Most people have never seen the F-22, so the Raptor's airshow routine leaves a lasting first impression. The demonstration highlights the maneuverability and raw power of this new fighter. It also hammers home the point that the United States has jumped to a new generation of fighter aircraft.
Preflight
The maintenance team has serviced the jet and has it ready to go about an hour before I step out onto the flightline. Our crew consists of two full-time maintenance supervisors and eight crew chiefs and avionics technicians from the 1st Fighter Wing at Langley, Virginia, who rotate on and off the team. I'm operationally assigned to the 94th Fighter Squadron, but the demo team itself falls under Air Combat Command.
On show day, both crew chiefs wait for me at the jet. The ladder is up, and the canopy is open. I look over and sign the forms in the Portable Maintenance Aid, essentially a laptop computer used to maintain the jet. One crew chief stands next to the ladder as the other follows me while I'm performing my walk around the jet, the same preflight checks that any Raptor pilot would do prior to a mission.
When I'm done, both crew chiefs stand on either side of the ladder. I go to the front of the airplane for one last look. I salute the crew chiefs before climbing the ladder. My helmet is waiting for me in the cockpit. I preflight the seat and hop in. I hook up the lap belt, shoulder harnesses, and everything else. After I'm strapped in, the crew chief gives me my helmet, and I shake his hand. He says, “Good show.”
One crew chief removes the ladder and takes it away from the jet and goes to the side of the aircraft; the other crew chief goes off the nose. I preflight my switches, insert the data transfer card, and start the engine. The crew chiefs don't communicate with me through headsets—we perform the final ground checks, startup, and taxi-out visually. All the demo teams operate this way, and this is the only difference between how we launch for a demonstration and how we launch for a regular sortie.
StartUp and Taxi-Out
We don't waste time on the ground. Startup to taxi for a tactical sortie requires about fifteen minutes. At a show, I am taxiing in about eight. I set up my displays a little differently for a show than for a tactical sortie. I put the weapon bay door display on the left side because, when I hit the button to open the doors during the demo, I don't want to have to take my right hand off the stick to call up the display. On the right display, I have the control surface position display pulled up.
I put the engine display on the center secondary display between my knees. I put course line and the navigation data on the big center display. On the head-up display, I have the standard HUD data, except I include a portion of the flight test display to see yaw angles.
As I taxi out to the end of the runway, I am on the radio with my safety observer to confirm that the jet is good to go and that I am on time. I double-check with him that my altimeter is set to zero. I dial my altimeter until it reads zero feet in the HUD so I have above-ground-level readings during the routine.
Takeoff
When I take the runway, I radio the safety officer that I'm lined up and ready. He cues me when the music and narration have started. I wait about two minutes and then run up the engines. I push up the power to about eighty percent. About five or ten seconds pass, and the safety observer tells me to release the brakes.
I throw the engines into full afterburner and roll. The aircraft shoots down the runway, rotates, and is airborne in about 1,000 feet. Most spectators are surprised at how fast this roughly 70,000-pound jet gets off the ground. I retract the gear and accelerate through a shallow climb. I watch the runway in front of me and my airspeed and anticipate arriving at show center.
Pullup, Backflip, And Aileron Roll
For the first maneuver, a pullup followed by a backflip, I make sure I'm not too slow or too fast at show center. I pull back on the stick and bring up the nose to just shy of pure vertical. After I've gained some altitude, I glance back over my shoulder to check my orientation to the show lines below. I transmit my altitude to my safety observer to make sure that I'm okay. If he says numbers look good, I execute a backflip over the top of the climb until the nose is pointed back down towards show center.
As soon as the nose gets pointed downhill, I offset the whisky mark [the waterline indicator—a W-shaped indicator in the center of the HUD] about 1,500 feet from the show center line away from the crowd.
The airplane is slow after the backflip. With the nose straight down, I build up airspeed until I have enough to perform the next maneuver—an aileron roll.
I transmit my parameters to the safety observer to make sure I have enough altitude to complete the roll. The total degree of the roll is based solely on the direction of the takeoff. If I took off from left to right, I execute a 405-degree roll. If I took off from right to left, I execute a 225-degree roll. The goal is to recover in a forty-five degree angle away from the crowd.
After the downward roll, I begin a recovery pull to level out. The pull isn't quite full back on the stick, because I don't need to crank hard on the jet to recover it. I stay in full AB the whole time. I extend away from the crowd and accelerate a little for the turn back to show center.
Level 360-Degree Turn
The next maneuver is a level 360-degree turn. Once I have enough turning room behind me, I roll left, pitch back right, and angle the Raptor back toward the crowd. I bring the throttles out of AB.
