Luscombe 150hp pilot report
by
Budd Davisson
No
Airplane Should be This Perfect!
Back in 1937
there seemed to be some unwritten rule that
sheet metal was something used only for
bombers, fighters and those Lear Jet
ancestors such as Spartan Executives that
used Pratt & Whitney's in the nose. It was
almost never used in little airplanes . . .
well, almost never, anyway. There was this
Don Luscombe fellow that insisted on
building those marvellous little two-place
high-wing machines that borrowed heavily on
the mystique and the materials of the big
boys.
The first metal
midget to bear the Luscombe name was the
almost-extinct, but still-legendary, Phantom
which had lines and a round engine which
made it look like a Lockheed Vega that had
been run through the fast-dry cycle and
shrunk two sizes. Not too many folks know
about the Phantom today but Luscombe's
second design, the lovely little 8 Series,
always comes up when the conversation turns
to airplanes that are fast for their
horsepower, fun-to-fly and relatively cheap.
The Luscombe 8
started life in 1937 and was still being
built under various names as late as the
1950s. The production version started out as
8's with a fifty hp Continental then the
better known 8As with sixty-five horse
coffee grinders. The Luscombes worked their
way up, letter by letter, to the 8F, with
the ninety-horse Continental and optional
flaps-which brings up an interesting
question---if the 8F was the last model of
big-engine Luscombe, does that make Gene
Popma's airplane a G model?
Gene Popma of
Somerset, New Jersey, owns one of the
"other" types of Luscombes. You see, as time
went on, and thousands of Luscombes were
built, they became one of the most common
used airplanes in existence. Eventually, the
time came when an airport of the grassroots
variety wasn't worthy of the name if it
didn't have at least one derelict Luscombe
(tires flat, leaning to one side, four
families of mice living in the wings), and
two airworthy examples that, if they were
painted at all, were done with a combination
of paint rollers and spray cans. And then
there's the "other" type of Luscombes . . .
the dressed-to-kill super birds.
Luscombes
didn't make the jump into the classic
category quite as quickly as others in its
peer group, like the sophisticated Swift or
overtly practical Cessna 140 so, today, the
dichotomy between the grassroots,
around-the-patch
king-of-the-el-cheapo-flying-machines, and
the super-spiffy Naugahyde specials is
striking. Surely Gene Popma's hot-rodded 8F
custom category classic has to be leading
the way in dragging more and more of the
paint roller specials over to the side of
the paint, pamper and polish fanatics.
I'm certain
Popma doesn't consider himself to be a
fanatic. On the other hand, he's a
highly-intelligent, rational business
executive who owns two 150 horsepower
Luscombes, so he might just be perfectly
willing to label himself "fanatic" and be
damn proud of it.
Gene and I met
as flying fanatics usually do . . . on a
sunny day at an airport. Mother 'Nature had
gotten her calendar screwed up and
mistakenly gave us a Labour Day weekend with
weather right out of a Kodak ad. I had both
hands on the tail-wires of my Pitts and had
just pushed it out through the open hangar
doors when this winged block of chrome
greased onto the runway and rolled up to the
gas pumps. I could see my own reflection
from halfway across the ramp, as I walked
towards it in the natural gait of a
Midwestern moth who was attracted to an
eastern flame.
By the time I
got over to the airplane the pilot and
passenger had disappeared into the terminal,
so I did several quick laps of the craft and
made a beeline after them. There is
undoubtedly a type of protocol to be used in
rousting somebody out of a rest room but in
this case a simple, "Hey-who owns that
polished Luscombe?" was enough to bring Gene
Popma out the door and headed in my
direction. It would have been terribly
disappointing had Gene been one of those
I've-got-mine-you-find-yours type of
individuals. Fortunately, Gene was as
enthusiastic about showing his airplane as I
was in looking.
Since I had
already done a quick turn around the
hyper-polished sheet metal, I headed for the
interior and found that the sheet metal was
outshone by the unexpectedly sophisticated
accoutrements of the interior . . . how many
Luscombes do you find with new Collins
Microline gear and a full IFR panel
including ADF? It was so unexpected, in
fact, that it took me a second to assimilate
everything that was on the panel, because
there was so much there that shouldn't have
been.
