Development
Red Top was originally a rationalized, upgraded version of the earlier Firestreak air-to-air missile. In 1956, de Havilland Propellers started work on the Blue Jay Mark 4 (its development codename) and Firestreak Mk. IV. Such were the changes that it was effectively a new missile. It arranged its components in more logical fashion than the Firestreak (which had its warhead in the tail), with an improved "Violet Banner" seeker, "Green Garland" IR fuze, and a more powerful "Linnet" booster rocket. It also had a larger warhead, at 31 kg (68.3 lb) against 22.7 kg (50 lb).
The Red Top was faster, and had greater range and maneuvrability than the Firestreak, and its more sensitive infrared seeker enabled a wider range of engagement angles. Being more sensitive it could home in on a target that had been warmed by air friction heating. In the aftermath of the 1957 Defence White Paper, Red Top was initially seen to be a stopgap measure only until the Bloodhound Mk. II SAM came into service. This meant that some of the planned improvements to Red Top were never carried out, including all-aspect capability (as seen on the later AIM-9L/M Sidewinder). Red Top was only "capable of all aspect homing against super-sonic targets." "Unlike modern missiles, Red Top and Firestreak could only be fired outside cloud, and in winter, skies were rarely clear over the UK."
The Red Top entered service in 1964, arming the English Electric Lightning and de Havilland Sea Vixen. It remained in limited service until the final retirement of the Lightning in 1988. Unusually, the missile that the Red Top was intended to replace – Firestreak – also remained in limited service on the Lightning until 1988.
A variant called Blue Dolphin or Blue Jay Mk. V, was proposed, using semi-active radar homing for capability similar to the AIM-7 Sparrow, but this was cancelled in 1958.
Read more about this topic: Red Top (missile)
Famous quotes containing the word development:
“A defective voice will always preclude an artist from achieving the complete development of his art, however intelligent he may be.... The voice is an instrument which the artist must learn to use with suppleness and sureness, as if it were a limb.”
—Sarah Bernhardt (1845–1923)
“Every new development for the last three centuries has brought men closer to a state of affairs in which absolutely nothing would be recognized in the whole world as possessing a claim to obedience except the authority of the State. The majority of people in Europe obey nothing else.”
—Simone Weil (1909–1943)
“America is a country that seems forever to be toddler or teenager, at those two stages of human development characterized by conflict between autonomy and security.”
—Anna Quindlen (b. 1952)