Fiat Lux - Illuminating Monk Subdivision

I simply hate working in a dark room on an artistic project and it's why installing the correct lighting right at the beginning it one of my top priority, well before laying tracks. It seems to me that getting the correct lighting is an invitation to work on the layout and make progress.

Who wants to work in a dark corner?

However, adding lighting to a layout can be a very frustrating exercise and Internet is full of stories about this peculiar aspect of our hobby which is harder to control than we could think of. Finding the right amount of light, the correct color temperature, longevity and a reasonable price point are sometimes mutually exclusive or hard to get in one package. No wonder many use off the shelf solutions like LED "fluorescent" tubes, LED fixtures and many older systems that have been tried and tested for years. LED strips may be interesting, but choosing the right ones is sometimes quite difficult. A lot of stuff is on the market from reliable to unreliable sellers. I did several tests with under cabinet fixtures and wasn't impressed. The output was good and some had selectable color temperature, but the CRI (Color Rendition Index) was generally poor, making the old CN green paint looking drab...

With only one strip of Neutral White LED

For this reason, I started to look online at what type of LED strips professional photographers used for their DIY lighting rigs. Since the goal was to test, I purchased two LED strips from a Chinese vendor called DIY LED which had good reputation from varioys DIYers. Their LED cost more than the competition but they have much better characteristics as they cater to customers that require high CRI for photography and similar uses. Here are the specs of what I bought:

DIY LED U-HOME High CRI Ra 95+ LED Strip Lights SMD5630 Neutral White Nonwaterproof for DIY Video Light Studio Light

DIY LED U-Home High CRI Ra 97+ Daylight White 5600K SMD5630 DC12V Flexible LED Strip Light 5M 300LEDs 60LEDs/M 10mm Width for DIY Movie & Television Photography Lighting

When I tested them, I was surprised by their output, but also by the quality of their light. No longer my CN Green locomotives looked weird or reds look washed out. But that comes with more heat since the output is almost twice what you generally get.

My preference goes tot the Neutral White LED because it's a softer white. The Daylight White is much cooler yet still good. Don't forget Daylight White is not direct sunlight, but indirect (diffuse) sunlight you would get from a window facing north. Thus, it's why we often it's too blue because sunlight is yellower when you are exposed directly to it. In all honesty, I feel the perfect spot was blending both stripes together, but for my purpose, I stuck my Neutral White while keeping the door open to add another strip later.

I would say one strip is enough when your layout is about 16"-18" deep and the lighting is about 12"-14" over the surface. Over that, you will need two strips.

I also have space constraints. Indeed, the idea to build a layout between base and wall cabinets was nice but it was also very dark. Since vertical height was very small, I didn't really think through my design, but I knew a valence was out of the window. I thought lighting would be installed later on but decided to start with it before committing to anything. The LED strips were glued on aluminium channels which have a 45 degrees bevel. They are about 1/2" high, which saves a lot of space. They are made for LED strips and act as heat sink and yes, with the kind of LED I'm using, I can guarantee you it works and is required.

Aluminium channels used as a valence and heat sink

The aluminium channels also come with polycarbonate diffusers. If you add them, your lighting output drop a little bit, maybe 15%-25% and at that point, you really need two strips. The diffusers is handy if your light source is close to the subject because each individual LED cast it's own shadows, creating weird patterns on the backdrop. It may not be an issue on your layout, so test accordingly before committing.

With the polycarbonate diffuser installed

At the end of the day, I'm satisfied with the current lighting installation. It works well, the CRI is high and the work surface and backdrop are well lighted, which is perfect to do miniature work.

Ciment St-Laurent - GE 4Switcher

Ready to work!

After a long hiatus from proper prototype modelling, I'm back with the latest motive power addition to the layout, which is a Rapido DCC sound equipped GE 44-Ton locomotive. You have probably seen it more than once on previous post, sporting a factory painted blue livery that wasn't the most attractive. The big challenge would be to repaint the model in Ciment St-Laurent white and dark blue paint scheme as it appeared in the 1980s and 1990s.

