IntroductionAt 10:57 a.m. on September 5, 1977, Titan-Centaur expendable rocket provided Chuck Berry and Chess Records with Rock & Roll's first interstellar distribution deal. Johnny B. Goode, along with twenty-six other tracks, was engraved onto gold-plated gramophone record and placed aboard Voyager 1 to serve as window onto the best of human culture.1 The record was the work of some of the greatest names in Chicago Blues and early Rock & Roll, but it would have been no more than fleeting memory if not for the steady hand of Chicago-based audio engineer named Malcolm Chisholm (1929-2003).2 The study at hand argues for Mr. Chisholm as historical figure whose significance merits recognition in the context of the twentieth-century recording industry. Not only can his impact be linked directly to the birth of Rock & Roll, but his experience allows us to confront core precepts of traditional form of audio engineering considered arcane by some modem approaches. This research demands re-evaluation of the relationship between technological advancement and product quality. To what degree does the widespread belief that newer equals better reach from consumer electronics into professional audio? To what degree are artistic concepts like authenticity and empathy under erasure by the countervailing drives toward speed and profit? The purpose of this study is not simply to argue for greater visibility for Chisholm as major contributor to what has become mainstream popular music, but to recognize larger paradigm shift through his experience. Chisholm stands within the traditional art-versus-commerce debate as an example of the post-World War II craftsman ethos marginalized by an incoming, corporate-determined paradigm.MethodologyWhat is known of Chisholm can be divided into five categories: his recordings; his resume and other personal notes; interviews of him; passing references in books and articles; and the recollections of his family, students, and colleagues.3 Given the fact that the first four of these categories comprise works that have largely been made available either as audio, digital, or print publications, this study adopts oral history as methodology that allows for access to largely untapped resource. Personal interviews of former students, colleagues, and family members provide clear view onto Chisholm's approaches, techniques, and experiences. Contextual analysis allows us to position this experience relative to historical, cultural, and technological forces acting upon the industry in which he worked. Together, these approaches allow us to recognize Chisholm's specific contribution to popular music within the larger story of the Rock & Roll era.The interviews were conducted using questionnaire organized around three topics: Chisholm's visibility; his approach and techniques; and his impact on the field.4 Respondents were offered the option of telephone interviews (that I transcribed and remitted for their approval) or filling out the questionnaire on their own via email attachment. Ten of the twelve respondents opted for the telephone interview. All interviews were conducted between August 2012 and May 2013.Biographical OverviewMr. Chisholm was Chicago native best known for his work engi- neering Blues sessions for Chess Records despite also recording some of the twentieth century's greatest Jazz and popular musicians.5 An obituary published by the Engineering and Recording Society of Chicago (EARS) reveals curious, adventuresome type, a true renaissance man who added photography, undersea diving, and extensive travel among his exploits.6 Looking at his professional career, we can discern three phases. In the first period (1948-1955) Chisholm was certified electronics technician (ET 1) and licensed radioman with the U.S. Coast Guard and United Airlines respectively. In his audio professional phase (1955-1977), Chisholm entered the recording industry under Bill Putnam (1920-1989) at Universal Recording and developed wide skill set freelancing for Chess and other Chicago area studios. …
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