Flying the CAP Cessna 182T – Capt Force Transitions to Glass

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I’ve begin training on the new CAP Cessna 182T Nav III, which is to say a gorgeous 14-month, 450-hour old Cessna 182 with the complete Garmin G1000/GFC 700 avionics system with Capt Tim Kramer, one of the Michigan Wing’s check airmen. Tim is a real evangelist for the glass system and he’s put something like 15 Michigan Wing pilots through the training in the last year or so. He approached me about getting qualified in it and I jumped at the chance.

It’s a great airplane and it’s very capable. It’ll do everything from cruise at 600 AGL at 90 KIAS to haul hiney at 135 KIAS at 10,000 MSL, all while essentially flying itself to ATP standards.

I’m an approx. 230-hour pilot with (as it pertains to this kind of flying) an instrument rating and complex and high-performance endorsements. And I’m as competent with electronic systems as anyone I know. I was the only primary student that Eamon Burgess ever had from whom Eamon had to take away the VORs. But the G1000 is another animal entirely.

The idea with the G1000 is to give the airplane to the autopilot at 800 AGL and let the autopilot fly her until you’re at minimums. Which means a whole new level of understanding the systems and a whole new way of looking at flying. First, I have to know the systems a lot better than I’ve known systems on simpler aircraft in the past. And, most counterintuitive and new of all, I have to become an airplane manager in flight.

That’s right. You give the airplane to the autopilot and then you monitor and manage it en route. For a guy who’s spent most of the last six or seven years hand-flying airplanes and having instructors ignore the autopilot (even where the airplane has an autopilot in the first place), it’s a really new experience.

But it makes a lot of sense. CAP is a professionally-run organization with big shoes (er, boots) to fill. We do 95% of all Air Force supervised inland search and rescue in the United States and we need all of the sophisticated tools we can get. This airplane will help a competent pilot get to and from the search area quickly, accurately, and efficiently and it’ll fly the search pattern automatically to ATP standards. Then it’ll get everybody home for crew rest and to prep for the next sortie. If I’m going to be a valuable asset to the squadron, I need to be able to operate this aircraft to its full capabilities and that’s what this training is all about.

And, even if I was just flying CAP’s aircraft for selfish reasons, I’d still want to learn to fly the glass. It’ll be awhile before it becomes hard to find round-gage aircraft to rent, but the time is coming and you need to be comfortable with glass if you expect to fly long-term.


The training is very involved, but I’m doing it right. I did a full day in the classroom last year and then Capt Kramer and I spent four hours on the ramp with a ground power unit going over the systems. Only after that did we launch. We did an approx. 200-mile four-point trip around the state last week VFR. Gorgeous day and I learned a lot about the airplane. Friday, we file and do roughly the same thing IFR (I’m planning KPTK KBAX KMBS KJXN KPTK). The third flight will be IFR with gage and system failures. Then the Form 5 checkride in the airplane, probably with LtCol Leo Burke, with whom I have not flown yet.

I’m excited about learning to fly and manage this aircraft. And, by the way, as a Civil Air Patrol pilot, I fly this gorgeous airplane for about $38/hour dry (and fuel runs about 14 gallons/hour – call it $56/hour at $4.00/gal.). You can’t rent a beat-up C-172 wet for $94/hour! And I only pay to fly CAP aircraft when the Air Force isn’t paying for my flights. And the Air Force pays for a fair amount of flying.

If you’re a US pilot and not in the US Civil Air Patrol, what the heck are you thinking? Truly! What the heck are you thinking? Yeah, you! Check out http://www.gocivilairpatrol.com/ for information and a unit near you.

Eleanor Flies


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These are the show notes to an audio episode. You can listen online right here by clicking: http://media.libsyn.com/media/airspeed/AirspeedEleanorFlies.mp3.

Okay, this might be overshare, but I thought that I’d share it anyway. Not a lot of 100LL or JP-8 in this episode, but maybe some hypergolics and other propellants.

I grew up with folk music of many kinds. My godfather is a folk musician who occupied my parents’ couch for some time in the 1960s. Both of my parents made genuine attempts to play and sing, even if they never bought into a lot of the words.

If you don’t know what a hootenanny or fake book is, then you and I probably came away from the movie A Mighty Wind with much different impressions. I lived a little of that. Yes, some of the music in my housewas a form of child abuse. But the rest was amazing. I was ten years old before I realized that Tom Paxton, Tom Rush, and Bob Gibson weren’t necessarily household names.

I got my first guitar at the age of six. I started alto sax at 10. Drums at 12. I’ve never become particularly good at any instrument but, in the course of the last 20 years or so, I’ve become passable on about a dozen instruments.

About five years ago, I began collecting small instruments. I like them because they’re portable and I like the sounds that most of them make. I think that the mandolin is about the sweetest-sounding instrument on (or off) the planet. I’m not very good at it, but I amuse myself with it. That’s me on mando on the theme music, by the way. I also picked up a set of shuttlepipes, a very small version of the bagpipes with a concert A chanter and two drones encased in a box about the size and shape of a baking power can.