The shell is easy to disassemble

First of all, let's talk about the Rapido model. Like many modellers, I'm wary of that brand and have virtually no trust in their quality control. The models are generally beautiful, but reliability may be an issue from loco to loco. However, I've been looking at this particular GE model development for years, starting with a visit at Amherst train show where I saw the preproduction models in operation and could take a look at the motorization. Let's just say it was promising given the crudeness of the Bachmann drive.

Remove 4 screws and you can remove the motorization easily

Fortunately for us, Rapido has done its homework and the new 44-tonner is cleverly designed. The snap-on motorized trucks are a clever design, the way the decoder and electronics are implemented too. 

The snap-on tracks are a very practical feature

As for disassembly, even if the instruction manual is full of poor taste humour, it is easy to do. Honestly, just that makes it a joint to repaint. Using a cotton bud (Q-tip), I was able to push the window glazing out of the frame without breaking anything prior to priming, masking and painting.

Remove the glazing with a light push with a Q-tip

However, let's address the elephant in the room. CSL had a GE 45-ton switcher, which is a smaller one. As I said in other blog post, we tried to use a Bachmann one and we felt it was unsatisfactory. Not a bad locomotive, but far too puny for our industrial needs.

The real CSL switcher was a later phase GE 45-tonner

Also, adding sound, DCC and sufficient weight in it was a fool's errand. Add to that Bachmann produce an earlier version. CSL switcher was a later design without side rods and with smoke stacks that were identical to a 44-tonner. Make what you want out of it, but it means that a 44-tonner was under certain circumstances, closer to the real locomotive than a 45-tonner.

Masking the blue stripe at the hood and cab bottom

Weathering process... in progress with lots of streaking

Before committing to paint, I designed custom decals for the cab. On prototype pictures, the locomotive was very dirty while the logo was on a clean white square. My understanding is they repainted the area many years later when CSL was upgraded in the early 1980s.

A tiny micro decoder with barely any space for auxiliary functions

I first disassembled the model completely, including the interior. Wheels were masked off and I primed the entire locomotive before applying a coat of Tamiya primer. A generous coat of Tru-Color Paint white was sprayed while the frame and trucks got a coat of dark blue. Window gaskets were painted black with a Sharpie oil paint marker. After dullcoating, the model was heavily weathered with oil paint washes and Pan Pastel.

The light pipe goes through the roof

A gloss coat was added on the cab side to apply the clean decals over the messy paint. At that point, I had to decided if I would have a cosmetic or functioning rotating beacon. I really like the one on Donohue's switcher, but soldering wires to the tiny decoder was a nerve wrecking decision. After consulting with Louis-Marie and Jérôme, it was decided to not add a LED. The beacon has a tiny plastic light pipe going through the cab, so if we ever feel like adding this feature, it ill be possible.

The new switcher really capture the prototype feel

At that point, the model was sealed with a last coat of AK ultra matte varnish, let to dry and assembled. If you ask me, after seeing the finished model on the layout, I have no regret using a 44-tonner instead of a 45-tonner. Since I took care to protect the wipers, the wheels and other electrical components, it still perform beautiful and I think it is bound to become a fan favorite on the layout given how Jérôme has taken a liking to it!

A hard working locomotive in Villeneuve yard

Tales of Modern PFE Reefers - Part 3

The last installment in that series covers an old Bachmann ribbed 50ft mechanical reefer. Of the lot, this was both the most promising and the most deceptive. Not surprising given this car tooling dates back to 1972. Around the same era, Athearn issued its own version of this car which was nominally better. Both were based on a series of PFE 50ft mechanical reefers with ribbed sides . My knowledge of this subject being limited, the series are R-70-11 to R-70-12. Many would later be repainted in Union Pacific Armour Yellow when PFE was dissolved later in the 1970s.

A little bit crude, but not too bad for a 1972 tooling

The Bachmann tooling is promising because the car sides, for a toy, are rather nice and match the prototype pictures. The tooling is crisp and most details are well-rendered, particularly when you strip the thick factory paint. Unfortunately, the praise stop there as we look at the roof and ends. At that moment, we discover the old trick that manufacturers loved to use until the 2000s: modular tooling.

