NINETY
MINUTES
before
sunrise
on
7
April
1978,
an
extraterrestrial
guest
arrived
over
Eastern
Australia.
For
about
20
seconds
it
streaked
across
the
sky
leaving
a
bright
trail
that
turned
night
into
day,
before
finally
exploding
into
glowing
fragments
that
vanished
into
the
sea.
This
meteor
was
just
one
of
thousands
that
enter
our
atmosphere
every
year,
yet
dozens
of
witnesses
in
Newcastle
and
Sydney
reported
something
particularly
strange
about
this
visitor.
Just
before
it
blew
apart,
it
produced
an
unearthly
soundtrack
of
hisses,
crackles
and
pops.
Reports
of
noisy
meteors
appear
in
the
Bible,
yet
the
cause
of
their
bizarre
sounds
has
always
been
a
mystery.
One
person
might
hear
the
popping
and
whooshing
clearly
while
another,
standing
just
a
few
metres
away,
hears
nothing.
Explaining
this
oddity
is
especially
tricky
since
there
is
almost
no
hard
scientific
data
to
go
on:
even
if
you
spent
two
hours
every
night
looking
for
them,
you
might
have
to
wait
fifty
years
to
hear
one.
Yet
researchers
believe
they
are
finally
closing
in
on
the
origins
of
these
strange
sounds.
All
they
need
now
are
some
meteors
on
which
to
test
their
theories.
But
rather
than
waiting
around
for
one
to
show
up,
they're
hoping
that
artificial
meteors--redundant
satellites
brought
down
from
orbit
to
burn
up
in
the
atmosphere--will
give
them
the
vital
data
they
need
to
settle
it
once
and
for
all.
At
the
same
time,
there's
a
good
chance
that
they
will
solve
another
age-old
mystery--the
ghostly,
rustling
songs
sometimes
heard
by
observers
of
the
northern
and
southern
lights.
One
of
the
pioneers
of
these
studies
is
Colin
Keay,
a
physicist
at
the
University
of
Newcastle
in
Australia.
The
day
after
the
New
South
Wales
fireball
fell
to
Earth,
Keay
was
phoned
by
a
colleague
at
the
Australia
Museum
in
Sydney
who
asked
him
if
he
would
search
for
any
fragments
of
the
meteorite
that
might
have
landed
on
dry
ground.
During
this
hunt,
he
discovered
something
about
the
fireball
that
would
change
the
course
of
his
work
forever.
The
meteorite,
Keay
calculated,
had
streaked
across
the
sky
at
almost
20
kilometres
per
second,
30
kilometres
up,
yet
he
met
dozens
of
reliable
witnesses
who
claimed
to
have
heard
it
produce
strange
noises
as
it
flew
overhead--anything
from
"a
low
moaning"
to
"an
express
train
travelling
at
high
speed".
If
these
sounds
had
come
directly
from
the
meteorite,
people
on
the
ground
below
shouldn't
have
heard
them
until
almost
a
minute
after
it
exploded.
It
would
be
like
seeing
a
distant
flash
of
lightning
and
hearing
the
thunderclap
at
the
same
instant.
What
finally
clinched
it
for
Keay
was
meeting
two
witnesses
who
claimed
the
sounds
first
alerted
them
to
the
meteorite
trail.
"When
two
people
reported
hearing
the
sounds
before
seeing
the
light
of
the
fireball,
I
knew
it
couldn't
be
psychological,"
says
Keay.
"There
had
to
be
something
to
it."
Intrigued,
he
set
to
work
to
uncover
the
mechanism
behind
these
noises.
He
spent
months
creating
and
discarding
one
physical
model
after
another.
Finally,
he
settled
on
one
that
he
suspected
was
the
only
way
to
explain
how
an
observer
could
hear
a
meteor's
fiery
entry
at
the
same
time
as
seeing
it.
It
all
comes
down
to
electromagnetic
radiation.
Keay
suspected
that
the
light
given
off
by
a
meteor's
trail
must
be
accompanied
by
invisible
electromagnetic
radiation
in
the
form
of
very
low
frequency
(VLF)
radio
waves
at
frequencies
from
10
hertz
to
30
kilohertz.
Travelling
at
exactly
the
same
speed
as
visible
light,
these
waves
would
reach
the
observer
as
soon
as
the
meteorite
itself
came
into
view.
The
problem
is
that
you
can't
hear
radio
waves.
The
only
way
you
might
hear
them
is
with
the
help
of
a
suitable
"transducer"--an
object
that
acts
rather
like
a
loudspeaker,
converting
electromagnetic
signals
into
audible
vibrations.
After
some
experiments
in
a
soundproof
chamber,
Keay
found
that
all
kinds
of
things
can
act
as
transducers.
