"Thankfully, I was able to use LALAL.AI to salvage that song" Interview with Whodamanny

For the producers behind Naples’ Periodica Records, music isn’t just sound, it’s soul. At the heart of their production process is a devotion to sonic detail, and the right tools to bring it to life.

One such tool, LALAL.AI, has become a trusted companion in the studio. From isolating drums for reference to rescuing last-minute mixes, it helps refine the craft without ever taking control.

We sat down with Raffaele Arcella aka Whodamanny, a hyper-prolific producer and remixer, to talk about his vision on the production workflow, music, and how LALAL.AI fits in his work.

I'm part of the core team of Periodica Records, an independent label based in Naples, Italy, founded by Dario "Mystic Jungle" Di Pace in 2012. Born as an outlet for our early experiments in diverse music styles, from dance to ambient and beyond, we've evolved into a full-fledged production team. We handle everything in-house, from conception and writing to recording, mixing, and sometimes even mastering.

The opening of Futuribile, Dario's record store in the city center, further immersed us in Italy's rich musical heritage of the 1970s, 1980s, and 1990s, a sound that quickly became our benchmark. Today, Periodica Records is a label that releases 100% quality music, inspired by the golden era without boundaries, except those defined by our tastes. We use original equipment, synthesizers, and drum machines to create music that respects the past while looking towards the future, imbued with a personal touch.

For me, the final shape of a sound is the most crucial element in human perception, the sweetest and most playful aspects can evoke powerful emotions.

I'm fascinated by the psychological aspect of listening: there's undeniably magic in sound waves. Currently, I'm more focused on mixing than mastering, as I often find it challenging to maintain objectivity during mastering sessions, especially when I've written the music myself. References and active listening are essential for achieving a great result. Equally important are having the right tools and a trusted network of professionals to collaborate with.

I typically work on a mix of albums and singles. As part of Periodica Records, I'm involved in producing music for both our own projects and those of other artists, which can range from singles to full-length albums. Meanwhile, with my own label, Biloba, I've started releasing singles and EPs, exploring a more focused approach.

I'm currently specializing in the sounds of the early and late 80s, with a soft spot for early 90s music as well. That said, I feel like I'm only scratching the surface, maybe I'm just 5% into my journey! For now, I'm deeply focused on crafting a unique sound that blends Italo-Disco with Latin elements.

I collaborate daily with Mystic Jungle and Milord on various projects. We've worked together on numerous productions, including Masarima, Rosa, Afrodesia, A.C Band, I Coccodrilli, Danger Boys, Nico Mecca, and Somachrome. One of my notable projects was assisting the mixing process of Nu Genea's second album 'Bar Mediterraneo', together with Massimo and Lucio - leaders of the project - which took almost a year to complete. I've also produced and mixed music of  talented artists like Daniel Monaco, Marvin & Guy, Francisco, Cosmo of Mirella Records, System Olympia, Bassolino, the recent collaboration with Lovksi, as well as bands like Parbleu, The Funkin' Machine, and Capinera.

I don't even have a favorite project as I love all my work because I put love and passion into each one. That said, I'm stoked that 'Sabato Italiano' by I Coccodrilli has been such a hit.

My own singles on Biloba, like 'Baila Chica', 'Miranda' and 'Loca Loca', are also personal faves. But if I had to choose one that really stands out, it's Masarima's 'Freak Like U': the way it combines 80s and 90s flavors is pure magic, and it's been killing dancefloors globally.

I'm a bit of a perfectionist, so I know exactly what I'm aiming for with each project.

My approach varies depending on the project. For electronic productions, I do thorough research to choose the right instruments and sounds. I don't jam or improvise; instead, I have a clear vision of what I want to achieve. For more organic projects, I let the artists handle the recordings, offering guidance on direction. Once I'm in my studio, the Biloba Studio, the workflow begins. I start with the drums, making them powerful, then add the bass, giving it a solid foundation. Next, I focus on vocals and guitars, and finally, I add synths to complete the sound. If the production process is solid, mastering becomes a matter of fine-tuning – compressing peaks and gluing everything together.

Getting the bass and drums to sit just right can be a real challenge. Sometimes I'll spend hours, even days, tweaking the drum sound to get it spot on. It's all about finding that perfect balance and making sure everything sounds exactly how I want it to.

Since I prefer to record my mixes directly from the desk, rather than relying on digital bounces from the DAW, this process can be frustrating at times: If I make a mistake, I have to start all over from the beginning, which is time-consuming. I need to get everything just right before making any changes on the mixer. I'm not one for rushing, to be honest. I work at my own pace, and if I'm pushed, I end up taking longer to get things done.

"I was blown away by the quality of the extraction with LALAL.AI"

During a studio session, I was searching for the perfect drum sound for a song I was producing when a friend suggested using a specific song's drums as a reference. After hours of searching for the right track, we stumbled upon LALAL.AI, a tool that allows you to extract individual tracks from a song. I was blown away by the quality of the extraction; I could finally hear the drums in solo, and it was game-changing for me. This discovery took my referencing process to the next level, and I've been able to streamline my workflow ever since.

Well, I haven't found anything that quite compares. I did try an iZotope algorithm once, but it didn't quite live up to my expectations.

I'm a big fan of LALAL.AI — it's been a game-changer for me. If I'm working on a master and there's a small issue with a vocal take, I can extract the vocal, fix it, and replace it without having to re-master the entire track. This saves me time and money, and I can keep the mastering version I love. I also use it for instrument separation. Recently, I noticed the guitars were a bit too loud in a master, and thanks to LALAL.AI, I was able to isolate the guitars, tweak them, and replace them with the perfect balance.

My recent production with I Coccodrilli, 'Love On The Rocks,' was a tight deadline project. After rushing through the mixing and mastering process before a family trip, I was enjoying the peaceful sounds of crickets on a warm evening when I decided to give the song a listen.

Unfortunately, I was in for a shock as the guitars were completely out of balance in the mix. Thankfully, I had my laptop with me and was able to use LALAL.AI to quickly isolate the guitars, make the necessary adjustments, and salvage the song so I could send the master to the pressing plant and to the digital platforms with a light heart!

LALAL.AI is my go-to tool for audio extraction, and I use it extensively. Its unique quality, particularly for extracting drums and vocals, is unmatched. The precision and clarity it brings to my workflow have been a game-changer for me. It's been a huge time-saver for me, and that's its most valuable feature. It streamlines my workflow, allowing me to focus on creativity rather than tedious editing tasks. This efficiency has significantly impacted my productivity, and I couldn't be more impressed with the results.

The quality of my work is driven by my gear, equipment, and skillset. What's fascinating about this tool is that it complements my workflow without dictating the quality of my output. Whether I'm aiming for a lo-fi sound or pushing the boundaries of production, it helps me achieve my creative vision without compromise.

It's about empowering the artist, not replacing them!

I've been impressed by the overwhelmingly positive feedback from fellow producers about this tool. It's clear that the tool has made a significant impact in the industry, and I'm excited to see future updates and enhancements. The community's enthusiasm is a testament to its effectiveness and potential.

I've already recommended it to many colleagues and clients, and the feedback has been overwhelmingly positive.

I've been encountering discussions about AI frequently lately, particularly its current impact and future potential. Personally, I'm not concerned because I believe AI will always require human oversight to function effectively. LALAL.AI is a great example of this balance, seamlessly adapting to human needs while offering exciting possibilities for the future.

Follow LALAL.AI on Instagram, Facebook, Twitter, TikTok, Reddit, LinkedIn, and YouTube to keep up with all our updates and special offers.