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Grant Morrell used Colonial Models pods, pipe castings from Darryl Palmer and NZ Finescale signal ladders mounted on an old Lc underframe, to which he added a brass floor and U-channel headstocks, to build this 1:64-scale Be wagon.

Grant sprayed the pods silver and the underframe satin black,

followed by a very thin coat of clear gloss where the decals went. The artwork for these was drawn up in CorelDRAW, then

Grant printed them on an ALPS printer. Once they were applied he sealed everything with an overspray of matt clear and weathered the wagon with chalk pastels and some Rustall.

A quiet night at Graham Dredge's 1:64-scale locomotive

depot. Lighting is switched on and off using an accessory decoder for yard and shed lights, with a Digitrax TF4 function decoder in the car van. Graham built the Ab and Was

locomotives, water tanks, carvan and turntable from kits. He scratchbuilt F.185, the lights, water columns and other details.

The loco shed also features opening and closing doors.

2

NZ Modi-1. Railway Journal N4akch 2012

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^OnXGI^TS March 2012

JEWELS

Graham Dredge captures the

17

OF

DRUMS AND

DECALS

35

night life at his locomotive depot.

Ken Lankshear produces a 1950s-era wagon load for his layout.

4 I GLENKOMISH

1 8 I H E R I TA G E

Ian Watson tells how he built a 1:160-scale reminder of New

Colin Barry shares some fascinating

LIGHTEN

Issue

377

UP

Graham Dredge provides stepby-step instructions for making model cars fit for night driving.

37 NEWS, VIEWS AND REVIEWS

Zealand railways in Scotland.

archive photographs of the Middleton marshalling yard in Christchurch.

7 WOOD SIDING WEATHERING

20 I A LIFETIME OF NZR

Mark Dalrymple shows you how

M O D E L L I N G - PA R T T W O

to make your new buildings look like they've had a hard life.

Les Downey looks back on friends, personalities and manufacturers.

Barry Fitzgerald captured Mt Somers Coal Co foreman Doug Wilson watching over his rolling stock as Heisler No 3 (that's fireman Nippy Forest in the doorway) reversed up to Murphy's stream bridge on the

8 GET MORE FROM YOUR DIGITAL CAMERA - PART THREE Peter Ross provides some practical

2 4 O PA K I O V E R B R I D G E -

Ashburton-Whataroa line, above the

BRIDGE 78A WA1RARAPA LINE

Havelock river in upper Rangitata, during 1969. The scale is 1:64.

examples of model photography.

Drawings of a very characteristic NZ bridge design courtesy of NZ

14 IMPROVED DIODE

Railway & Locomotive Society

MATRIX ROUTE CONTROL Pete Smith describes his method for

photographs from Kevin Crosado.

C O V E R

Archives, with prototype notes and

operating solenoid point motors. http://nzmrg.org.nz/

N / . i ^ A i i . w. w h " ) U K N . \ i M A R C H i o i 2 ^

Glenkomish 2: an impression of New Zealand's railways in 1:160 scale Like a goodly number of Brits, Ian Watson, who lives in Selkirk on the Scottish Border with England, has a sister in New Zealand. Visits here have brought him into contact with some of our trains and inspired him to try and capture the flavour of them and some of our countryside.

Glenlance komistrain h 2set.is te It c ishnot nicaprototypical ly a free

in that it is modcllctl using a mixture of

models in 1:148 and i:i6o scales running on standard N-gauge track (9 mm between the rails).

With the standard gauge in New Zealand being 1067 mm, the gauge in 1:148 should he 7.2 mm or 6.7 mm for 1:160, so the nearest would really be Z gauge at 6.5 mm.

Top: Finished in Fruit Salad scheme, a

pair of Atlas AIco C628s look reasonably like somewhat stretched DCs, while an

English Bo-Bo-Bo electric captures the flavour of an EF at the head of some BR MKII cars in Tranz Scenic paint. (The DC numbering exhibits poetic licence.)

Bottom: With a certain amount of

repainting, and if not studied too closely, a passable impression of familiar New Zealand trains is quite possible using

carefully-chosen off-the-shelf N-gauge models. Here an Ew look-alike leads a traip of containers over a bridge similar to one on the Kapuni Branch, while a tarted-up

preserved steamer Is easing down to a stop so that enthusiasts in the red BR

MKII cars can detrain and form a photo line while it sets back and then makes a

spirited charge over the box girder bridge.

4 N/. MODI-.I RAII.way IOI'RNAI MARC;H 2012

The concept

I built Glcnkomish z to remind me of many

The

A rake of eight Parish BR Mkzs repainted

trains

Rolling stock comprises three 30-year-old Minitrix U36 locos repainted and numbered

in the Tranz Scenic livery resembles a

to look like the DX class. Tliese are supple

into New Zealand and re-wheeled and refur

the coast a lot of the way, which entails

mented by five Atlas CdzSs, which look a bit

bished inside. On the Auckland suburban

many longer bridges and short tunnels, with the main road generally following closely

like the DC class, especially as professionally

lines these have two powered folding doors

repainted and if the viewer is six feet away.

each side.

aspects of NZ railways, especially those in the South Island. There, the railway hugs

alongside.