It was common, to reduce the cost of tooling, to recycle similar parts from existing cars in the manufacturer lineup. The easiest things to reuse were the underframe, trucks, roofs and ends. Sides would be replaced by newer ones to match the prototype. Most of the time, it was a decent solution. Athearn and Roundhouse pulled that off quite a bit with their 40ft covered cars. Trains Miniatures was quite infamous for pushing the gimmick to the extreme. Sometimes, it worked, but only for a limited number of prototype such as Athearn recycling their ends/roof steel ice tooling on their wooden reefer cars.

As long as the car length and height was about the same, the trick was somewhat acceptable given the era's limitations. But things started to look weird when a car side had to be stretched or compressed to fit the tooling size. This was particularly apparent with Roundhouse single-sheathed boxcar which has nice car sides with hat-section steel members but was made taller by adding filler to fit the 40ft steel boxcar ends. That's why if you want to make that car prototypical, you have to remove almost everything except the modified sides. Even the width is wrong!

That brings us back to our Bachmann car. The roof was your typical Bachmann 51ft plug door diagonal panel roof with molded roofwalk. Using this part set the car length to be shorter than the prototype. Then, add to that the car ends that were also recycled from the same plug door cars. They are, by any standards, not looking great with their shallow flat ribs. The big issue with the roof is the prototype one merged with the car sides with a sheet gently curving, giving it a monolithic appearance. The Bachmann roof has that step on top of the eaves which doesn't fit the real car. As for the car ends, let's just say they are a goofy approximation and worst, the brake end was molded on the from end! Someone inverted it when preparing the tooling.

Painting the molded details black and adding a Tichy running board

I was at the crossroad and needed to decided how far I was going to go with this one. The molded roofwalk had to go. I tried to keep it by adding a shadow line on its side to create the illusion of a separate part and adding a Tichy one on top of it but it was a fool's errand. So I took upon myself to carve out the running board and scribe the diagonal roof pattern by hand. It took about two evening to get a satisfying results and it was less frustrating that I thought. I won't lie, I was about to remove completely the roof and replace it with a Branchline ones, but it was too long for the car due to the discrepancies I mentioned earlier.

Carving out the running board, one panel at a time...

If I didn't change the roof, changing the car ends was less attractive. I had to replacement parts that would be a decent match for a PFE R-70-12. So I made the trade off to accept the brake wheel was at the wrong end. At that point, I new this car was just a big compromise. If my goal was prototype accuracy, I would have simply binned the car without a second thought. At the end of the day, you are better off using an old Athearn Blue Box car is you want to model that car using old tooling. At least, they got a few things better than Bachmann half-baked effort.

The "wrong" car end with improve brake platform

After making these decisions, a new modified Tichy steel running board was glued in place and I filed down the stirrups to make them appear thinner. All grab irons were replaced with wire ones and some extra details were added to the brake platform. A lot of filing work was required to bring the underframe to the correct height. Bolsters were filed down and coupler boxes replaced altogether. New fuel tanks were scratchbuilt and the brake apparatus was minimally improved with parts from the spare bin. I think the moment I discovered replacing the roof and ends would basically mean a full reconstruction, I lost my appetite to improve that car.

This time, decalling went perfectly!

As I said in  Part 1, getting the silhouette and the colors right is the least we can do and sure, I made my best effort to capture the right vibe about a PFE welded mechanical reefer. This time, I didn't need to fudge with decals because the Microscale set was perfect for ribbed cars.

In hindsight, I should have replaced the stirrups...

At the end of the day, I have mixed thoughts about this car. I know its limitations, which are many. I wouldn't go as far as saying they are crippling or distracting in the middle of a fleet, but this is indeed just an approximation. I wish Bachmann didn't swap the car ends by mistake. For many of these reasons, I would recommend doing that project with an Athearn car. Sure, it won't be state of the art, but at least, things will be in the right place. A fellow modeller has already given some clues how to improve one.

With these 3 cars completed, I think we can move on and go back to regular modelling with higher standards!