Gene was
pleased as a proud papa, as he took me on a
tour of the tiny cabin of his travelling
machine. He peeled back the Velcroed
bulkhead to show the extended baggage tube
that carries his golf clubs and pointed out
how the rear baggage area would accommodate
either a twenty-gallon aux tank (which
brings the total up to a whopping forty-five
gallons) or a jump seat capable of carrying
as much as 180 pounds.
As he would
point out different parts of the interior,
he would mention that "This was done after
the engine conversion" and he mentioned the
words "engine conversion" several times
before I asked him what the conversion was.
He nonchalantly (but with a sly grin) said,
"They installed a 150-horse Lycoming."
A 150 Lycoming!
I had walked around the airplane several
times and been as attentive as you could
possibly be while protecting yourself from
the awesome glare the airplane presented and
I had seen absolutely nothing that indicated
this machine was as much "go" as "show".
Even after ducking back out and looking at
the cowl for a second time, it is hard to
pick out any obvious change in form that
would set this particular Luscombe nose
apart from any others but a 150 Lycoming
very definitely sets it apart, whether it
shows or not.
It's quite
obvious that Gene is used to a certain
amount of adulation over his shiny
plaything. It's also obvious that he enjoys
every second of showing it to appreciative
audiences and I was one very appreciative
audience.
Gene, an
ex-World War Two SBD pilot, first found his
Luscombe in 1980 at an airport in Colorado.
The airplane had already been converted to a
150, but in many other ways did not measure
up to what Gene's idea of a custom classic
should be, so he took it back up to Moody
Larson in Belleville, Michigan, who did the
original conversion and bad him strip the
airplane down to its sheet metal skivvies
and bring it up again as a new airplane. It
was during this rebuild that the beautiful,
original aluminium wheel pants were
reinstalled.
Gene offered me
a pilot's-eye view of what it's like to fiy
a 150 Luscombe and I was in and had the
safety belt around me before he could
reconsider the offer.
When we lit the
burner under that Lycoming, there was no
doubt that this was not your average 8F
Luscombe. At the same time, however, there
was a "complete" feeling that this is the
way all Luscombes should be because the
panel, the interior and the noise all fit
together so smoothly. The nice thing about
taxiing Luscombes is you can see over the
nose ---maybe not quite as well as a Skyhawk,
but certainly better than most other
airplanes of their era. Of course when you
come to the end of the runway and you need
to check for traffic, the 360-degree
clearing turn is obligatory because you're
sitting so far back in the wing/ fuselage
intersection that you can't see squat out to
the side . . . one of the biggest drawbacks
in Luscombes.
Lined up on the
centre line, I depressed the button on the
vernier throttle (vernier throttle in a
Luscombe!) while pushing it in and we left
out of the chute smoothly but in a hell of a
hurry. I picked the tail up almost
immediately, trying to hold a slightly
tail-down attitude so it would fly off on
its own. While I was trying to figure out
the attitude, the airplane lost its patience
with me and left the ground.
SEVENTY-FIVE TO
EIGHTY MPH WAS THE POPMA-recommended climb
speed but the nose attitude was so high that
I dropped it down and climbed out at
eighty-five or ninety, all the time turning
to see what was in front of and around me.
Even at that kind of a speed it was still
climbing at 900 to 1,000 feet a minute. Gene
has a fairly coarse prop on the airplane and
on takeoff we didn't see more than about
2300 rpm. Even so, a seventy-five mph max
climb effort puts 1,300 feet per minute on
the VSI and Gene says with a climb prop
it'll run right up to 1,900 feet per minute.
How's that for a Luscombe? But then what
would you expect with 150 horses in it?
Pushing the
nose over into level flight and screwing the
power back so the manifold pressure gauge
gave me 24 inches, I sat and watched the air
speed slowly work its way up to an indicated
cruise speed of 128 to 130 mph. It took so
long to stabilize that I would suspect that
Gene has a normal flying habit of either
leaving the power on longer, after he levels
out, or climbing a couple of hundred feet
above his altitude and then coasting down to
it to let the speed build up faster. It
really did take some time to reach a speed
that made the airplane smile.
The airplane is
equipped with one of those new Dave Clark
intercom systems that's hot all the time and
it was magnificent. At one time I took the
headset off to assess the noise level (which
is very definitely there) and found they all
but insulated you from any noise whatsoever.