'Ihe layout thus has three main bridges that run parallel to each other. Nearest the Front is a long concrete affair based on the bridge over the Wairau River near

1 also have a Bo-Bo-Bo that has been

number of ex-BR Mk.zs that were imported

Another rake of five is aLso in Tranz Scenic

altered to represent the Brush EF class elec

livery. Another five-coach set is painted red

tric-overhead locos used in the North Island

to represent a preserved train with a steam

between Hamilton and Palmerston North.

loco on the front. Preservation groups using

Tuamarina on the stretch from Picton to

Blenheim. Its piers should really have been

octagonal but this was beyond my skills using balsa wood.

Ihe central viaduct is a box girder type, as found in many parts of New Zealand, while the innermost one is more akin to the Scottish West Highland line to Mallaig rather than NZ; although I did see one with four arches on the Kapiini Branch near Mount Taranaki.

"Ihe location is a short sea inlet that has become Hllcd-in over time, although at

present the tide is out.

Top: In a view reminiscent of the

Kaikoura coast the Coastal Pacific waits for an opposing container train to clear the route ahead.

Bottom: An electric-hauled Tranz Scenic train crosses the Wairau River Bridge while a DC + DC combination has a green

light to enter the approaching tunnel. http://nzmrg.org.nz/

NZ MoDr.i. R.MI.WAY IOURN.AI March 1012 <,

The layout set up at a UK exhibition.

used on the Tyne Dock to Consett Line in Northumberland.

the main lines are more common in New

Landscaping

Zealand than in Britain.

The land was built-up using polystyrene

and ofFby the trains themselves using Irdot detectors and a diode matrix control system that also operates the points. Having trains stop automatically means one less thing

with two lo-foot containers or sometimes

covered by old tee shirt impregnated with

to remember to do in time. Doctor Who's Tardis is here as usual in the form of two

three motor cars. There are also some 40-foot

Pollyfilla. The whole lot was then painted

work houses, one even with a smoking

bogie goods vans in brown, green and blue.

Tlie trains are all fitted with a , battery powered flashing red light on the rear. This unit is just an LM3909 chip with a lOO-ohm

brown and planted with 300 trees. In other

chimney.

Freight stock is either 50-foot flat wagons

areas flock in different shades was scattered

around, along with ground foam to repre sent bushes.

capacitor and a suitable LED.

To give a variety of stock 1 also use one rake of oil tank wagons from my Dark Canyon 2 layout, plus n coal hoppers as

C o n t r o l

C^ontrol is simple DC. There are nine signals and two level crossings, all switched on

Layout details Length: 3048 mm x 762 mm.

Operating area: add 762 mm at rear.

One-man operation; stand-in required for lunch breaks.

GLENKOMISH 2 heavy tines are bridges & tunnel mouths

' F i d d l e Ya r d S t a r t Backscene

6 N/MODI-I-Railway JotiRNAC. MAIU.U 2012

4 lines each way

Backscene

T Tnless maintained regularly, wooden buildings begin to show their age in various ways. Paint fades and then begins to peel and flake. Putty falls out allowing nails to rust. Wood cracks, warps and sheds splinters in places. Boards shrink, making the joins more prominent.

Modelling these effects pretty much requires a reversal of what happens in nature, where early-on paint and putty

protect the wood from silvering, cracking and other deterioration.

To mimic the effects of sun and rain, models built from new wood, but intended

to look old, have to be stained before any paint goes on. Paint is then applied in ways designed to capture the effect of peeling and flaking, nail holes are created and the wood is distressed in various ways.

Just how severely to weather and distress a model is a matter of personal taste.

Initial weathering

The following can be done in quick succes

sion (always work in a well-ventilated area):

• Smear the bare wood with Floquil Grime,

using vertical strokes of a flat brush.

• Blot off excess, then lightly wipe with horizontal strokes using a paper towel.

• Flow on dirty mineral-based paintbrush

cleaning thinners using very light vertical

strokes with a well-loaded brush. Blot off

any excess and then lightly wipe horizon

tally with a paper towel. The result should

be a wall smeared with blotchy hues of

greys and browns.

• Wash over with Waproo black leather dye thinned with isopropyl alcohol (about

five eyedropper drops of dye per loml of alcohol). Blot dry again with the paper towel.

• After drying, the wood is ready for painting.

Painting

• One of the last places paint normally remains is below the weatherboard laps,

this you will also have to repaint under the laps.