I start descending in a right-hand turn to get myself lined up on the 500-foot show line. At 500-feet altitude, I modulate the power to arrive at show center in full AB at right around 400 to 450 knots for a level 360-degree turn. I watch my HUD for airspeed and altitude and look outside for the 1,500-foot show line and show center.
A couple thousand feet before I arrive at show center, I roll to the right using the stick, set the bank angle, and execute a full back stick turn. The turn is not a maximum sustained rate turn, which is a turn that maintains airspeed. It is a minimum radius turn, so I am losing airspeed. Initially, this maneuver is roughly 8.5 on the g-meter.
I continue with the stick all the way back until I bleed down energy to get the airspeed I need, which is about 300 knots or so at the end of the circle and at show center. A lot of things are going on at this point. I am maintaining my airspeed and looking outside to modify my pull and my turn to be able to arrive back at show center at roughly the same point where I started.
The turn is probably a full hard pull for the first 180 degrees. I have to back off after that to maintain airspeed for the second half. If I start off on the 500-foot line, I usually end up on the 1,500-foot line because the jet turns so tightly.
J-Turn
As soon as I get to show center at the end of the 360-degree turn, I roll out wings level and come all the way back on the stick to bring the jet to ninety degrees nose high to prepare for the next maneuver—a J-turn. This maneuver looks like the hammerhead performed by the small aerobatic planes. The aircraft basically makes a 180-degree turn in the yaw axis.
I look behind me to make sure my wings are level with the show line and that I'm right at ninety degrees nose high. I hold that position for four or five seconds. I check the HUD to make sure I have the altitude I need to push over. I then go full forward on the stick. This usually results in a large negative-g force because I have some excess airspeed left. I push the nose down until it is right on the horizon and maintain level flight until the jet stabilizes.
As soon as the jet is stable, I pull the stick all the way back until the aircraft stalls. I push on the rudder pedal and begin a yaw rate turn to the left. The nose starts carving to the left, which initiates the J-turn.
As soon as my nose gets through the horizon down low and I am comfortable with the repositioning line, I push the nose forward a little—not necessarily to move the nose, but to break the angle of attack so I can start flying the jet out of the turn while descending. I leave the engines in AB the whole time.
Weapon Bay Door Pass And Roll
I usually come out of the J-turn to the left in preparation for the weapon bay door pass and roll. I look over my shoulder and start a descending left-hand turn to get lined up with show center. I bring my throttles out of AB; otherwise, I will be way too fast by the time I get there. I look outside to choose the best line for the pass.
Typically, while descending, I pick up my altitude, which is about 300 feet. I slow the jet to about 200 knots and choose a point to the right of show center. I wait until just prior to the 500-foot line before setting the bank angle.
The throttles are already where I want them, so I simply fly the line. Just short of show center, I open all the weapon bay doors, including those for the two side weapon bays. This maneuver highlights one stealthy characteristic of the Raptor, that is, internal weapon bays. As soon as I get a call from my safety observer that I'm past show center, I close the doors. I roll out, push up the power, and start climbing to get back over to the 1,500-foot line at 500 feet for an aerobatic 360-degree roll before popping back up.
I have to accelerate, climb, and move myself to a different show line right before I execute a full AB, 360-degree roll to the left. As soon as I get to wings level, I pull the stick back for a second to get the nose pulled up. I maintain sixty- or seventy-degrees nose high. I increase spacing and altitude so I can pitch back in for the next maneuver—a dedication pass.
Dedication Pass
My goal for the dedication pass is to go by the crowd as fast as allowable in full AB. I modulate the throttles as needed to make sure I'm not too fast. I have to watch the speed, as the jet is begging to go supersonic, something that is frowned on at airshows.
I pick up the line for the pass. I have to be able to see where the 500-foot corner marker is on the right side of the crowd. I'm coming from behind the crowd, making an arcing pass in front of them. I have to make sure I don't bust any of the 500-foot crowd lines.
While doing that, I am screaming down and looking to level off at 300 feet to be at the 500-foot corner marker at about Mach .9 to start off. Then I accelerate to Mach .94 or so in the turn at full AB.
If I leave the throttles up the entire time, I am going to be too fast and will have to pull out of AB, which means the pass won't be as impressive. I have to look outside to hit the right show line and watch the HUD to make sure I have the right airspeed and altitude. Since I'm doing all this during a nine-g turn, the dedication pass takes a lot of practice to perfect.
Pedal Turn
As soon as I pass show center, I roll out and bring the throttles to idle to keep from going supersonic. This move is followed by a nine-g pop-up into the vertical to slow the aircraft for the next maneuver—a pedal turn.
