Dan Gryder
147 Sky Harbor Way
Griffin, Georgia 30223
678-688-7069
Email: contact@thedc-3network.com

Scott Cannizzaro
The Soundtrack Group
936 Broadway
New York, NY 10010
212 420 6010
nycmixer@mac.com
www.scottcannizzaro.com

3:30 Startup

6:30 Takeoff

7:30 Throttle back

9:30 Synching the props

18:45 Door opens

20:15 Begin descent

24:30 Level-off downwind

25:15 Landing

26:00 Taxi (right engine shutdown and taxi on left engine)

27:00 Shutdown

Traverse Air, Inc.
294 West Silver Lake
Traverse City, Michigan 49686
231-943-4128
tbrady294@charter.net
http://www.traverseair.com/

www.bcballoons.com

Enjoy!

www.airspeedonline.com

steve@airspeedonline.com

Make sure you check out the parallel episodes similar topics on Uncontrolled Airspace, The Pilot's Flight PodLog, and The Finer Points.

steve@airspeedonline.com

Don't forget to buy your copy of Airspeed: The First Two Years Aloft at http://www.lulu.com/content/1389586

Thanks!

Some housekeeping as well, and a special offer from Gleim.  Be sure to get your Airspeed listener discount of 25% off the price of any Gleim Pilot Kit by using the promotional code "ASPD" for a limited time only.  www.gleim.com or (800) 874-5346.

Music: Jon Schmidt, Prelude - from the Podsafe Music Network. Check it out at music.podshow.com or see Jon's website at http://www.jonschnidt.com/.

More information about Cirrus Design at www.cirrusdesign.com.

You can contact us at steve@airspeedonline.com, see the website at www.airspeedonline.com, and visit the Airspeed Pilot Shop at www.cafepress.com/airspeedonline.

Contact Information

Cirrus Design
http://www.cirrusdesign.com/
http://www.cirrusdesign.com/contact/
info@cirrusdesign.com

AirShares Elite
Creig M. Kelley - Regional Director
6230 North Service Road
Waterford, Michigan 48327
Office 248-666-5646
Mobile 989-859-7650
Fax 248-666-5647
ckelley@airshareselite.com
http://www.airshareselite.com/

Contact Information for Michael:

Michael Mancuso Airshows
Brookhaven Airport
139 Dawn Drive
Shirley, New York 11967
Phone: 516-359-9948
e-mail: michael_mancuso@mmairshows.com or nlight4@aol.com.

See the full show notes at www.airspeedonline.com.

We talk to Boeing Stearman PT-17 pilot John Mohr of Mohr Barnstorming at the Battle Creek Balloon Festival and Field of Flight Air Show.

John will be at Oshkosh July 23 through 29 and then he performs August 11-12 at the Bay City Air Show at Bay City, Michigan, August 18-19 at the Canada Remembers Air Show at Saskatoon, Saskatchewan and then August 25-26 at the Wichita Flight Festival at Withica, Kansas. After that, itâs on to Toronto, Terre Haute, Columbus, St. Petersburg, Randolph AFB, and Stuart, Florida. See more schedule information at http://www.mohrbarnstorming.com/.

Thanks to John for taking some time to talk to us at Airspeed and thanks also to the Battle Creek Balloon Festival and Field of Flight Air Show. http://www.bcballoons.com/.

Full show notes at www.airspeedonline.com.

Blue Angels: www.blueangels.navy.mil

US Navy Recruiting: www.navy.com

US Marine Corps Recruiting: www.marines.com

Additional information:

Other information about Ohio Powered Paragliding and Powered Paragliding in general:

We talked about the basics of the Shuttle Carrier Aircraft, or "SCAs" in Part One, in which we also interviewed SCA crew chief Pete Seidl. If you missed that episode or if you're a recent subscriber, please be sure to download that episode as well.

Today we're going to talk to one of the pilots who flies NASA's SCAs.

To say that Gordon Fullerton is an SCA pilot would be true, but to stop there would be to fail to outline as rich an aviation and aerospace career as anyone could claim.

He's presently associate director of flight operations at NASA's Dryden Flight Research Center in Southern California. In addition to flying the SCAs, his assignments include a variety of flight research and support activities piloting a variety of multi-engine and high performance aircraft.

