Fluid Flow & Aerodynamics
why things fly, and why the usual explanation is wrong
Concept

Aeroacoustics — where it appears

The study of the sound a flow makes, in which the sources are the flow's own fluctuations and the radiated field is a tiny residue of them. A flow with no volume change and no net force radiates as a quadrupole, which is why a jet's power goes as the eighth power of its speed.

Named by 10 essays across one field — each of them below, with the objects they name alongside it.

Each cancellation costs two powers of the Mach number. Radiated power against compactness for three source clusters: a single monopole, two of opposite sign, and four on a square with alternating signs. The fitted slopes are 0.00, 2.00, 4.00 — zero, two and four in (kd), measured by integrating the far field over a sphere rather than assumed. A turbulent eddy turns over in about the time sound crosses it, so kd is of order the Mach number, and those exponents become the fourth, sixth and eighth powers of speed. A flow with no moving surfaces has no monopole and no dipole available to it, which is Lighthill's whole argument, and the eighth power is what is left.

The sound that only leaves

A flow is a catastrophically bad radiator, and the reason is that it has no monopole and no dipole available to it. What is left is the eighth power of speed — and the equation is equally happy with sound converging on a jet, which is ruled out by a condition imposed at infinity.

compressible · Aeroacoustics The sound is what fails to cancel. A compact quadrupole of kd = 0.01, followed outwards. The upper curve is what one of its four sources produces on its own at each radius — every one of them is as loud as a monopole — and the lower curve is what all four produce together. Inside the source they barely cancel at all; by one radian of wavelength the sum is 9.3e-5 of what a single source is doing, and it is falling as 1/R from there on because that is what radiation does. Between the two the field falls as the cube of the distance, which is a near field rather than a sound.

The sound is what does not cancel

A quadrupole is not a weak source. Every one of the four monopoles in it is as loud as a monopole of the same strength, and what makes the assembly quiet is that they very nearly cancel — one part in ten thousand survives at a hundredth of a wavelength. The eighth-power law is a statement about how nearly, not about how little.

compressible · Aeroacoustics One signature, aged four times. The pressure signature of a slender body at four distances, computed by the exact Lax formula for the nonlinear propagation. Each point of the waveform moves forward in proportion to its own overpressure, so the compression at the front catches the undisturbed air and a shock forms there, while the expansion at the rear falls behind and forms a second one. What is left is an N-wave: two discontinuities and a straight line between them, spreading and weakening.

The signature that forgets the shape

The pressure field near a supersonic aeroplane depends on every part of it. What reaches the ground has two parameters. Two bodies whose near-field signatures differ by fifty-five per cent in peak and by their whole shape age into the same N-wave, to two and a half per cent.

compressible · Sonic boom A sinusoid, distorting on its way to a shock. A finite-amplitude sound wave at four fractions of the distance to shock formation, computed by inverting the implicit simple-wave solution. Each point of the waveform travels at its own speed, so the compressions catch up with the rarefactions ahead of them and the profile leans forward. At σ = 1 the front is vertical. The linear theory says the first panel is the answer at every distance, for ever.

Every compression becomes a shock in the end

Linear acoustics has no time scale in it, which is the sign that something has been thrown away. A 120-decibel tone shocks after three hundred metres and a jet engine after twenty; the distance goes exactly as the reciprocal of the amplitude, and nothing is exempt.

compressible · Characteristics When the sound arriving now was made. The arrival time at a fixed observer against the emission time, for a source passing at Mach 0.8. The curve is monotone and its slope is not one: while the source approaches, a long stretch of emission arrives in a short stretch of time, and while it recedes the reverse.

The sound now is the source then

Every acoustic calculation is an exercise in bookkeeping about when. The pressure arriving at a listener was emitted at an earlier time, at a place the source has since left, and the Doppler shift is not a separate effect at all — it is the slope of the curve relating the two.

compressible · Aeroacoustics What the rays say the edge is: nearly as loud, and then nothing. The overpressure across the carpet relative to the value under the track, from ray-tube spreading alone, at three Mach numbers from 15 km. It falls gently and then stops: at Mach 1.8 it is 0.92 ten kilometres out, 0.77 at twenty-three and 0.65 on the last ray, 36 km out, with silence beyond. Geometrical acoustics says the carpet ends at a cliff, and the boom at the edge of a real carpet fades as a rumble. The cliff is what the model says; it is also where the model stops.