Aluminium
foil,
thin
wires,
pine
needles
or
dry,
frizzy
hair
all
respond
to
a
VLF
field.
The
radio
waves
induce
small
charges
in
such
objects,
and
these
charges
force
the
object
to
vibrate
in
time
with
the
oscillating
waves,
effectively
making
them
act
like
the
diaphragm
in
a
loudspeaker.
Even
a
pair
of
glasses,
he
discovered,
will
vibrate
slightly.
And
since
they
rest
against
the
bones
of
the
skull,
glasses
could
increase
an
observer's
chances
of
hearing
VLF
waves.
Pine
speakers
The
transducer
effect
would
explain
why
some
people
heard
noises
from
the
Australian
meteor
while
others
close
by
heard
nothing.
Those
who
heard
sounds
were
simply
nearer
to
the
"speakers"--transducers
such
as
pine
trees,
for
example.
It
would
even
explain
why
attempts
to
record
these
sounds
have
always
failed.
Scientists
go
out
of
their
way
to
place
their
microphones
well
away
from
any
possible
sources
of
interference
such
as
trees
or
electric
cables.
But
without
any
transducers
nearby,
the
meteors
would
appear
silent.
So
the
transducer
effect
seems
a
plausible
source
of
the
strange
noises,
but
how
do
meteors
generate
VLF
waves?
"I
was
getting
nowhere
until
I
got
the
idea
to
look
at
turbulence,"
Keay
says.
He
remembered
a
theory
put
forward
by
physicist
Fred
Hoyle
which
used
turbulent
plasmas
to
explain
sunspots.
Perhaps,
thought
Keay,
interactions
between
the
Earth's
magnetic
field
and
the
plasma
in
a
meteor's
trail
could
somehow
create
VLF
waves.
When
a
meteor
crashes
into
the
Earth's
dense
atmosphere,
it
ionises
the
air
around
it,
leaving
a
blazing
trail
of
plasma.
For
a
few
metres
behind
the
meteor,
this
trail
flows
smoothly,
but
a
little
further
back
it
becomes
turbulent.
Since
a
plasma
is
a
mixture
of
ions
and
electrons,
it
can
trap
and
hold
the
Earth's
magnetic
field.
"The
plasma
is
swirling
so
fast
that
the
magnetic
field
is
trapped
and
scrambled
up
like
magnetic
spaghetti,"
explains
Keay.
But
as
the
meteor
races
across
the
sky,
the
plasma
left
behind
cools,
and
the
electrons
and
ions
in
it
recombine
almost
immediately.
Without
the
electrical
charges
to
keep
the
magnetic
field
lines
tangled,
they
suddenly
pop
free
and
vibrate
like
a
plucked
violin
string.
It
is
these
vibrations,
Keay
believes,
that
broadcast
VLF
electromagnetic
waves
over
a
range
of
several
hundred
kilometres
(see
Diagram,
below).
|
Sound
and
fury:
a
large
meteor
hitting
the
atmosphere
creates
a
plasma
which
tangles
up
the
Earth's
magnetic
field
(large
image).
The
release
of
the
field
lines
generates
a
burst
of
VLF
radiation,
which
is
heard
on
the
ground
via
transducers.
Smaller
meteors
may
also
generate
VLF
when
charges
separate,
creating
an
electric
field
(inset)
|
Keay
has
named
the
sounds
generated
by
these
radio
waves
"electrophonic"
noise.
He
even
believes
that
VLF
waves
are
responsible
for
another
eerie
effect:
the
rustling
and
sighing
sounds
of
the
northern
and
southern
lights.
For
centuries
strange
noises
have
been
said
to
accompany
the
exquisite
curtains
of
colour
seen
in
the
sky
near
the
Earth's
magnetic
poles.
These
sounds
are
heard
often
enough
to
be
known
as
the
"whisper
of
souls
of
the
dead"
in
Eskimo
folklore.
Yet
just
as
with
the
burps
and
whistles
of
meteors,
some
people
hear
the
swish
of
the
aurora
while
others
nearby
are
left
in
silence--one
reason
the
sounds
were
often
written
off
as
a
psychological
illusion.
Auroras
are
created
as
the
Earth's
magnetic
field
captures
charged
particles
from
the
solar
wind.
These
particles
stream
along
the
field
lines
and
down
towards
the
magnetic
poles.
Here
they
strike
the
upper
atmosphere
and
ionise
nitrogen
and
oxygen
molecules
to
produce
the
characteristic
red
and
green
glow
of
the
auroras.
During
these
electrical
"storms",
scientists
have
recorded
abnormally
high
electric
fields
and
many
believe
these
fields
are
responsible
for
the
noises
auroras
emit.
They
suggest
that
they
cause
"brush
discharge",
which
occurs
when
electric
fields
induce
an
electric
potential
gradient
in
objects
on
the
ground.
