The Real X-Jet
From Transformers to the X-Men, the Blackbird is still Hollywood's favorite futuristic jet. Here's the real story of its birth.
- By William E. Burrows
- AirSpaceMag.com, March 01, 1999
(Page 2 of 7)
A hydraulic system was invented to operate between -65 and 650 degrees Fahrenheit. After responding to an ad in a technical journal touting a fluid that would work in temperatures as high as 900 degrees, Johnson received a large canvas bag filled with white powder. He called the manufacturer and was told that it would turn to liquid when it got hot enough. The problem was solved by Penn State’s Petroleum Refining Laboratory, however, which came up with a super-refined petroleum-based oil that met the requirement.
The glass through which the all-important cameras peered had to be free of optical distortion even though the inside temperature was 150 degrees and the outside 550 degrees. (Pilots have reported that the windshield of an SR-71 gets so hot at cruise that they can’t touch their gloved hand to it for more than a couple of seconds.) That one was solved by the Corning Glass Works and Perkin-Elmer, a lens manufacturer, in three years and at a cost of $2 million. They fused quartz glass windows to the metal frame using high-frequency sound waves, which had never been done before.
The A-12 was at first provided with three camera systems that were leaps in photographic technology. Perkin-Elmer developed a stereo camera that had an 18-inch lens and a 5,000-foot film supply. This Type I camera produced paired photographs of a 71-mile-wide swatch of ground with a resolution of one foot. Roderick M. Scott, Perkin-Elmer’s resident genius, developed several innovations, including the use of a reflecting cube instead of a prism for the scanner and a concentric film supply and take-up system that minimized weight shift. Kodak created the Type II camera, also stereo, which covered a 60-mile-wide swath of territory with a 21-inch lens that resolved on the order of 17 inches. Hycon’s entry, the Type IV, was designed by James Baker and was an advanced version of his B camera for the U-2. It took seven frames that, when combined, covered a swath 41 miles wide with a ground resolution of eight inches. The Type IV also held the most film yet: 12,000 feet. Later on, a Texas Instruments infrared camera that could take pictures day or night was adapted to the A-12 and used when the need arose.
Knowing that the difference between aerodynamics and hydrodynamics was basically a matter of density—that the air in front of their aircraft would not only get hot but, in effect, thicken as the speed increased—Johnson and his team designed the A-12 to cut through very hot, dense air the way a vessel cuts through water. (The idea dates back as far as Leonardo da Vinci, who wrote that both birds and fish “fly” through different fluids in the same basic way.) That’s why the fuselage, a model of which was tested in a water-flow tank, was hull-shaped. And the forward part was stretched into what Johnson called a blended body. Its chines, when matched to a modified delta wing, dramatically increased lift at cruise speed and reduced drag significantly because it allowed the whole aircraft to create lift. The chines also formed a series of bays that were stuffed with intelligence-collecting sensors and other equipment, including electronic countermeasures.
The speed of the A-12 came from a pair of 20-foot-long engines, each weighing 6,500 pounds, that were every bit as innovative and challenging as the aircraft they propelled. That corncob of an engine was refined over the years until it developed more than 32,000 pounds of thrust, or about a third of the thrust ratings of today’s giant airline turbofans. Designed by Pratt & Whitney under tight security starting in late 1959 and designated the JT11D-20, it was developed for a Mach 3 Navy attack aircraft that was canceled by President Kennedy after the CIA convinced him that the need for a Mach-busting spyplane took precedence. It soon became better known by its military name: J-58-P2. Powerplant cognoscenti savor the J-58 as a true classic.
For security reasons, less than a dozen of the J-58’s designers knew what the whole engine looked like or was supposed to do, recalls senior project engineer Joseph A. Daley Jr. Those who did were confounded at every stage by the heat problem, just as the airframe designers at Lockheed were. “The engine operates in the most hostile environment any engine has ever been subjected to,” the Ae107 course book noted. “Air entering the compressor reaches 1,400° F. The turbine inlet temperature is 2,000° F. The temperature in the afterburner section reaches 3,200° F....”
The inlet was a particularly tough problem. Early testing showed that high inlet temperatures would hurt the efficiency of the nine-stage compressor, which, to use engineering jargon, would run out of surge margin—the engine would stall. The problem was solved in a way that gives engineers existential pleasure and evokes the word “elegant.” At the fourth compressor stage, air was bled off through six bypass tubes on the outside of the engine and routed back to the afterburner. This not only removed heat from the compressor, but caused the hot air blowing into the afterburner to arrive at the same speed as the air flowing into the inlet. The result of this was that at Mach 2, the inlet and afterburner were synchronized and therefore turned into a ramjet that provided about 80 percent of the J-58’s thrust.