Distressing • Use a fine compass point or needle to

impress vertical lines of nail holes to corre spond with studs in the wall framing at

so use a fine brush to paint under here

scale 450 mm or 600 mm centres, remem

(or in the crevice.s of vertical siding) with

bering that facings usually hide the nails

you are after a random look. (Note that applying the alcohol and dye mix later

erboard has one nail into each stud, about

your chosen colour. Don't be overly fussy;

around windows and doors. Each weath

will affect the colour so you might want

• Use a blade to carve fine vertical lines

to experiment first). If necessary, dab off

where the weatherboards join. These occur at least every six metres and are

any excess paint.

• Use an old sports sock turned inside out (or some terry cloth) to dry-dab the

wall. Apply paint to the sock and then blot most of it off on a paper towel. Dab the wall randomly, trying not to be too uniform; the idea is to achieve a peeled

an inch up from the bottom edge.

always over a stud. Remember to add a nail hole either side of each join.

• Distress the weatherboarding by wiggling a chisel-like blade under some of the

laps to prise bits oft. Leave some of these hanging loo.sc, and remember to repre

paint effect. Refil your sock as neccs.sary.

sent the fact that boards rot quicker

• If desired, apply a second paint colour to

where water gets in-at ends, under

repre.sent a change in colour over the years or a top coat over a primer coat. If doing

broken spouting, near the ground, under

http://nzmrg.org.nz/

windows, etc.

The process from bare new wood (left) to dilapidated old weatherboards

(right) begins with Floquil Grime paint, dirty thinners and diluted leather dye.

These silver the wood, which is then

painted to represent peeling paint.

Next the wood is distressed and has

joins and nail holes added. Finally white highlights and treatment with weathering pastels are added.

Mark used Floquil Caboose Red over Floquil Concrete at the paint stage on this sample piece, a colour combination

that resulted in a good representation of a neglected red oxide NZR goods shed.

Finishing

• Wash over with the dye/alcohol mix to

bring out the nail holes and detail in the distressed boards. Blot oft"any excess with a paper towel.

• Dry-brush vertically with Floquil Reefer White.

• Dust on a final weathering of soft pastel chalks to represent water marks, rust stains, etc.

NZ Modfi- Railway Journal March 2012

Get more from your digital camera Part three: taking great pictures Once handling the camera has become second nature, the step up to taking top quality model and layout photos is not as big as you might think, says Peter Ross.

Its' about often light. saidCertainly that photthe ogralighting phy iscan al

layout from somewhere overhead, usually with a string of lights that each cast their

make or break an otherwise technically good photo. The approach I've settled on is to supply my own lighting. I've yet to

own shadows. Or the layout lighting may be

find a layout whose regular lighting is great For photography. 1 have used the existing lighting to supplement mine, but not often.

Most layout owners don't care to have a large, very bright, light source set up permanently in rhe aisle, so they light the

fluorescent, which calls for a different colour correction from the incandescents that I use.

work lights with folding tripod stands

Iv' e used them for years with such happy

results that I have no yen at all to move further up market. In the early days 1

to go through bulbs very quickly, then at a convention clinic I heard a suggestion to

Fluorescenrs also provide very flat lighting that lacks zing in photos.

You'll probably be relieved to read that 1 get by on very cheap photo lights. In

I pass this advice on with a caveat that there is a possible safety issue to think about

fact they aren't photo lights at all; they're cheap-as-chips single tungsten halogen

own decision.

8 NZ Model Railway Journal Marc;h 2012

remove the safety glass.

from doing that, so be responsible for yoi,,-

Kb.967 rumbles across the Poolburn Viaduct on Bob Allen's former 1:34-

scale layout. A low camera angle and backlighting helped create a low sun effect and emphasise the aesthetic appeal and drama of this wonderfully modelled scene.

shots I start with one 500-watt lamp angled into the scene at about 10 or 11 o'clock and

positioned to one side of the camera. This ensures that locomotive gubbins and other murky details don't all disappear into a

shadowy gloom, and yet still looks realistic.

This one light can often be enough, but the intensity of even a 500-watt light does

begin to fall away a few feet either side of the spot in the middle. If that's becoming noticeable I will bring in a second 500-watt lamp, usually at a different height but other wise close to the first one to avoid double

shadows as far as possible. To light really large areas I have been known to spread the two lights a fair way apart and fill in the weak spots between with a ftirther hand held lamp. Sometimes another 500-watt unit, otherwise just a 150-watt one. Other times I will simply aim the third light at the ceiling to increase the overall light level.

Even with all this light, at the smallest aperture an exposure takes several seconds.

During that time I waft the extra light about, keeping it moving all the time so that any shadows from it are too vague to show and its light softens or washes out the weaker of any other shadows. Despite my denials,

I guess 1 do use key and fill lights after all.

One other thing: I almost always cover

my lights with home-made diffusers. These help soften the shadows and highlights ever so slightly, making the lighting look more realistic. The diffusers I use are just pieces

of fine-weave fibreglass cloth from a model

shop. I believe it's intended for skinning model aircraft. I cut this into oblongs and hemmed them with a sewing machine to

stop any fraying. Fibreglass is of course impervious to heat and this particular stuff being pure white doesn't affect the colour of the light either. I usually use a single layer but the pieces are big enough to be doubledup if necessary.