If
these
objects
have
points
or
spikes--such
as
those
on
leaves
or
pine
needles,
for
instance--there
can
be
an
electric
discharge
at
their
tips
that
creates
an
audible
crackling.
But
Keay
believes
that
the
electric
fields
are
rarely
strong
enough
to
create
brush
discharge.
The
whispering
of
the
auroras
must
have
another
cause,
he
says.
He
believes
that
just
as
with
meteor
noises,
auroral
sounds
are
generated
by
VLF
waves
acting
on
transducers
such
as
hair.
These
waves
seem
to
be
produced
by
ions
and
electrons
from
the
solar
wind
that
are
reflected
back
and
forth
in
the
Earth's
magnetic
field.
Keay's
model
might
explain
sounds
from
large
meteors
and
auroras,
but
it
doesn't
seem
to
explain
the
noises
that
very
small
meteors
make.
In
November
1998,
astronomers
from
all
over
the
world
flocked
to
Mongolia
for
the
biggest
Leonid
meteor
display
in
decades.
Over
two
nights,
they
witnessed
more
meteors
than
they
could
hope
to
see
in
four
years
of
normal
observations.
There
were
even
seven
reports
of
electrophonic
sounds--including
the
first
brief
meteor
"pop"
ever
captured
on
tape,
recorded
by
the
Croatian-based
group,
International
Leonid
Watch.
Previous
recordings
of
meteors
had
produced
a
time
delay
between
the
visual
observation
and
the
sound,
allowing
the
possibility
of
interference
or
even
the
odd
sonic
boom
to
slip
in.
But
the
Croatian
researchers
showed
that
the
VLF
signal
picked
up
by
radio
receivers
coincided
with
the
sounds
picked
up
by
microphones
and
an
image
recorded
on
video
to
within
one-hundredth
of
a
second:
enough
to
convince
all
but
the
most
sceptical
that
this
wasn't
a
statistical
freak.
Yet
according
to
Keay's
theory,
there
shouldn't
have
been
any
noise
at
all.
Leonids
are
small
objects
made
of
porous,
fragile
material.
Weighing
no
more
than
a
dried
pea,
the
average
Leonid
burns
up
long
before
it
reaches
the
lower
atmosphere,
where
turbulence
in
its
plasma
tail
can
generate
VLF
waves.
According
to
Keay's
model,
only
a
giant
Leonid,
upwards
of
one
metre
across
would
stand
any
chance
of
producing
electrophonics.
"When
you
calculate
how
bright
a
meteor
of
that
size
would
be,
the
number
becomes
enormous
and
would
violate
the
observations,"
says
Dejan
Vinkovic,
an
astrophysicist
from
the
University
of
Kentucky
who
attended
the
Mongolian
display.
Also,
the
sounds
from
Leonids
are
short
pops
or
clicks,
quite
different
from
the
prolonged
hisses
accounted
for
by
Keay's
theory.
Martin
Beech,
an
astronomer
at
the
University
of
Regina,
Canada,
believes
he
can
resolve
the
problem.
He
has
studied
noisy
Leonids
on
and
off
for
the
past
decade
and
has
just
written
a
paper
that
expands
his
theory
to
explain
these
strange
pops.
"We
produced
the
name
'burster'
to
distinguish
them
from
the
longer-duration
sounds
that
Keay
researched,"
says
Beech.
In
a
model
developed
with
colleague
Luigi
Foschini,
the
electromagnetic
signal
is
formed
suddenly
when
a
fast,
light
meteor
breaks
up.
When
this
happens,
says
Beech,
a
shock
wave
explodes
out
into
the
plasma
trail
just
behind
it.
Since
the
electrons
and
ions
in
the
plasma
have
different
masses,
the
lighter
electrons
tend
to
ride
the
front
of
the
shock
and
are
separated
out
from
the
slower-moving
ions.
"That
sets
up
something
called
the
space
charge,"
says
Beech,
"where
you've
got
a
separation
of
the
negative
charge
of
the
electrons
from
the
positively
charged
ions."
This
separation
is
unstable
and
the
charges
recombine
almost
immediately,
but
not
before
the
short-lived
electric
field
generates
a
sudden
pulse
of
VLF
waves.
When
this
burst
reaches
the
ground
it
creates
audible
sound
in
the
same
way
as
the
radio
waves
from
larger
meteors
(see
Diagram,
opposite).
Violent
explosion
Keay
likens
these
electrophonic
pops
to
the
audible
"click"
that
occurs
at
the
moment
a
nuclear
bomb
detonates.
"A
nuclear
bomb
is
a
violently
exploding
plasma
that
causes
such
a
shock
to
the
Earth's
magnetic
field
that
it
generates
a
pulse
of
electromagnetic
radiation,"
says
Keay.