The J-58 weighed more than three tons, mainly because most of it was made with Waspaloy, a nickel-based alloy that even at 1,400 degrees keeps its strength and resists oxidation. But it is also very heavy and hard to weld. The first thin sheets of the metal used for fabrication experiments were supplied by the Hamilton Watch Company. Titanium was used for the front compressor blades because it is much lighter than steel and stronger than aluminum. The forging of the blades was an art form in a titanium industry that in the late 1950s was in its infancy. Not only were the blades meticulously hollowed on the inside for cooling, but the metal’s grains were aligned for strength.
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Comments (9)
Bouroughs did a great job of describing the machine development. However he did overlook the J-58 engine's need for a ground based Starter Cart (2 Buick Wildcat V-8s) and that the JP-7 required an "exotic" igniter called TEB ( Tri-Ethyl-Borate).
To see some of the personal experiences on the A-12, go to the following web sites:
http://www.habu.org/a-12/06932.html
http://www.wvi.com/~lelandh/m21_Crash.html
http://www.roadrunnersinternationale.com/oxcart_pilot_training.html
There are a number of pilot's stories under the Roadrunners...
Posted by Edward Power on June 11,2011 | 12:26 PM
This is a very interesting piece. I am a retired Navy Civil Servant. I was an electronics engineer for 25 yrs with the Navy Civil Service. My Dad worked for Lockheed during the Kelly Johnson years. He was superintendant over the skunk works tooling dept, 3rd under Kelly Johnson. His name was Edwin C. Mort. He passed away early January of 1989.
This piece answers many questions I have had about the "Black Bird".
Posted by Richard E. Mort on June 11,2011 | 08:58 PM
My father worked for General Electric from 1945-84
and did work with a lot of other companies during
that time.
One such company was the Skunk Works during Kelley Johnson's time and I remember the Blackbird being
refered to as the YF-12A.
My father worked with a lot of space exploration programs(Including the X-15 during Harrison "Stormy" Storms time)
defense projects and commercial aviation jobs(The SST program with Boeing until President Nixon axed it in 1971)
I've always been interested in what my father did BUT just
didn't have the math or science knowledge to persue it. I
still read LOTS of science fiction. Sir Arthur C Clarke
was both our favorite author.
My father lived from 1919-1995 and I was born in 1949.
Thanx! for letting me ramble on a bit.
Great piece on the Blackbird...
06 16 11
Posted by Don Ducker Jnr on June 16,2011 | 09:11 AM
Now 12 years later Annie Jacobsen has written Area 51, and in there is a lot of information about Oxcart, the Skunkworks and other formerly classified projects.
Posted by PeterK on June 23,2011 | 05:54 PM
The SR-71 also served as the artistic inspiration for a cover illustration (http://www.isfdb.org/wiki/images/a/a9/ANLGJUL68.jpg) for a novella by Dean McLaughlin in the July 1968 issue of Analog Magazine. The artist was the late Frank Kelly Freas who depicts an SR-71-like aircraft looming over WWI fighters as a result of the 20th Century airplane arriving unexpectedly over France in 1918. The story somewhat humorously depicts the frustration of the modern airplane's sole pilot who discovers that his modern missiles can't shoot down wood and fabric biplanes with tiny radial engines.
Posted by Diana Powe on June 24,2011 | 05:33 AM
Excellent work Mr.Burrows. Nothing captures my imagination like the Blackbird. Not even my beloved Corsair.
Marines are the reason I don't speak Japanese.
Soldiers are the reason I don't speak German.
Texans are the reason I don't speak Spanish.
Semper Fi
If it were not for the United States Military,
There would not be a United States of America.
Freedom comes at a price. Remember those who paid it.
Posted by Hank Armstrong on June 24,2011 | 10:19 AM
It is just breathtaking to think of the 'Murderers' Row' of engineering, design, and fabrication talent that Kelly Johnson surrounded himself with in the 50's and 60's at Lockheed's SkunkWorks. Of course, the Cold War-driven unlimited budgets and different gov't/defense contractor relationships of that time enabled a lot of innovation, but to imagine the history-altering aircraft these guys dreamed up and built is just amazing. With slide rules and calipers and feeler gauges . . . .
Like Ben Rich spoke about in his book, SKUNK WORKS, these groups of guys in white shirts and ties and pocket protectors, justifying their blueprints over cigarettes and coffee and slide rules to crusty, seen-everything fabricators whose experience tempered their ideas must have been an intoxicating atmosphere. I often think THAT's why it was buried behind layers of Black World secrecy: They were just having too much fun making history, one rivet at a time.
Posted by Joey Wilson on July 8,2011 | 01:20 AM