The edge is a rumble, not a quieter bang

The rays that reach the outer half of a sonic-boom carpet arrive nearly horizontally, having travelled almost three times as far as the one under the track. Ray theory says they still carry two-thirds of the overpressure, right up to a line beyond which there is nothing. Neither half of that is what is heard — which is the useful result, because it says the edge's loudness is not a ray quantity at all.

compressible · Sonic boom A boom gathers most of its age in the thin air near the aeroplane. The share of the total age gathered above each height, for the ray under the track and the last ray computed near the carpet's edge, with the share of the path length travelled above each height for comparison. Under the track 66 per cent of the age is gathered above the tropopause in 26 per cent of the path. The edge ray spends most of its path in the lowest few kilometres and gathers only 11 per cent of its age below 3 km, because the same pressure distorts dense air far more slowly than thin air.

A boom is aged in the thin air it starts in

The rays that reach the edge of a sonic-boom carpet travel two and a half times as far as the one under the track, and it is natural to expect their signatures to have aged accordingly. They have not. A pressure wave distorts thin air far faster than dense air, so two-thirds of a boom's ageing is done in the stratosphere near the aeroplane, and the extra kilometres near the ground add little — which decides how far out a boom shaped to be quiet stays quiet.

compressible · Sonic boom The body's dipole outshouts the flow's quadrupoles by one over the Mach number squared. The power of a wire's lift tone over the generous bound on its wake's quadrupole noise, against the wind's Mach number, for rms lift coefficients 0.2, 0.45 and 0.6 — the spread of the measurements. At Mach 0.03, a 10 m/s wind, the ratio is 9.4·10⁴; it falls as one over the Mach number squared and is still 104 at Mach 0.9, where a real cylinder's shedding has long since changed.

A wire sings with the force on it, not the flow round it

A free flow can only radiate as a quadrupole, four sources nearly cancelling, which is why a jet's noise grows as the eighth power of its speed and so little of its power becomes sound. Put a body in the flow and the cancellation is broken: the fluctuating force the body exerts is a dipole, its sound grows as the sixth power, and at the speed of any wind it outshouts the turbulence that made it by a factor of tens of thousands. The whistle of a wire is the force of its own wake, radiated.

compressible · Aeroacoustics A steady force carried round a circle sings, and each harmonic rises steeply with the tip's Mach number. The loudest level, 30 m away, of the first four blade-passing harmonics of a two-bladed 1.88 m propeller giving 2 kN of thrust from 127 kW, against its tip Mach number. At a tip Mach number of 0.4 the fundamental is 89.8 dB and the fourth harmonic 51; at 0.78, the climb, 98.2 and 88.6; at 0.95, 101 and 98.9.

More blades hush a propeller only while its tips are slow

A propeller's thrust and torque are steady in the blade's own frame, and a steady force held still makes no sound. Carried round a circle it sings at the blade-passing frequency, and Gutin's formula says how loudly: through a Bessel function whose order is the harmonic's and whose argument is that order times the tip's speed towards the listener over the speed of sound. Such a function is exponentially small until its argument nears its order. So spreading the same thrust over more blades, which raises the order of the fundamental, silences it by twenty-five decibels at a tip Mach number of 0.4 and by one at 0.95.

compressible · Aeroacoustics A five per cent distortion gives six blades a tone that no longer falls with the tip's speed, and two blades hardly notice. The sound power of the blade-passing fundamental against tip Mach number, thrust and shaft power held, for two and six blades: from the steady load, and from the thrust's fluctuation as each blade cuts an inflow distortion of 5 per cent rms. At tip Mach 0.4 six blades give 100 dB from the steady load and 113 from the distortion; two blades 127 and 109. The six-bladed steady tone overtakes its distortion tone at tip Mach 0.593.

A distorted inflow gives back the tone more blades took away

A propeller's steady thrust sings through a Bessel function whose order is the number of blades times the harmonic, and that function is exponentially small at low tip speeds — which is why six blades are quieter than two. But a blade that cuts a non-uniform inflow carries a thrust that changes round the circle, and its s-th harmonic radiates through a Bessel function of order six minus s. The sixth needs no tip speed at all. A distortion of five per cent turns six blades' tone into one that hardly falls as the tips slow, fills the axis where the steady tone is silent, and cuts the six-blade advantage over two from twenty decibels to thirteen. Two blades never notice.

compressible · Aeroacoustics

Named alongside it

The objects these essays reach for when they reach for this one.

Far fieldModel limitSpeed of soundMeasurementSonic boomMultipoleNonlinear steepeningShock waveSound powerAcoustic analogyDopplerMach number

All concepts