I pitch back to the right and look outside. I cross check my displays for engine and fuel status. I fly the aircraft back down to the 1,500-foot line at 500 feet and modify my airspeed to get at show center for the pullup. I level off at about 500 feet.
I'm doing some serious throttle modulating here, because I need enough space and airspeed to light the afterburners before I go into the vertical. So, if I maintain twenty knots shy of the airspeed I need prior to pulling up, then I'll be fifteen knots over it by the time I get there, because the jet accelerates so well. I have to play the airspeed and allow the jet to accelerate as it's going into full AB. A lot of these adjustments are done by feel. Performing this maneuver purely by the instruments in the cockpit would look terrible.
Once both engines are in full AB, I look to the right. Just prior to show center, I pull up. I stop right at ninety degrees nose high in the HUD initially, and then look outside at the horizon and the show line behind me.
Because I'm doing a 360-degree turn, I look to the left and pick a landmark on the ground. I keep my head fixed as I deflect the stick fully to the left. I stop the turn as soon as I see the landmark again. That is the only way to tell I have done a full 360 degrees. I always roll left because it is easier for me.
I look at the HUD to make sure I have the altitude I need to do the backflip before the pedal turn. I come all the way back on the stick and loop the jet. As soon as I get to ninety degrees nose low, I look outside and see where I am on the show line.
When my nose gets to the horizon, I feed in the rudder pedal to start the 360-degree turn. I keep the jet stalled by holding the stick back. I'm basically flying with my feet getting the jet into the flat turn.
I check altitude to make sure I'm going to make it all the way around. I also look outside to make sure I'm not drifting over the crowd. As soon as I have gone a full 360 degrees plus about twenty degrees more to keep me going away from the crowd, I take my foot off the rudder pedal, push forward on the stick, and fly the jet out.
I maintain a heading away from the crowd as I gain the altitude I need to pitch back in.
Power Loop And Loaded Roll
The pedal turn is followed by a power loop. As I reposition, I look outside to see where I am relative to the crowd. I want to arrive to the right of show center at 1,500 feet in full AB and with the airspeed I need to execute the maneuver. I want to hit show center with both throttles up and establishing full AB by the time I start the pullup.
The initial pull for the power loop is not full back. I'm just getting the jet smoothly established in the vertical. Once I get to a certain point in the pull and I've got the jet where I want it, I command full back on the stick and get high AOA. People say that maneuver looks like the jet is turning inside of itself as I execute a mini power loop at the top.
The power loop is a cool maneuver. Once I became comfortable with it, I could look outside instead of staring at the HUD. With the jet at ninety degrees nose high, I tilt my head straight back, trying to see between the tails.
I see the ground come up, and the aircraft is inverted with wings level. At this point, I'm looking up through the canopy, and the ground is getting farther away because I'm still climbing as I execute that turn. The jet doesn't actually start descending until I'm all the way through the loop.
I keep the turn going until the nose comes back up to the next horizon. Then I push the nose forward. I fly the jet out of the loop, and I look to catch the right altitude, airspeed, and AOA for the loaded roll. As soon as I have my parameters set, I jam the stick to the left. The jet goes right into the medium AOA loaded roll and just flops right back around.
Tail Slide
I keep that left-hand turn going and bring the throttles out of full AB to make sure I'm not accelerating too much. Now, I'm just flying myself to the parameters for the tail slide. I continue the left-hand turn behind the crowd so I can set myself up to be directly over show center at a thousand feet behind the crowd with speed to pull up for the tail slide.
I roll out over show center, modifying my throttles, and go directly over the top. As soon as I cross over the top of show center and get to about the 500-foot line from looking down, I come all the way back on the stick to get to about seventy-five degrees nose high.
With the nose set, I come out of MIL power and slow down. As I start approaching my altitude, I hold the nose where it is. I start pushing the throttles up into MIL power just prior to where the jet starts the tail slide.
I use the rudder pedals and the stick and throttle to hold the jet exactly where it is. It will slowly start running itself out of airspeed. I'll see the cue in my HUD when it starts sliding. I'll go from 50 knots, to 40, to 30, to 20, to 10, and tag zero airspeed. Then the numbers start counting UP again except now they are indicating backwards airspeed. The HUD actually shows me how fast I'm falling.
I look at the HUD to see if I'm going to recover on altitude or airspeed limits. Whichever one I get to first, that's the time I start to recover. I make sure the throttles are in MIL power, push the nose down, and fly out.
The tail slide is a fairly benign maneuver for this jet. Most any other jet would probably tumble down into the trees. This is a unique maneuver for the F-22 because the aircraft's flight control system and the vectored thrust allow me to be under complete control the entire time.