I do know that halogen bulbs run so hot

the quartz glass envelope is almost on the

point of melting. Its also well known that

the oil from a finger will leave a black spot

that will then lead to the bulb blowing.

little bit hotter and massively shortening Its life. Perhaps improving the ventilation

inside the housing could be just as good as removing the glass?

For longer bulb life we should also avoid

Tliat ail makes sense to me, so I never let even the strayest of digits near a bulb.

bumping halogen lights until they arc stone

In goodness knows how many years, just taking simple care has worked for me. It

generally turn them ofFbetween shots.

seems the safety glass traps heat Inside the

lamp housing, making the bulb run that http;//nrmrg.org.nz/

cold. Tliey push out a lot of heat, too, so I

Tlieres a lot of stuff written about key

lights and fill lights: I'm sure it's all true, but I dont pay much mind to it. For most layout

With portable layouts, natural light can bring certain advantages. For one thing it's

colour perfect and tor another the shadows are all correct. Bright sun can, however, be harsh, and, in the middle of the day, the

angle can be too high to be ideal. On the other hand dull days provide a rather flat,

lifeless light. The ideal is probably before II am or after about 3 pm on a day with sun and some high cloud. On a bright sunny day, open shade out of the direct sun can be very good.

NZ Model Railway louRNAi- March 2012 9

Composing layout photos

When I in actually photographing a layout I m guided more by intuition than conscious

thought. I try to dispose of as many of the technical aspects of camera settings, colour correction and lenses as possible beforehand so that I can just concentrate on how the

photo should look. I'm looking for angles

and scenes that look particularly realistic and/or full of character. I'll also be deciding whether to faithfully present the effect that has already been created, or whether to try and add some extra atmosphere with an unusual angle or lighting effect. It's pretty much es.sential to move the trains into good

poses: just make sure everything is on the rails and looking generally believable. For some reason inexperienced photographers seem to prefer to snap moving trains â&#x20AC;&#x201D; which just makes the job more diff cult. The train is going to be frozen in the photo, so why add split .second timing to the other difficulties?

1 do find it easy to be seduced by the

the diorama shown below it. The low camera angle gives the Wa a realism that totally belies its diminutive real size.

Above: Most of the elements for a layout

general excellence of what I'm looking at

photograph, no matter how big the layout, feature here. A single diffused

a photo, so 1 try to pause last thing before going on to another shot and go through a little review. I try to check for multiple

floodlight Is often sufficient, and a low camera angle usually gives the most realistic results. A light to one side and set at about 10 or 11 o'clock ensures locomotive works and other details

and miss seeing silly things that can spoil

shadows, wheels off, bent or missing

couplers, prominent screw heads and the like. It's at this point, too. that I will look at the histogram. A graph crowded over to

the left with a gap at the right-hand end generally indicates under-exposure, which is l

Top: My 1:64-scale Wa photographed on

O

NZ Modki Kaji.way Jouunai.

March

are not lost in gloom. In this case the locomotive will hide a shadow on the

backscene but such giveaways can be a problem. A hand held floodlight can help here. Wash its light over these areas while the shutter is open.

2012

quite likely if something like a black engine

features prominently.

I'm always con.sciou,s that the camera can be a harsh critic, so try to avoid revealing ffaw,s

no naked eye would ever notice. Carefully placed lighting can help with tliis, as can

different angles, and of course the right lighting can al.so be quite flattering. I don't set out to flatrer modelling hut I do try to present

what's there in its most realistic and capti

vating light. 'Ihe nm.st evocative photos of real railways are not always those taken with absolute clarity under a bright mid-day sun.

I'm quite keen on backlighting, where at Ica.st .some of the light is aimed towards (he camera. Backllgiiting often gives real

Top: Shooting from well above can help minimise the unwanted intrusion of the

world beyond the layout. A low light some way to the left of the camera has caused long shadows from the wagons

on the passing train and appears to bathe John Dudson's beautifully modelled houses in late afternoon sun. Careful consideration of the shadows on the

road betrays the use of two strong lights but they still look believable.

Above: My preferred lighting is scenes atniospliere and adds cniotional interest and drama. Ihls is just as true for models. Ihe photos for the One Trnek article (October 2006 Jourual) were

make the models do the same.

show in somewhat dilUcidt conditions amid an unwanted background clutter ol

of the models. In many of the shots 1 used a higher camera angle than usual to exclude

other layouts. 1 managed to get pleasing

unwanted parts of the train show.

C^ne very atmospheric result (aho\'e)

was at maximum height to avoid sitining http://nzmrg.org.nz/

quality of John's modelling.