If you were at Firebase Airspeed over the last two years at Oshkosh, you know that I usually pack up six or seven small instruments and bring them along in the hopes of launching ad hoc jam sessions of the kind that erupted when Jason Miller, Kent Shook, and others visited one night.

About five years ago, I was thinking about interplanetary travel. As busy as the first mission to Mars is going to be at times, it’s also going to be very boring at times, especially in the cruise phase to and from the red planet. That would make for exactly the kinds of gaps and spaces in which pioneers and voyageurs of all ages have written, played, and sung enduring folk music.

Hey, what would the folk music of a journey to mars and back be like? The instruments would have to be small enough and light enough that the astronauts could take them along in their personal volume and mass allotments (and we’re talking about decisions like cutting off all of your hair so you can take along an extra set of mandolin strings). And you couldn’t really use instruments that you couldn’t effectively play in microgravity.

So I kept on acquiring little instruments when the opportunity arose. Like the Ashbory bass with its 18” scale length and silicone strings. Or the Kikkerland hand-cranked music box mechanism that comes with paper tapes that you punch and then crank them through the music box.

So I decided to do an album project. Songs from the Sheffield: The First Folk Music of the Journey to Mars and Back. Theme from Milliways, which you heard in the last music episode, was the first tune and I need to re-record that on the smaller instruments for the project.

With a busy work schedule, flight training, airshows, and a great family, I’m generally too busy to lower myself into the musical well for more than about a song at a time. I know, cry me a river, Steve. Everybody’s busy.

But in November of 2007, I heard a piece on PRI’s Studio 360 about The MacDowell Colony. It’s the oldest artists’ colony in north America. It’s located on more than 400 acres near Peterborough, New Hampshire. The application process is tough and I gather that about one in eight applicants are accepted. But, if you get a residency, you get a studio out in the woods for between two and eight weeks do your art. No phone. No cellular signal. No other buildings within sight. A magical person named Blake Tewksbury sneaks up to your studio door at lunch time and leaves a picnic basket for you. In the evenings, you head to the main house and have dinner with the other artists, who might be composers, novelists, architects, painters – you name it.

Who knows. You might get the studio where Thornton Wilder wrote Our Town. Or the studio where Aaron Copland wrote Billy the Kid. Check out the short film MacDowell Moments at the colony’s website for a great overview.

Or you might get the studio where Steve wrote that piece that gets played after dinner all the time in the crew quarters on the way back from Mars.

That’s the idea, anyway. I’ve been planning for more than a year to apply for a residency and this is it. The deadline is April 15 and I’m putting the finishing touches on the application right now.

It seems unlikely that I’ll actually get in, especially in light of the caliber of the artists that they usually choose. But a MacDowell residency with that two weeks of solid, solitary, and protected opportunity seems to be the only chance of getting it all out of my head, on paper, and onto a hard drive. Can you imagine two weeks in a studio in the woods fully of tiny instruments, a few microphones, and a MacBook Pro?

I’m applying as an interdisciplinary artist and I have to submit two samples of my work. Sometimes Alternates Fly is going to be one. I thought that the other should be an example of the kind of song that I’m going to write. There are going to be raucous songs making fun of flight surgeons and noble ballads about exploration, but the one that immediately came to mind deals with the long separation from friends and family that any interplanetary journey necessarily involves.

It’s called Eleanor Flies and it comes directly from imagining how I’d feel if I were on the outbound leg of a Mars mission, having recently left my four-year-old daughter, Ella, (pictured at the top of this blog entry) knowing that she’d be pushing seven before I returned.


As will shortly become clear from the demo recording, I’m not applying to MacDowell as a vocalist. Or a performing musician for that matter. The instrumental parts are a little rough and my furnace decided to add a little realism to the session by dying the night before I started recording. I recorded the whole thing crouched in front of a little electric space heater. But, then again, this project is about imagining the constraints of making music in the process of making the big journey. Taking the next step. The people who will play and sing whatever music comes out of the trip will, after all, be pilots and mission specialists first and musicians second, if at all.

Maybe a lawyer and pilot crouched in his basement over a space heater cranking a music box mechanism on a banjo head or trying to get his fingers to work in the cold while playing mandolin is a pretty good proxy for what we can expect. Regardless, I know for sure that it’s a good proxy for those who dream a little harder than most about this stuff and care about it more than they can say among the usual cocktail crowd that they encounter.

So take a seat right over here on the bulkhead in Cargo Area Charlie. I know it looks like a suburban basement with a tangle of cables running all over the place and a little space heater in the middle.

But close your eyes and imagine with me. It’s not hard. I know.

This is Eleanor Flies.
_____________________________

Download a full 256 MP3 version of the song here: http://media.libsyn.com/media/airspeed/EleanorFliesSongOnly.mp3

Indianapolis Airshow and Indy Transponder with Roger Bishop

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These are the show notes to an audio episode. You can listen online right here by clicking: http://media.libsyn.com/media/airspeed/AirspeedIndy.mp3.

It’s time for the annual Airspeed prelude to the airshow season! This year, we talk to Roger Bishop, the chairman of the Indianapolis Airshow.