Slow-Speed Pass
After the tail slide, I decide how to reposition based on the winds. I want to be into the wind for my slow-speed pass. I get a radio call from the guys on the ground recommending right to left or left to right.
I'm in MIL power initially, but then I back out to continue to slow the jet down. It is nearly impossible to get this jet slowed down if it gets too fast. I have to start working at least thirty seconds out to make sure I'm at the right airspeed.
I get established in the 500-foot line. At about ninety degrees away from the show line, I modify the power, and then I perform an aggressive pullup to establish about thirty-six degrees AOA at around 800-feet altitude. I'll pull past the show line, and then I kick in top rudder to come back in the other direction to get locked on the show line, on altitude, on airspeed.
Keeping a straight line is tough. The only thing I have for visual cues is my heading and HUD. I rely on my ground guys to make sure that I'm not drifting over the crowd. They'll tell me to check one way or the other. I have good authority over the jet to modify my heading. I'll kick a little rudder and check five or ten degrees away from the crowd to make sure I'm on the right line.
For the slow-speed pass, I have to listen to the jet. I cannot just fly it off of the data I am receiving in the HUD. I have to be aware of everything that's going on. I have to monitor sink rate, altitude, airspeed, AOA, and my stick and my throttle all at the same time. This maneuver really takes practice.
The jet is so responsive that it flies well this slow. I have all the excess power I need. I'm not even in MIL power when I'm doing this maneuver. I just hang there. You can see the stabilators moving around a little to maintain stable flight. Typically, I can't see show center until just before I pass it.
I extend the pass all the way down the show line to give myself spacing to do the split-S because the jet climbs so well. I throw the throttles into full AB, and I don't even have to lower my nose position to get airspeed. I can hold the nose where it is. I typically have to bring the nose up, or else the jet will accelerate too much. I usually pull the nose up another five or ten degrees to prevent it from accelerating past the airspeed that I want it to be at before I start the split-S.
Split-S And High-Speed Pass
As I climb, I look over my shoulder to see the crowd line. I call my safety observer and tell him my altitude and airspeed. As long as they are good, he'll say, “Good numbers.”
I roll and come back around for the split-S. Initially, the split-S is in AB to make sure I can make the turn. But very quickly after that, I have to bring the throttles out of AB to make sure I'm not supersonic by the time I get to the show center again.
This is another one of those high-speed passes where I have to really pay attention. I want to arrive at show center at the right airspeed in full burner to make sure that the pass is fast and loud. This jet accelerates so fast that trying to control it for a high-speed pass is one of the more difficult things I have to do.
As soon as I pass show center, I'm back into idle pulling as hard as I can—much like the dedication pass. The aircraft has less gas and is a little lighter now. This is a mid-to-high nine-g pullup.
Hoover Pitch
I climb and reposition for my last maneuver, the Hoover Pitch. I named it as a tribute to Bob Hoover, the famous airshow pilot. He used to perform this maneuver in a P-51 Mustang. It consists of a combination of two knife-edge passes separated by an inverted tuck.
I fly far from the crowd before this pass since the jet is so fast from the high-speed pass and takes time to slow down. I make sure I have the spacing away from the runway I need. I pitch back around. I line up on the 1,500-foot show line, slow the jet down, and go down to about 300 feet or so. I want to be nose high when I do my roll for the knife-edge pass at show center.
A couple of thousand feet before show center, I light the afterburners, roll, and establish a ninety-degree knife-edge to the crowd. I hold it for a second or two to give the crowd a good look at the top of the airplane. Then I do a 180-degree tuck-under to get to a knife-edge on the other side so the crowd can see the belly of the Raptor. Afterwards, I come all the way back on the stick and pitch up to land.
The entire show takes about ten minutes from brake release to touchdown. I always take off with full fuel, which is another testament to the capability of this aircraft. I'll typically get done at around 5,000 pounds of fuel, give or take, depending if I'm trying to save gas or not. At some shows, I might have to land at a different runway than where the demo is flown, or I might have to go into the Heritage Flight with a couple of vintage aircraft and an F-15 or F-16 demo jet.
This show is about ninety percent jet and ten percent pilot skill. We can't demonstrate everything that makes the F-22 a fifth-generation fighter—sensor fusion, stealth, and supercruise, for example. Still, crowds are impressed by the Raptor's raw power, acceleration, and thrust-vectoring capabilities. The Raptor is really something. Crowds love it.
Maj. Paul Moga is in his second year as the F-22 Demonstration Team pilot. A 1995 graduate of the US Air Force Academy, he is currently based at Langley AFB, Virginia.
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