When background is not an issue it's worth trying low camera angles. Photos from a scale eye level can look very lealistic, and from lower still can look really dramatic trains dominating real life scenes so try to

mostly taken at the Cdiristchurch train

hv having a light at the hack in addition to the main light at the front. Ihe hack light

there and at the same time revealed the

- as real trains often do. We arc used to

cheap single-head 500-watt DIY work lights. 1 usually fit them with a simple fibreglass cloth diffuser.

direct into the camera while the one at the front wa.s somewhat lower to reveal details

and realistic photos of a lot ol the scenes

created an almost palpable feeling of being

Articles on composition often emphasis the rule of thirds. 1 certainly never follow this consciously though 1 may do unknowingly.

True to mv intuitive approach, 1 just move the camera around until 1 like what 1 see.

Composing illustrations

depicted a late afternoon train casting long

Por photos intended to explain something,

shadows on the road across from some of john Dudson's wonderful houses. This

the basic rule of composition is to present

the subject as big and clear and well lit as

N/. Moni'.l IxMlWAV loi'RNAl MaIU1I1012 II

possible. A phoco to illustrate some point in a how-to article is normally not too difficult.

If the camera has macro ability and the

item is at least as big as a small coin, it should be possible to get in pretty tight without including much background. (Don't be

put ofFby the term 'macro'; it simply means

the ability to create an image on the sensor that is at least the size of the original.) If the camera can't focus that close, a plain

background helps highlight the object itself.

Another way to neutralise any background is by using a large aperture to minimise the

depth of field. Care with pinpoint focusing will then lead the eye to the right bit.

It's nearly always better to light illustra

tions from off to one side, thus creating more

shading to highlight relief. Just take care to avoid losing details in those darker places.

Wagon portraits, work-in-progress shots,

diecast cars and similar things are generally

good subjects for a lighting tent designed

to flood them with soft light and minimise any shadows.

I also have a small diorama that I use

mainly for locomotive portraits but some times also for rolling stock. It has a short length of straight track atop a weedy embankment, and uses large colour photos for a background, so as not to become too familiar to regular readers. The lighting rules are the same as for a layout.

Tlie subjects in photo e,ssays aren't always small of course. One set of my photos that drew a bit of praise was of Tim Marshall's beautifully detailed i:34-scale 30ft guard's van. For this job 1 just let my instincts loose.

Tim was very patient and allowed me hours

working round the model from every angle, moving the camera this way and that and

trying different light positions. I didn't keep

notes because there would have been no point, 1 just recall being driven by the strong desire to document every nuance of this fine model.

Once I spotted something interesting I would seek ways to get the best camera angle on it. I would then bring in some good

strong lighting, take the shot and see what I thought of it. A lot of the time I used only one diffused light, but occasionally I Tim to hold a second one for me.

The model's interior was so beautifully detailed 1 really wanted to show it off. But even in 1:34 scale the guards compartment

is a confined space that proved difficult to

light and poke a camera into at the same time. Im ' sure readers would find it revealing ro see what was left on the cutting room

floor - but that's what successful photog.

raphy has always been about, taking lo^j^

of shots. Now with digital the cost has

dropped to zero! Ifieres no point of coursetaking doz.en.s of the same shot, hut do/ens oFslighfly dirtereni ones can be well worth while. Different camera angle, different light

Top: This scene on Bob Allen's 1:34-scale

layout was physically big - the way it absorbs those big locomotives indicates that - yet the light all came from two 500-watt units on stands with a third one held and wafted about during the exposure. I spent a bit of time with Bob getting the locos

posed and then tried a variety of angles, first to one side and then the other together

with higher and lower camera positions.

This was the result that most pleased me.

Right; One of the most satisfying results of a most enjoyable shoot was this one of the pot belly stove inside the guard's compartment of Tim Marshall's 1:34scale 30ft van. More than anything

else this shot just took perseverance.

Opposite top: This view of Tim Marshall's 30ft guard's van is another example of how shooting from around eye level creates realism. Tim was required to

patiently hold up a piece of card to provide me with a plain background.

Opposite bottom: Brendon Lean's 1:64 DJ during construction, backlit and shot from a low angle to illustrate the

dynamic brake fans inside the nose.

angle, different exposure, etc. Every so often thi.s really pays off.

Ta k e a w a y m e s s a g e s

• Very uncomplicated: • You only need simple straightforward lighting.

• l.et your intuition run wild.

• If it looks good in the viewRnder it will he good - or be able to be made good after fixing a few little ihing.s. http://n2mrg.0rg.nz/

N/ MoDKI R\ll\V.-\V joi RN.Xl Ma!U H2012 m

Improved diode hiatrlx routo cohtrdf Setting a course through tangled poihtwork-llke this.can be as easy as pushing two:buttons two momentary-on switches or push buttons. But in any even mildly compli

Pete Smith

cated crack arrangement, two buttons

At solayout me p n i tn i thetime grotowtreplace h of anthey it o becomes big hand from the sky with some form of remote turnout control. One popular option is to use a twin coil solenoid and

for every turnout soon makes any panel cluttered. It also increases the likelihood

that a sec of points will not be changed, leading to a wrong road, a derailment or

short circuit. Using a diode matrix changes

Figure 1

the focus from setting points to setting the route.