They made conversation as easy as sitting in
your living room, and that might as well be
where I was sitting because there was
absolutely no similarity between sitting in
this Luscombe and any other I had flown.
Sure, the elbow-to-elbow seating position is
still there, and the same tiny little rudder
pedals placed close together, but everything
else that normally says "Luscombe" is gone
except, of course, those blinders out to the
side called wings.
I sucked the
nose up and brought the carb out as I
throttled back to do a power-off stall
series. True to Luscombe form, the stick
worked its way back into my belly and
eventually, somewhere down around forty-five
mph, the nose nodded gently and the wings
quit flying. I made a comment that that's
pretty much what I expected and Gene said,
"Try a takeoff and departure stall."
I slowed the
airplane down to around sixty, fed the power
all the way in and, at the same time,
brought the nose up and to the left, being
very careful to keep the ball in the centre.
At some number so low you couldn't read it,
the airplane quit flying and started to roll
off to the inside of the turn (maybe I
didn't have the ball centred) and was doing
so in no uncertain terms. So, yes, making a
hotrod out of a cream puff can do certain
things to its personality. Part of this
personality change can be explained by the
fact that its got enough extra weight
forward of the firewall to require nine
pounds of lead in the tail to keep the cg
even close. That extra power also allows you
to hang the nose up in the air so much
higher and so much longer that, when it
finally does pay off, it's at an angle a
stock Luscombe could never hope to match.
Interestingly
enough, the control response on the airplane
was slightly different than the normal
Luscombe. Luscombes have never been known to
have slippery, super-quick ailerons but
those on Gene's airplane were a little
heavier than normal. Since we're running
along at speeds easily twenty miles an hour
over the normal Luscombe, part of the extra
aileron force could be nothing more than
increased air loads. The rudder, however,
still lacks feeling, a trait that some give
as the reason for the Luscombe reputation as
being a little more difficult to handle on
the runway than most tail-draggers. Their
ground handling is actually no worse; it's
just that the rudder has so little feel and
the pedals have such a short throw, that it
is very easy to over-control on
rollout-something I always call upon my own
mental CRT before I turn final in a Luscombe.
ALL THROUGH THE
PATTERN, ESPECIALLY ON Final, I was reminded
what a floater Luscombes can be. Those long,
highly-effective wings let you come down
final in the neighbourhood of seventy to
seventy-five mph and glide forever. Even
though I knew this, I still had to come down
final bent a bit sideways to slip off excess
altitude. I had spent the preceding couple
of days trying to get back into shape in my
own airplane (forty-seven landings in three
days in a Pitts Special!), and my mind was
still running at Pitts speed, which is Warp
9 compared to the Luscombe's dog trot. It
was a smooth, windless day, and I felt as if
we were swimming our way through perfectly
clear molasses and slow motion was the best
we could do.
A slow motion,
three-dimensional waltz brought us down to
the centre line with only minor adjustments
from the flight deck. Incidentally, when
trimming, I found the crank-type elevator
trim, which is mounted on the front edge of
the seat between the tightly-packed butts,
to be just a little awkward to use-only
because the blubber-limited access.
As we floated
down towards the approach end of the runway,
I began bleeding off speed and rounded out
about two feet high, with the intention of
holding it off as long as it would stay up,
which is exactly what I did. I made a
beautiful landing about a foot in the air
and subjected this polished aluminium
sculpture to the indignity of a
much-less-than-perfect landing. I seemed to
be more upset about it than the airplane
was-she rolled out nice and straight on the
grass with gentle nudges from me one way or
the other to keep her nose where it should
be. I'd flown Luscombes enough on pavement
to know that they're sometimes not quite as
well behaved on hard surfaces, although they
are only marginally quicker than a Cessna
1201140. With those long wings, however, a
gusty crosswind can keep you busy.
It was late in
the evening when I watched Gene head out
over the horizon for home and the sun was
playing games with the color of his
airplane. As the airplane and the sun worked
towards their respective horizons, the
machine would be silver one minute and then
shift into a subtle gold, then flow into a
pewter-textured honey that made the airplane
appear as if any second it would melt and
return to the tranquil pool of molten metal
whence it sprang. Gene calls his airplane
the Silver Centaur and it's a perfect name
for what amounts to as nearly a perfect
airplane as you're likely to run across.
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