Beech
agrees
that
the
physics
may
be
similar.
"But
to
do
that
you
need
something
that
is
literally
like
a
nuclear
explosion,
and
in
the
case
of
bursters
they
just
don't
have
that
kind
of
energy,"
he
says.
Despite
the
progress,
it
seems
that
there
is
still
no
single
theory
that
can
explain
all
the
effects
("Small,
medium
and
large",
p
15).
The
real
problem
is
that
Beech
and
Keay
simply
don't
have
enough
data
to
go
on.
"With
bursters,
it
is
not
entirely
clear
yet
what
sort
of
signal
you'd
expect
to
see,
and
it's
hard
to
look
for
something
when
you
don't
know
what
it
looks
like,"
says
Beech.
To
collect
more
information,
he
has
set
up
an
all-sky
video
camera
and
microphone
at
the
University
of
Regina.
"Progress
in
the
future
is
going
to
depend
upon
getting
reliable
data,"
he
says.
Vinkovic
is
also
busy
hunting
for
noisy
meteors.
Last
year
he
set
up
the
Global
Electrophonic
Fireball
Survey
to
gather
reports
of
meteor
noises.
So
far
it
has
20
separate
incidents
on
its
database,
and
Vinkovic
plans
to
collect
further
electrophonic
information
by
persuading
other
international
meteor
surveys
to
start
listening
for
sounds.
He
is
also
looking
to
artificial
meteors
for
help.
"Even
when
you
observe
electrophonic
sounds
from
a
meteor,
you
don't
know
what
properties
that
body
had
when
it
entered
the
atmosphere.
You
don't
know
the
physical
parameters,"
he
says.
The
answer,
he
has
realised,
is
to
listen
to
satellites
as
they
burn
up
in
the
atmosphere.
They
will
behave
just
like
natural
meteors,
but
you
know
their
size
and
exactly
what
material
they're
made
from.
If
you
can
find
out
when
and
where
they're
coming
down,
he
says,
you
should
be
able
to
get
a
good
idea
of
what's
going
on.
Recently,
when
Motorola
drew
up
plans
to
dispose
of
its
66
Iridium
satellites,
Vinkovic
thought
that
he
had
hit
the
electrophonic
jackpot.
Now
a
rescue
package
means
the
Iridium
network
looks
set
to
stay
up
there
for
the
time
being,
but
Vinkovic
is
not
too
despondent.
Other
artificial
meteors,
such
as
failed
communications
satellites,
are
regularly
brought
burning
down
to
Earth.
The
Russian
space
station
Mir
is
coming
down
in
February.
And
there
are
even
unconfirmed
reports
that
the
space
shuttle
returns
to
Earth
with
an
electrophonic
crackle.
Vinkovic
has
a
busy
time
ahead,
but
he
knows
that
only
hard
evidence
will
silence
the
sceptics.
Colin
Keay,
on
the
other
hand,
feels
that
electrophonics
and
the
theory
he
has
pioneered
are
on
a
firm
enough
footing
to
put
the
ball
back
into
the
cynics'
court.
"I
believe
that
I've
solved
the
problem
and
started
a
new
science,"
he
says.
"It
is
healthy
for
people
to
doubt,
but
the
onus
is
on
them
to
prove
their
doubts."
The
challenge
to
physicists
is
clear--you
may
not
subscribe
to
these
theories,
but
do
you
have
any
better
ideas?
Small,
medium
and
large
THE
researchers
admit
that
their
efforts
to
account
for
electrophonic
sound
do
not
provide
anything
like
the
whole
picture.
Colin
Keay's
plasma-turbulence
theory
works
well
for
long-duration
sounds
from
large
fireballs,
and
Martin
Beech's
burster
model
may
work
for
lightweight
meteors,
but
there
are
still
a
number
of
reports
that
neither
can
explain
on
its
own.
The
real
answer
may
lie
in
a
mixture
of
both.
If
a
Leonid
disintegrates
gradually
on
entry
rather
than
its
more
typical
catastrophic
break
up,
for
instance,
a
repeated
burster
effect
could
resemble
the
longer-duration
sound
modelled
by
Keay.
There
may
well
be
other
mechanisms
at
work
that
scientists
just
haven't
considered
yet.
"Personally,
I
don't
think
there
is
one
single
theory
that
can
explain
everything
going
on
out
there,"
says
Dejan
Vinkovic
of
the
Global
Electrophonic
Fireball
Survey.
He
thinks
that
meteors
must
be
able
to
distort
the
Earth's
magnetic
field,
even
at
heights
where
the
air
is
too
thin
to
create
turbulence.
In
preliminary
calculations,
Vinkovic
has
found
that
this
distortion
could
start
at
the
edge
of
the
ionosphere,
some
100
kilometres
above
the
ground.
But
the
question
remains,
how?
|