The key to understanding the twobutton approach is to note that each push button only operates the facing points, ie,

those that present a train travelling towards them with a choice of routes. If all the

points are facing, only one button press is required but if some are trailing another will also have to be pressed.

Limitations

Because of the use of capacitor discharge

units (CDUs), this particular approach is only suitable for solenoid-operated turn

outs. Also, the route must be clear of any

other trains, otherwise the points could change under them. Finally, you cannot set a

route that would require any reversing, such as S6 to S9 in Fig 3.

How the logic works In Figure 1 {above), it takes the press of just one button, S3, S4 or S5, to set the correct route through to the chosen siding. The principle is always the same: any given push button only works the points that face trains going towards it.

Figure 2 (below) illustrates the need for a second push button. To set the route S1

- S3 both S1 and S3 must be pressed because there are two turnouts (P2 and P3) that face trains going towards S3 and one {P4) that faces trains going towards SI.

P5

S6

P2^'

Tic other partner in this smart way of doing things is the CDU. It provides a simple way of ensuring that solenoids work re ia y.

It does this by delivering a burst o power much greater than from the sory terminals of a tram cont

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the same time so brief that there i.

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Ihe CDU I have Ughily adapted

many years has hccn BccwnUfrom Pj Ihorne's book / fk-olnnU, k

S4

Pwjecs for Model 1 N

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S5

here is match the capaccy of the CDU . na ux immbu em r n u iomr t o tIh e m

52

14 NZ Mt)i)i;i. Raii-way louKNAi Maiu n zoii

solenoids

connected to each button.

Figure 2

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Pcco solenoids require about iloo-i^oopF

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The example in Figure 3, the schematic diagram for the control panel below, is more complicated and Includes a double and a single slip. With single and double slips the solenoid at one end controls the route at the other.

I N

X

X

X

X

X

X

X

X

X

X

X

X

R P2

N

R P3

N R

P4

M

3 0 C

N R

P5

u

N

3

R

P6 N R P7

N R

.QC O

z

R

X

X

of CDU power, and any auxiliar)' contacts ,

.

can easily double this. To provide enough

470CÂťro 1Waa

power to work four solenoids at once a CDU should be rated about four times that

amount. One problem though - where only a single solenoid is being powered such a

powerful CDU could damage the turnout.

Tliis can easily be overcome by using

several CDUs rated at different capacitances.

These can all use the .same power supply, just Corrnno"

make sure the same AC connection goes to

the same terminal on each unit, or there Top left: the circuit diagram. Top right: the 40mrn x 80mm circuit board template. Below: A schematic diagram of the assembled circuit board, with the gaps in the underside of the copper shown in light grey.

will be a short circuit. Iliere is no need to

wire the common output terminals, as this is already done via the AC input.

Diode matrices can be an easy way not

only to simplily turnout control and ease panel cltirter, but also reduce associated hardware costs. There arc some initial .set-up costs in the CDUs, but overall the compo

nentry is cheap and easy to put together.

Ihose who have not considered this method

before, or have been put oft by perceived

complexity will enjoy ('ollowing the steps outlined next and benefit from the outcome.

Making the CDU

Ihe CDU PC board can easih' be made

from plain PC board using an old hacksaw

blade to cut the gaps. Note that except for the resistor, the orientation of all the other

components shown on the schematic is

critical. Each CDU will have a different http://nzmrg.org.nz/

N/ M(uu-:i. R.mi.way |(Hiun.\i M.\Kt h 1012 is

size electrolytic capacitor or possibly tvvo combined to give the desired output (for Peco 1200-1500 pF per solenoid to be

16 volts

thrown).

Assessing CDU size

Each X in Table i (previous page) shows where a connection is required between a button and a solenoid in Fig 2. The table shows that five buttons (Si, S3, S4, S6 and

S7) require a CDU capable of knocking over two solenoids, while the other two only

require enough power for one .

More than one connection to the same

solenoid (PzR, P4P) means a diode OR

gate is required. In practice all connections should be through diodes otherwise the current will prefer the non-diode route,

possibly preventing a solenoid from oper ating.

Ta b l e 2 s h o w s t h e b u t t o n / s o l e n o i d

connections for Fig 3. From the rows we can see that diode gates are required for six solenoids (PiN, P2N, P3N, P3R, P8N and P8R). And from the columns, that

two buttons (S5 and S6) require low CDU power, four (Si, S2, S3 and S4) require medium power, and four (S7, S8, S9 and Sic) require high power. Compared with

Low

C o m m o n

Medium

High

to

power

p o w e r

power solenoids CDU

CDU

CDU

no diode matrix the number of buttons is reduced from 16 to 10.

Wiring For those not familiar with Boolean

algebra, an OR gate consists of two or more inputs and one output. If one or more inputs are high (have a high voltage applied to them, for example from a CDU, then the output is high. If all inputs are low (oV), then the output is low. Here the

inputs come from the buttons, and the output goes to a particular solenoid. The diode gate allows a button to control several turnouts without unintended effects on

other turnouts. An OR gate can be easily

Figure 5 (left): The input wires (at the bottom of the photograph) feed a pair of diode OR gates, the outputs from which (the top two wires) connect to the appropriate solenoids.

