest MRJ on layout presentation? All the answers in there, and a thoroughly entertaining read to boot! Well done Giles, and apologies for the interruption! Geraint