Take the next step.ĭo you have a perfect takeoff and landing every time? Neither do we. So what do you think? Would you pitch for airspeed and power for glideslope when you're flying without automation? What works best for you? Tell everyone about it in the comments. And while it's easier to get the hang of instrument flying when you tie one control to one action, realize that you never move anything, pitch or power, in isolation. If you're low and not fast, pitch up and add power. If you're high on glideslope and you're not slow, pitch down and reduce power. When we fly with automation, we pitch to match the command bars and power for speed.īut, in practice, pitch and power are always tied together. And when we fly without a flight director, we pitch for speed and power for glideslope. So what's the best method to fly a glideslope? In many ways, it's a combination of both.Įven though we almost always use a flight director now, we do practice non-automated, "raw data" approaches fairly often. If you trim your aircraft for a specific speed, you can hold that speed at any power setting without touching the flight controls, because trim holds airspeed. Most instructors (including us) have taught that when you're on a glideslope, you pitch for airspeed and power for altitude. Method 1: Pitch For Airspeed, Power For Glideslope So what's the difference when it comes to flying a glideslope? Let's look at both ways of flying it. And they're changing because more aircraft than ever have flight directors and autopilots. One of the most respected flying books ever written, Wolfgang Langewiesche's Stick and Rudder, lays out one of the most popular - and proven - ways to manage your aircraft: "pitch to speed, power to altitude." The book was written in 1944, and it holds true today.īut with technically advanced aircraft, things are changing. Pilots have debated for years whether it's better to pitch for airspeed and power for glideslope, or the other way around. How do you correct? Do you pitch down, or do you reduce power? If you want to start an argument, ask a group of pilots what they think. "Carry Me Back to Old Virginny", Alma Gluck early 1900's.You're high on the glideslope. The first million-selling "Gold" record was The earliest inklings of a "popular" format radios in automobiles becoming widespread (all-tubed, at that.) Shellac 78's hung on 'till the early-mid 1950's. Columbia, wisely, bought into the 45 RPM format for "singles." I'm guessing they also recognized what was happening with radio broadcasting by this time. RCA caved in early 1950 and bought into the LP model. 45) A year-long speed war resulted, with record stores facing major inventory problems with now 3 speeds available. Shellac was replaced by Vinyl (read: unbreakable) and the Microgroove cutting process (read: Long Playing.)Īs Jc2000 notes, RCA, clueless and footdragging, introduced in February 1949, the 45 RPM. This product was a breakthrough on two fronts. With a longstanding rivalry with RCA, these companies had R&D departments in those days. The 12" 33.33 RPM came about in June 1948 by Columbia Records. I think this is when the disc size went to 16" ("transcription" size). The 33.33 RPM was maintained for recording radio broadcasts until tape recorders appeared in the early '50's (1947 by another account.). This system was soon replaced by the optical soundtrack placed directly on the film. These were still Direct-to-Disc recordings using wax masters.) Probably had a little mistracking here and there. I can only imagine what was used for pickups in those times. (11 minutes on a 20" disc probably had some *serious* levels and groove modulations. The drive gear was increased to 54 tooth resulting in 33.33 RPM. ( I believe 12", 4.5 minute 78's came later.) To get the required 11 minutes play time, a speed of 1/2 of 78 was sought. or what speaker cables were used.) A single 35mm film reel ran for 11 minutes, the 10" 78 ran 3 minutes. The earliest ones had the sound track on a 33.33 RPM disc that was synched with the projector. Motion picture "talkies" using their Vitaphone System were developed. The reason was that a 3600 RPM synchronous motor w/ a 46 tooth worm gear drive resulted in a platter rotation of 78.26088 RPM.Īt about the same time, a Bell subsidiary called Western Electric was active. (RCA)Victor was the big dog then, they were the first customer for the new electrical equipment, and they said 78 RPM was it. Not a consumer problem, since playback machines had speed adjustments. Prior to that, individual record companies had their own speed standards, ranging from 78 to 82 RPM. The answer - at least for 78.26 RPM - goes way back to around 1925, when it was standardized primarily due to the advent of electrical recording technology by Bell Labs.
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