Figure 6 (bottom left): The low, medium and high power CDUs, with the low at the left and the high at the right.

Note the increasing capacitor sizes with the one on the right doubled up to obtain a high enough output.

Top: schematic diagram of the wiring for the parallel CDUs seen in figure

6. NZ Model Railway Guild members can also download a circuit diagram from <http://nzmrg.org.nz/>

made using diodes as in Figure 4. Note that all diodes face the same way.

Parts:

• 16 Vac power supply • 2 X diodes (i amp) per CDU • IX diode (3 amp) per CDU

in •

in

-

• IX 2N3055 power transistor per CDU • IX 470 n IW resistor per CDU

w

•Out

• Electrolytic capacitor(s) rated for 25 V combinations of 1000, 2200, 3300, 4800 uF to suit number of solenoids

• I X 40 X 80 PC board per CDU • Mounting hardware for Figure 4: An OR gate

16 N/. Moinu, Raii.way Journal March 2012

the power transistor

internet for Shell logos 1 pulled down the one introduced in 1955, put it into Paint and removed the yellow centre, then trans

Of drums and decals Ken Lankshear

'"T^'he Shell oil drums in the photo

X are the product of a series of random purchases and events over the last year.

Early in December 2010 after rummaging through a model shop in Sydney I came home with a sheet of blank Microscale decal

film, because I thought that one day 1 might just try to print my own decals.

In mid-December 2010 1 bought a couple of dozen i:64-scale injected-plastic 44-gailon drums from Colonial Models in

black/rusty drums on their second or third

1 added my best guess at wording in rhe

lids (Mobil?) in an issue of New Zealand

closest font 1 could find. 1 sized the various

Railfan. Unfortunately this photo did not have enough definition for me to read the writing on the lids.

Then, in November 2011, 1 picked up a copy of the British magazine, Backtracks the local magazine shop and thumbed through

parts until the proportions looked right. 1 grouped that into a picture, made copies in a range of suitable sizes, test printed them on normal paper and identified the correct size to fit on the top of the drum. I copied and pasted that multiple times across the page and printed it out on the decal sheet using a colour laser printer.

it. Lo and behold, there was a colour shot of

a 2-8-0 in the early sixties, with some Shell

oil drums on their sides, facing the camera. I convinced myself that the magazine should be good reading anyNvay and bought it.

Carterton. 1 gave these a variety of treat ments, including hollowing some out as

Back at the photocopier I enlarged that

incinerators, as storage drums and just plain beat up. As I wanted to create a decent

able to make out most of

wagon load of drums 1 set about researching how oil companies painted and lettered

their drums in the mid-fifties.

The Microscale decal film is rather fine, so

I sealed the completed decals with Microscale Liquid Decal Film and applied them in the usual manner to the lids of my drums.

portion of the photo 300% and was now

■O B

Done!

the writing. But I'd never heard of Talona 945. A quick Google later I now

S

H

E

L

L

TA L O N A O I L 9 4 5

knew that Shell Talona

Do you know how hard it is to find decent colour photos of new oil drums from the

945 is lubricating oil for diesel engines, produced

fifties? 1 had painted a dozen or so drums

from the 19405 or earlier.

in red with yellow lids, thinking that Shell That's good enough for would probably have used those colours in m y 1 9 5 0 s l a y o u t . • ■ The artwork was very ' I' t 1 the mid-fifties, but could not find anything on how they were labelled and lettered. All quickly knocked up in » f t f 1 could find were lots of shots of beaten up Word. After searching the http://nzmrg.org.nz/

ferred it into Word. Above and below this

life and a shot of some red drums with white

T

■?

V

t

f V

T T

T t

NZ Modei Railway Journal Marc:h zoii i-

H E R I TA G E COMPILED BY COLIN BARRY

When the Middleton marshalling yards

To p l e f t : T h e b r i c k s i g n a l c a b i n a n d

opened for business in 1927 they were the first major yards to be constructed-in

associated staff amenities building at the west

Canterbury since the original line in 1863.

The yard is situated on the main line south of Christchurch, cut out of what was previously farm land. A brick signal cabin was provided

tower and loco water vat off to the right.

for the yard, which was built on the 'hump' principle where wagons are free wheeled into

when the yard was rebuild to its present

various sidings to make up trains.

end of the yard, showing the modern lighting Bottom left: Another view of the brick

signal cabin, showing the hump at the west end. This cabin lasted until the late 1990s

pattern. The Main South Line can be seen behind the push-pull trolleys to the left.

. i

I

:I â&#x20AC;˘

IT

sr.'-

i8 N/. Modei Raii.way Joi rnai. March 2012

I

Top right; Taken from the west end, looking east towards Addington, this shows an L wagon running off the hump to a ladder road. This end and layout of the yard lasted

Bottom right: The west end further back from the previous photo, showing newly painted wagons being sorted on the hump.