Fullerton entered the U.S. Air Force in 1958. After primary and basic flight school, he trained as an F-86 interceptor pilot and later became a B-47 bomber pilot. In 1964, he attended what is now be called Air Force Test Pilot School at Edwards Air Force Base and was later assigned as a test pilot with the Bomber Operations Division at Wright-Patterson Air Force Base in Ohio.

While still in the Air Force, he went on to become a NASA astronaut and served on the support crews for the Apollo 14, 15, 16 and 17 lunar missions.

[Audio]

The voice there saying "Roger, you have good thrust" is Fullerton, who was the man at the CAPCOM station in Houston for Gene Cernan and Jack Schmidt's liftoff from the Taurus Littrow Valley as part of Apollo 17 - the last manned mission to the moon.

In 1977, Fullerton joined one of the two two-man flight crews that piloted the Space Shuttle prototype Enterprise during the Approach and Landing Test program, which involved flying the orbiter to altitude on an SCA, separating the orbiter from the SCA, and then gliding the orbiter to a landing to validate landing procedures.

Fullerton logged 382 hours in space during two space shuttle missions. He was the pilot for the eight-day STS-3 orbital flight test mission in 1982. STS-3 landed at Northrup Strip at White Sands, New Mexico because Rogers Dry Lake at Edwards Air Force Base was wet due to heavy seasonal rains. He was also the commander of the STS-51F Spacelab 2 mission in 1985, which landed at Edwards.

Fullerton has logged more than 16,000 hours of flying time and flown 114 different types of aircraft, including full qualification in the T-33, T-34, T-37, T-38, T-39, F-86, F-101, F-106, F-111, F-14, F/A-18, X-29, KC-135, C-140 and B-47.

Since joining Dryden as a research pilot, Fullerton has piloted nearly all the research and support aircraft flown at the facility and currently flies the center's Beech King Air 200 as well as the B-747 Shuttle Carrier Aircraft.

He was inducted into the Astronaut Hall of Fame in 2005, and the International Space Hall of Fame in 1982.

We started the research for this episode intending to focus on the SCAs themselves. We were delighted to have access to one of the pilots of these magnificent machines. But we had no idea when we submitted the initial inquiry that that we'd end up talking to a man whose career has been so intertwined with the space program and the national dream that has captured so many imaginations. With your indulgence, then, we couldn't help also asking Gordon for his thoughts about the space program - where it's been and where it's going.

We caught up with Gordon by phone at his office at NASA's Dryden Flight Research Center in Southern California.

[Interview audio.]

Image used per NASA's policy entitled Using NASA Imagery and Linking to NASA Web Sites (October 13, 2005) located at http://www.nasa.gov/audience/formedia/features/MP_Photo_Guidelines.html. NASA does not endorse Airspeed or any commercial good or service associated with Airspeed.

See more pictures of the SCA at http://www.dfrc.nasa.gov/Gallery/Photo/STS-Ferry/index.html.

See the show notes at http://www.airspeedonline.blogspot.com.

_________________________________________________

An air traffic controller gave me a number to copy the other day. And it was a good thing.

I spent a little time this week on the phone with Mark Schad, who is a terminal area controller for the area surrounding Lambert-St.Louis International Airport. 13 million passengers went through the airport in 2004. Besides being the airport featured in Planes, Trains & Automobiles and a Seinfeld episode, it has 25 separately-charted approaches, including simultaneous close parallels. And that doesn't include all the satellite airports for which St. Louis approach provides approach and departure control. More than enough for any controller or pilot to shake a stick at.

Mark is also a pilot with enough ratings to have to get a separate bag for his logbook, and his perspective as both a provider and a customer of the air traffic control system is invaluable.

I called Mark at the control facility this week and we spent some time demystifying the men and women at the scopes and talking about what it's like at a workstation, how best to interact with a controller, what happens in an emergency, and lots of other good pilot talk. So, if you've copied your ATIS (and, for the love of Pete, copy your ATIS when you're in Mark's airspace!), let's go to the interview.

Sometimes, it's good to stir things up a little.

This episode has nothing to do with aviation, aerospace, jet fuel, or tearing up the sky. If you're in the mood for an aviation-related episode and don't want to listen to anything else, please skip this episode and pick us back up in January. If you're tuning in ffor the first time, my apologies. This really is an aviation and aerospace show and you can check out prior episodes for your aviation fix until the first new episode of 2007 comes out.