Many of us go to airshows, but too few of us appreciate what goes on months and even years before show day to bring you the experience. We got the inside story from Roger about what it’s like to schedule acts, attend the ICAS meeting, coordinate volunteers, plan for general aviation arrivals and departures, and make the whole thing come together seamlessly on the show days.


Roger is also heavily involved with the Indy Transponder, a premier aerotainment news and information site and we talk about what goes into maintaining and growing that resource.

More information about the Indianapolis Airshow

Indianapolis Airshow website: http://indyairshow.com/
Volunteer opportunities: https://app.etapestry.com/hosted/IndyAirShow/WishList.html
Maps and driving directions: http://indyairshow.com/visitors/directions/
Contact information: http://indyairshow.com/about/contact/

MacDowell Piece Takes Shape


This is a regular blog post. If you’re looking for show notes or links to show audio, please check out the other entries.

Crunch time yet again! I’m applying for a residency at The MacDowell Colony, North America’s oldest artist’s colony. It’s located on 400-odd acres near Peterboro, New Hampshire. At MacDowell, they give you a studio (read: cottage, barn, or similar structure appropriate to your particular art) and between two and eight weeks to just soak in your creative juices. No phone, no pool, no pets.

A mysterious guy named Blake sneaks up to your door and leaves a picnic basket at lunch time. You head to the main house for dinner and chow down with the other artists in residence and feed off of their energies. For a really great encapsulation of the experience, check out the December 14, 2007 installment of PRI’s Studio 360 or head to the colony’s website and watch the short feature MacDowell Moments.

Anyway, I’m applying as an interdisciplinary artist to write a series of folk songs and essays imagining the first folk music of the journey to Mars and back. All composed on instruments not larger or more massive than what an actual crew member would be expected to be able to take along in his or her personal volume and mass allotment. For me, that means, travel guitar, mandolin, Ashbory bass, music box mechanism, tin whistles, xaphoon, and other small instruments.

I have to submit two pieces of my work along with the application. Sometimes Alternates Fly seems a no-brainer. The other will be a song of the kind that I intend to write there at MacDowell. The song, Eleanor Flies, finally made it into a tangible medium this weekend and I sent the tracks to Scott Cannizzaro on Sunday to mix. We’re through two mixes so far and I think Scott’s going to finalize it today. Then I burn it onto CDs, do the written parts of the application (actually, finish them – I’ve been writing pits and pieces since early 2008), and send the whole thing to Peterboro.

Shown above is Scott’s workspace for the mix. It’s kind of cool to see the whole thing as waveforms. His skills are well in excess of anything of which the music is worthy and I’m really glad to have access to his services.

I’ll post the song here and/or to the show sometime soon. Probably after the application is complete.

Georgia/Florida Trip 2009

This is a regular blog post. If you’re looking for show notes or links to show audio, please check out the other posts.

I just returned from annual trip down to Jekyll Island, Georgia to play golf with my dad, my brother, and my best friend. As I do about two thirds of the time, I flew in to Orlando (KMCO) and spent the day Friday at Kennedy Space Center. But not before having breakfast Friday morning with David Allen of The Pilot’s Flight Podlog and Greg Summers of The Student Pilot Journal. Good grub and good hangar-flying with the guys. I’ll definitely try to pre-tweet some upcoming events and have breakfast with more folks as the airshow season heats up.

As I did last year, I went to a nearby airport and flew my mom. This time, I flew from Brunswick Malcolm McKinnon Airport (KSSI) on St. Simons Island to St. Augustine (KSGJ) and back. Overcast at around 3,500, so we flew at 2,500 there and back. We picked up flight following from Jacksonville Center and then Jacksonville Approach. I diverted a little from the straight-line path and routed over the Craig VOR (CRG), which helped to give me a boundary so that I could avoid P50 (an insidious little three-mile prohibited area around Kings Island Submarine Base that you really have to think about and know about in advance because it’s right there along an otherwise perfect route of flight).


Big winds the whole time surface winds were something like 19 with gusts to 28. The horizontal smoke and the flag here give you an idea of what it was like. Fortunately, the wind was more or less right down Runway 4 at KSSI and right down Runway 2 at KSGJ. By the way, how cool is KSGJ for having, in addition to the big 13/31 runway, approx. 2,500-foot runways at both 2/19 and 5/23? I presume that those two runways are primarily to facilitate lighter GA traffic given the usually stiff winds out of the northeast.

We got down with vary little runway and took off the same. I’m pretty sure that we were airborne within 300 feet on takeoff and I think the airspeed indicator was non-zero when we taxied into position.


I did a little hanging out at the beach. Mostly in the 50s or 60s with high winds that made it good for light jackets, but you had better be sure that your cigar doesn’t go out while walking the beach because you’re not likely to be able to re-light it in that wind.


And the obligatory alligator picture. Might be the same one from last year. This six-footer was sunning himself on the Pike Lakes course.

So now I have a pile of stuff on my desk to which I must attend. Busy weekend planned getting some work done, recording a tune for the MacDowell application (due April 15), and scheduling the T-6A flight at Randolph AFB. Busy, but in a very good way!