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Wayne Baker, more well-known under his moniker of Fidelium, has been playing music his whole life, and has worked in the electronic music field of dreams since 2004, sculpting and forging his own sound in the rumbling world of bass music while assisting in the development of artists -- namely at the IDMf Netlabel. He is a native and resident of the Bay Area in California, where he completed his Bachelor in Music Composition and Theory at San Francisco State University, graduating with cum laude honors in 2013. Since then he has continued building his legacy and shaping his sound, ever-inspired by the reverberating sounds of the urban landscape. 

Occasionally he spins records at parties around the city and makes appearances at notable spots where other bass hungry people flock. He is currently working on two full-length albums, an online composition-centric podcast (soundcloud.com/fidelium/sets/soundjournals) focused on prolificacy (even though he's definitely and obviously been a slacker lately), and finally, contributing as one half of a production duo (y.Me) with Chris Hector (Dave Smith Instruments, Pym). He and Chris opened for a Tipper sunrise set at Symbiosis in 2015 and to this day that is one of coolest things he's ever done and if you weren't there well you should have been. 

Fidelium has so far self-released three albums that are available anywhere on the internet, but he would prefer that, should you choose to purchase it, that you do so from his Bandcamp page at fidelium.bandcamp.com. Most of his music is choose-your-own-price, and anything any of his fans can contribute monetarily is greatly appreciated; a man's gotta eat! 

Wayne is always trickling out tidbit shmarples of sounds like Hors d'oeuvre. Did that sentence not mamascapal? Persnapsicaxiwax tanawaxal.

Please visit Wayne's nifty web 3.0 website at banewaker.com, where he brings all of his output and artistic thought process together in one place while (when he has time which is pretty much never and always) trying to give insight to his process as it happens, and sometimes after the fact. 

Enough talk and ascii characters blah blah blah. Listen to the music. I'm told it's best for urban transit rides or long drives in the car. If you're a DJ, you are welcome to pantydrop people with it. There is a uplifting spirituality within his musical notes and frequencies as well. It is Wayne's hope that when you do, that it's the right place and right time, in order for it to positively invigorate and energize you with the melting heart-on-sleeve candidness his tunes elicit. He totally did not write this bio, by the way. Someone else did. 

Órale!

hi.

My soundJournals

Here is a page dedicated to my hour-long production practice sessions where I am still in the process of developing my skills and streamlining my process on a compositional level. Too often I tend to focus in on a half second of audio and lose a lot of my time in small details without focusing on the big picture. By imposing rules and boundaries on my sessions, including a time limit, I am able to focus on sharpening my composition process. HOW MANY FUCKING TIMES IS HE GOING TO USE THE WORD "PROCESS"?!

As things exist now, here are the rules I originally wrote out:

So, I'm trying to pick up a habit of creating music without the purpose of finishing it or spending much time meticulously editing it. 

Here are the rules I wrote for myself: 

GOLDEN RULE: TRY TO SPEND ONE HOUR A DAY BEING MUSICAL.

  1. don't beat yourself up if you don't get around to this every day (you won't.) 
  2. compose anything, in any tempo, in any key, in any genre. 
  3. to reiterate: literally make anything you want. no rules.
  4. post results on soundcloud (light mastering and mixing allowed) after one hour of composing.
  5. do not name the composition as anything other than the date published.
  6. doesn't matter if it isn't "finished", move on from it for today. you may return to it later if you want.

Other rules: 

  1. minimize time searching for presets or creating synths. the point is to compose, not tinker with the timbres. you can work on these things later if you like the idea you came up with and want to work further on it 
  2. you must use the first instrument or preset you land your mouse click on (being random = more fun). you're allowed one retry if the instrument is really that bad.
  3. try to decrease beat-making. focus more on melody and harmony. sample selection wastes time. maybe make your own preset drumkits so you aren't looking for new sounds every session.
  4. choose a different artistic image for each session.

In the description list the following:

  1. DAW used
  2. Synths used
  3. BPM, time sig, other technicalities
  4. Any compositional details about harmony or melody
  5. Talk about the process a little.

This page will live here.

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