But we're going to change things up this time. Airspeed is about to pay an homage that the podsphere owes to a very special medium and a very special time.

Airspeed is finishing out a great first year. A year in which we've met lots of new people, flown in a lot in different aircraft, and realized the dream of the podsphere - Ordinary people making the closest thing they can to art and reaching out to touch other ordinary people.

If you're older - over 40 or so - and you lived close enough to a metropolitan area - and you had an FM radio receiver in the mid to late 1960s - and if you were very lucky - you had a front-row seat for one of the most magical times in all of media before or since. When FM radio reached its critical mass and a backwater of the electromagnetic spectrum leaped up and captured imaginations and expanded horizons.

By the 1960's AM radio was a homogenious morass of largely mediocre programming. Relatively few people had FM receivers and FM radio stations were relatively few and far between, so you pretty much listened to what was on AM or you didn't listen at all.

Then, in the mid to late 1960s, guys like Jonathan Schwartz on WNEW FM in New York City started playing eclectic but carefully-chosen music and put out programming of a kind that you just can't get on the radio any more. It wasn't long before the iron heels of the program directors homogenized the airwaves and turned FM into the stereo version of AM that continues through to today. But, for a short time, there was a renaissance on the airwaves.

Podcasting brings back a little bit of what it was like during those pioneering years. It's as though your radio dial has grown by thousands of stations and, if you look, you can find places in the podsphere that are as eclectic, entertaining, and inspiring as the airwaves were in the late 1960s.

All of which is by way of introduction of what you're about to hear.

This, by very special permission, is The Ballad of the Sandman by Mike Agranoff. Mike is a folk musician from New Jersey who plays a mean fingerstyle guitar, concertina, banjo, and ragtime piano and sings. I have seen him live at a library, in a church basement, and in a community center and he is the consummate journeyman purveyor of melodies, spoken word, and traditions new and old.

I heard this piece for the first time in 1998 or so on public radio in Detroit. Mike has been kind enough to perform this at every show that I have attended. He does it entirely from memory and with a conviction that puts you in the darkened studio of the narrator.

The airing of this piece around the end of the year has become a tradition on WION in Ionia, Michigan, where this podcast also airs as a radio show. And it's always a part of my listening around the same time. I hope that you will adopt it as your own as well.

So, without further ado, let's let the podsphere pay tribute to the magic of the radio - Magic that once was and magic that can be again.

Here's Mike Agranoff with The Ballad of the Sandman.

[Audio]


The Ballad of the Sandman, (c) by Mike Agranoff. Used by permission. Thanks, Mike!

Mike's website: www.mikeagranoff.com

Mike's e-mail address: mike@mikeagranoff.com

Text of The Ballad of the Sandman: http://www.mikeagranoff.com/lyrics/Sandman.htm

Today we're going to revisit one of the most important aspects of flying - And that's the music you listen to while you do it!

Sure, there are more important things - like safety - but the fact remains that putting together the right soundtrack can make your flying even more inspiring. If you have an audio input to the intercom in the aircraft you fly or otherwise have a means of listening to music while you fly here's some music that you should consider adding to your playlist.

Bear in mind that safety comes first. If the music results in any chance of discraction or a miscommunication or failure to give or receive a communication necessary for the safety of the flight, leave your music player at home. But if you can manage the volume of the player, not have to fumble with it when your should be doing other things (playlists are helpful here), and satisfy yourself as pilot in command that you can hear and be heard in the cockpit and at the controller's workstation (such as by using a squelch or cutout feature like I use), by all means add a soundtrack to your flight.

Here's what has been in my iPod while I fly.

Eric Johnson has a way with the Fender Statocaster that is unlike that of any other player. He's melodic and heavily jazz-influenced. Music from his Ah Via Musicom and Venus Isle albums got lots of airplay in the 1990s and he has toured with the likes of Steve Vai and Joe Satriani and recently hit the road with Sammy Hagar. This is All About You from Venus Isle. Note the arpeggios and underlying drive. Really good for high airwork.

[Audio]

(Buy Eric Johnson albums, DVDs, and other stuff at http://theconnextion.com/ericjohnson_index.cfm?ArtistID=175.)