The wagon V.14 to the right is an interesting

until quite late and, while not used as a hump

example of a failed paint spec, in which CME

in later years, was used to help make up trains.

The shunt loco would drag the rake of wagons

Gilbert Lynde instructed that all box wagons

up to the Matipo Street Samson (heap of shingle) post at the far end and they were then

didn't allow for wagons like V.14 being used

sorted as is being done in the photo.

absorbed sunlight and heated the contents.

b e p a i n t e d r e d o x i d e . U n f o r t u n a t e l y, h e

Middleton

yard

to transport frozen meat; the red oxide just

I t

http://nzmrg.org.nz/

N/ MODhl ll.Ml.W'A^ |{)l'RN.\l M aRI'I! 20\ Z H)

A lifetime of NZR modelling - part two Les Downey

A diversion from my dilemma was

provided by the hysteria surrounding the closure of the Rimutaka Incline in 1955.

Al wtheascurrent going(atwf.that t.i wtime) ith mNZR, odelinuntil g

1 launched into two Fell locomotives and

that I was not a lot better off than when I

three Fell brake vans, which, as they were to be all scratchbuilt, was quite an under taking. A secondhand Fleischmann sidegeared motor, bought from the late Arthur Blucher at the SOS Radio shop, was to power the first of the Fell locos. I had no idea at the time where I might get a second motor. SOS Radio and Martins toy shop were my Auckland hobby stockists.

Someone (1 forget who, but do remember

was modelling GWR because, again, I had

there was more than one claimant) moti

never seen the NZR of the 1910 period and I

v a t e d t h e B r i t i s h fi r m s C C W a n d R a t i o t o

was entirely reliant on information from Bill.

produce kitsets of carriages and wagons for

I started to visit the home of the late Bill

and Olive Stewart where I was fascinated by Bill's recollections of earlier-day NZR. The

1910 period struck a chord with me; I built a Dub.s A locomotive and a four-wheel guard's van and started two F locos, along with some C-class six-wheel and D-class four-wheel

cars. Gradually, though, I began to realise

the NZR market. CCW produced several 56 ft main-trunk steel cars in their tradi tional style of wood construction, which

included a lengthwise slot in the sides for-the glazing material. The wood used needed a lot of grain filling to prepare the surface for painting, the sides were a bit thick and the windows recessed too far,

but they were NZR. If my memory serves me correctly they also produced a 56 ft steel guards van but I can't be sure about this now.

Ratio produced a three-door Z wagon and a 47'/2ft car van. The Z wagon was quite a

good basic model which, with detailing, came up as a presentable model. Tlie car van had dovetailed (I think that's the correct term) corners but, for some unknown

reason, had no planking scribed on the

sides and ends, which was disappointing as

getting parallel, equal-spaced, grooves in the Top: My one and only entry into the national convention competitions was

a prizewinner at the 1974 Hastings NZAMRC convention. It's construction was described In the October 1984 - April 1985 Journals. The body is stripwood and

ply, sheathed with Northeastern Scale

Lumber Co milled siding. The underframe is brass with bogies by Robin Knight.

And, yes, the gouge in the body side was carefully copied from the real thing.

Left; The Bill Stewart influence.

I photographed the prototype after it had ploughed the ballast on the Rimutaka deviation.

20 NZ Mr>i>Ei RAII.WAY jouRNAi MARC H 2012

Top: The 1910 colourful era. My poor little Dubs A loco which suffered a major derailment onto the concrete floor and was written off. The chimney and dome were turned using hand-held files and

a power drill mounted on a bench.

Right; One of the V.64-scale Fell locos started in the hysteria surrounding the closure of the Rimutaka Incline. I have considered finishing it one day.

Bottom: Early Improvisation. My home

grown DE loco bogie using the Philips

shaver gears supplied in the original kit. wood was the most difficult part.

Work and family commitments restricted

modelling for a number of years, but when

I got back into top gear 1 had decided (for good this time) that the NZR of the 1950s decade was definitely for me. I had seen it,

photographed it and lived with it. This was

a good decision, as even now I can vividly recall seeing details that I need to achieve authenticity.

Originally 1 was a lone modeller, which

has its share of advantages and disadvan

tages. I had to work out my own solutions,

Init, conversely, my mistakes were my own. hater, 1 joined the Auckland Model Railway Club and met a lot of modellers with whom

I am still friends. 1 received a lot of help from club members, particularly the late-

lack Boycs and Dick Wils.

I hen appearing on the scene were Sunlander. Railmaster and KMl kits, with

Paul Bernisen building commercialy wlile

Robin Knight catered for scratchbuilders.

1 here were, ol cour.se. others, but these were the mainstays of my modelling world. 1 http;//nzmrg.org.nz/

NZ Moniu. Railway Ioi'Rnai Maiu h 1012 11