STATEMENT OF RESEARCH
As researcher, I explore the relationship between audio education and industry, DIY circuit building for self-directed instructional methods, and high resolution/multichannel recording via the internet.
At the Purdue School of Engineering and Technology, I researched and implemented high resolution/multichannel recording via the internet (Focusrite Rednet) of college musical ensembles and live performances, which included new music, orchestral, and Jazz ensembles. Just add comma after orchestral.
In addition, my most recent publication investigated how music production programs meet the needs of the audio industry. I created the New Hires Survey (NHS) that asked new hires to articulate the skills they have acquired, rate their proficiency, and indicate where they learned them. While they reported learning basic technical skills during formal music production training, they learned social and communication skills by themselves or on the job. My current publication compares these results with critical comments made by employers in the audio industry.
AES 2017- NYC - Audio Education: Audio Recording Production Students Report Skills Learned or Focused on in Their Programs
MEIEA2017- Chicago - Is A Degree in Music Technology a 360 Deal?
NAMM 2017- NextGen - Getting a Degree in Music Technology Part 1: Calculating Cost and Value of a Music Technology Degree
Central Indiana Audio Student Workshop 2015 - Studio Talk: Effective Communication in the Studio, On-Stage & Beyond Robert Willey, Doug Bielmeier, Edward Nixon and Ryan Eads. Daniel Porter, moderator
Bielmeier, D. (2017). Developing Content Literacy in Students enrolled in Media Education Programs. Journal of Media Education, Vol 8 No2, 5-15.
Bielmeier, D. (2016). A Musician’s Engineer: Best practices for teaching music proficiency at formal audio recording and production programs. Journal of the Art of Recording Production, 50-62.
Bielmeier, D. (2016). Audio Recording and Production Education: Skills new hires have and where they reported learning them. Journal of the Audio Engineer Society, 64, 218-228. DOI: http://dx.doi.org/10.17743/jaes.2015.0097
2017, March, Is A Degree in Music Technology a 360 Deal?, MEIEA, Chicago, IL.
2017, January, Considerations for Getting a Degree in Music Technology, GenNext Session: NAMM 2017, Anaheim Convention Center · Anaheim, CA
2015, November, Music Proficiency Skills in Sound Recording Programs: An analysis of best practices from 25 national schools, The 10th Art of Record Production Conference, Drexel University, Philadelphia, PA.
2015, October, Audio Recording and Production Education: skills new hires have and where they reported learning them, the 139th International Audio Engineer Society Convention, New York, NY.
2015, September, Studio talk: Effective communication in the studio, on-stage & beyond, Central Indiana Audio Student Workshop, Ball State, Muncie, IN.
2014, October, Apprenticeship skills in audio education: a comparison of classroom and institutional focus as reported by educators, the 137th International Audio Engineer Society Convention, Los Angeles, CA.
2014, March, What Employers Want, Central Region AES Student Summit (CRASS), Webster, MI.
2013, July, Why didn’t you learn this at recording school: critical comments by employers, the AES 50th International Conference on Audio Education, Murfreesboro, TN.
2013, March, What I really learned at recording school: a non-experimental survey of skills new hires in the audio industry have and where they were learned, Music Entertainment Industry Educators Association (MEIEA) Educational Submit, New Orleans, LA.
RECENT PUBLICATIONS & PRESENTATIONS
Click on Below Papers to read PDF
Multidisciplinary Undergraduate Research Institute: The Solder to Music Project
To identify and evaluate sonic differences of two different versions of a Field Effect Transistor (FET) audio compressors were built. These audio compressors included three Hairball Audio MNATS FET/500 Revision A audio compressors and three Hairball Audio MNATS FET/500 Revision D audio compressors. All six compressors were organized, built, and then calibrated using the Hairball audio method, and the A.R.R.T. method. A standardized set of cables and microphones were used to test how the compressors would respond to live recordings of speech, acoustic guitar, synthesizers, and a snare drum. After the recordings were made, they were put through a single blind test method to see if audio engineers could identify the sonic differences between the Revisions A and D of the FET compressors.