I'd be really surprised if composer and conductor John Williams isn't a pilot. I promised myself that I would use the word "evocative" only once in this episode, and this is it. I put this on one of the first flight mixes I ever made and it was one of the first tunes that jumped off the CD player and became a soundtrack for what I was doing at the time. It was on short final at Lapeer in southeast Michigan. Nothing quite like Williams to swell up when you're locked in to approach and have your attitude and airspeed nailed.

This is, of course, Flying from E.T., The Extraterrestrial. Those who fly aircraft with yokes instead of sticks will have an easier time imagining that they're holding on to bicycle handlebars, but both should avoid the temptation to strap a milk craft to the cowling for your little buddy to ride in.

This version comes from John Williams and the Boston Pops Orchestra's album, The Classis Spielberg Scores.

[Audio]

(Buy the album at http://www.amazon.com/Williams-Classic-Spielberg-Scores/dp/B000002C0F/sr=8-1/qid=1165705583/ref=pd_bbs_1/103-4775352-7547032?ie=UTF8&s=music).

No playlist is complete without some heavy metal. And there's none heavier than Iron Maiden. This is Aces High from 1984's Powerslave. Great driving metal groove and lyrics that tell a story of aerial combat in World War II.

[Audio]

(Buy the album at http://www.amazon.com/Powerslave-Iron-Maiden/dp/B000063DFN/sr=1-5/qid=1165706163/ref=sr_1_5/103-4775352-7547032?ie=UTF8&s=music).

Unless you count the diggery-doo, the English accordion, or the great highland bagpipes, there is probably no more technically ungainly instrument than the bassoon. It's four or five feet tall and has a double-reed that begs to sqwawk and evade the player's efforts to control it. There's an old joke that the definition of an optimist is a bassoon player with a pager.

Well, if there's one guy who can carry both a bassoon and a pager with confidence. He's Paul Hanson. Paul has taken the bassoon into jazz and other circles with amazing aplomb. He can out-sasxophone a saxophone and it all sounds completely organic. Ever run into one of those phases in your training when the controls seem to defy you, nothing goes the way it's supposed to, and you're constantly behind the aircraft? Usually right before you solo or right before get the hang of the landing flare or just before you start to nail your instrument approaches? This one is for you, my brothers and sisters.

Let Paul remind you of what can happen with even the most ungainly of hardware if you train hard and believe that the music will come. This is The Gold Coast from Voodoo Suite. It's in 7/4 and he's playing a bassoon and yet it sounds great. Yeah, your first full-procedure VOR approach is going to be ugly, but that's okay. Listen to how you'll feel on your 50th . . .

[Audio]

(Buy the album at http://www.cdbaby.com/cd/hansonp.)

We started with one guitar god and we're going to end with another. When Sony went looking for a great song to use in its ads celebrading the 20th anniversary of the compact disc, it looked no further than Joe Satriani's Summer Song from his album, The Extremist. This is great music for whatever you want to do while listening to it. It has energized me in the wee hours studying for exams and it has caused more than a few oscillations over the speed limit out on the highway. Now I'm no A&P and this is largely unscientific, but I'll bet that, if you plug Summer Song into the intercom of your aircraft, you'll get two or three additional knots of airspeed. Airplanes love Joe Satriani! Sound crazy? Well, it's a lot cheaper than wheel fairings!

(Buy the album at http://www.amazon.com/Extremist-Joe-Satriani/dp/B000002BWH/sr=1-1/qid=1165711434/ref=pd_bbs_sr_1/103-4775352-7547032?ie=UTF8&s=music.)

That's it for this installment of what should be cranking while you're turning and banking.

Got your own suggestions? E-mail us at steve@airspeedonline.com. Links to information about the artists and how to buy this music are on the blog at www.airspeedonline.blogspot.com. Although we might

As always, this is not flight instruction or a recommendation about how to operate an aircraft. Consult a qualified instructor, obey the regulations, and, above all, fly safely!
_______________________________

[Illustrative musical snippets used as permitted by 17 USC Ã?ÃÂ 107 (http://www.law.cornell.edu/uscode/html/uscode17/usc_sec_17_00000107----000-.html) for criticism and comment and as otherwise permitted by applicable law.]