Working with different artists, I've adopted a workflow that keeps things fluid and free, avoiding over-perfectionism.
What sparked your passion for music?
I started music very early; I began performing around the age of five at a place in Northeast Philadelphia. I would sing Top 40 hits, and people would challenge me with songs they thought I didn't know. I knew everything because I was like a sponge. I'd sing, get that money, and go to school the next day. Eventually, my parents thought singing in bars late at night wasn't the best for a child, so I started playing the violin. Through that, I met teachers who introduced me to different records and influences. One teacher, in particular, still influences me today. He would say, 'You won't like this now, but trust me, in a couple of years, you'll figure it out.' And I did.
Big shoutout to Noah Goldstein for connecting us!
I met when I was 19 at Temple University in Philadelphia. We both interned; he was at a studio called Third Story Recordings, which was a converted car factory in West Philadelphia. He got me an internship there, and then I started interning at another studio, Studio 4. He came over there, and we haven't stopped since. We're still going somehow. He's just 20 minutes away from my home in LA, not a far drive at all. He's great; he's like a brother to me. His family knows mine, and there aren't many people who've stuck together this long in this crazy industry. We've also worked on a bunch of awesome records together, like 'Kids See Ghosts'.
Ever since I was a little kid, music was always just a part of my life.
You've always been around music and had a variety of influences.
Absolutely. Even though I was into metal, I always loved hip hop and the power and energy of rock and metal. The Philadelphia metal scene was awesome. We packed places that weren't legitimate music venues. It was all DIY, and that gave me the work ethic to do things without waiting for someone else. That mindset helped me excel. I did everything myself, even when it took hours, but I learned from making mistakes.
That work ethic is crucial.
Exactly. Back then, it was like a scavenger hunt, trying to figure things out. It was fun but challenging. These days, people are blessed with all the tools and resources available on YouTube and computers.
Eventually, you decided to make music your profession. How did that happen?
Ever since I was a little kid, music was always just a part of my life. Some of my earliest memories are singing after my dad's softball games in Philadelphia. In grade school, you kinda get assigned to an instrument, and I wanted to play double bass, but since I was pretty small, they suggested I play the violin instead. I played for about 13 years. I started playing guitar at 11 and quickly transitioned to bass. High school was when I got into rudimentary recording, and in college, around 2000 or 2001, I got my first computer and Logic. That was when everything became possible with recording; vocals, beats, metal. Anything. It opened up endless possibilities. After college, it was full steam ahead, connecting with whoever I could in the music scene.
When it was time to choose a college, it had to be a music school. I ended up at Temple University, which isn’t really known for its music department but some killer players came out from Temple’s music department, for example , who is highly respected in the music industry for his exceptional talent and versatility on the bass.
The Philadelphia area, especially North Philly, was a hotbed of musical talent and energy, constantly pushing me to improve. That was from around 2001 to 2005.
You moved to New York after Philly. How did that transition affect your career?
I moved to New York a year after graduating from college, around 2006 or 2007, and ended up living there for about nine years. After college, I faced the challenge of getting hired by a studio and applied to about 200 places. Eventually, I got an internship at a music publishing company after a friend suggested it. I commuted from Philadelphia to New York for a year several days a week. That gig turned into a full-time position, and I started working on Disney projects. One day, a composer didn’t submit their cues, and I volunteered to fill in. That was my big break—I composed seven minutes of music, they accepted it, and my role quickly evolved from music editor to composer working on shows like Power Rangers with 21 episodes a season and only one week off. This taught me consistency and the ability to handle multiple projects, from villains and fight scenes to source music.
This experience honed my skills in scoring, which later proved invaluable in the world of Hip Hop and Rock.
Have you explored other genres as well?
I was always into various genres. In high school, I had all the gear, so in college, it transitioned to mostly hip hop. The last metal record I did was around 2007. Since then, I've worked on salsa, jazz, and primarily hip hop records. Working with Kid Cudi, you can't get much bigger than that. It's been a diverse journey, and I love it.
Recording in hotel rooms and unconventional spaces taught us to make the best out of any situation.
What about your work on "Watch The Throne"? How did that come about?
That was an interesting time. Noah was the chief engineer on "Watch The Throne," which was a pretty big record! We were both in New York, and we were living together, but we were often ships passing in the night because of our busy schedules. Noah was working at Electric Lady. He knew I was a couple of blocks away and would hit me asking if I could come through and help. I would finish my corporate gig, run down to the Mercer Hotel, and set up a studio there. We'd gut the room, take the bed out, and make it a studio, much to the hotel's dismay. But that was the beauty of New York—everything was so compact and alive with creativity. We could hit a couple of sessions, work on different projects, and still be immersed in the vibrant energy of the city. "Watch the Throne" was a significant milestone, and working on it with Noah in such an iconic environment was an incredible experience.
That sounds intense but rewarding. How did that experience influence your craft?
It was a fantastic learning experience. We had to be adaptable and efficient. Recording in hotel rooms and unconventional spaces taught us to make the best out of any situation. Working with high-profile artists also raised the stakes, pushing us to deliver top-notch work. It solidified my belief that great music can be made anywhere, as long as you have the right mindset and dedication.
By the end of my time in New York, I was ready for a change. My partner Marlene and I moved to California, where we pooled our resources. Now, we’re building a studio house focused on both music and television production, combining our skills and passions. Making music my profession was a journey of persistence, adaptability, and following my passion, regardless of the obstacles.
It’s about being free and not overthinking things.
How do you stay inspired and kick off new projects?
Inspiration comes from anywhere. A sound, a pattern, anything can trigger it. From everyone I worked with, I took bits and pieces. And I keep all channels open, which comes from my New York scoring days, ready to record at any moment. I have a main mic and a handheld mic always up and running. The key is to have everything ready to go, so there's no roadblock for creativity. I could start my day with simple loops on the MPC and make little sounds called "idea catches." These ideas then can become full songs, samples, or lead lines for others. It's about being free and not overthinking things.
What challenges have you faced in your career, and how did you overcome them?
Besides doing updates or fixing technical issues, the actual real challenge is separating the business side from the creative side. My DIY background, I love music and jumping into projects, but it's important to get what you're worth without straining relationships.
Working with Cudi has been an incredible experience. Over the last eight years, I was primarily working with him, and it was a journey that pushed my creative boundaries. My job was to keep the session moving, ensuring progress was made, even if it was just getting one vocal down. The key was to never let the session fall flat. This was especially challenging because I often had to balance being quiet enough to not distract but engaging enough to keep the energy up.
One of the most exciting aspects was when Cudi would be inspired by something spontaneous, like a beat or a melody, and we'd dive into it. My setup was always ready to capture these moments. Having everything in place, from the vocal mics to the instruments, allowed us to keep the creative flow uninterrupted. It’s been a significant part of my career, and I’m grateful for the experiences and the music we’ve created together.
Work-life balance is also a challenge, especially in a media hub like LA. After over 20 years, I stepped back from being a tracking engineer to focus on my creative projects. Knowing your limits and when to say no is important.
Aside from music, what keeps you engaged?
Music has always been everything for me. Having said that, we set up a micro farm here at home inspired by our families in Puerto Rico and Mexico. Not just for ourselves but also for our clients. They can pick fresh vegetables, cook them on the grill we have outside, and sit at the picnic table we set up. It’s designed to be a communal space where everyone can relax, share a meal, and talk about the projects we’re working on. It’s all about creating a comfortable and inspiring environment, just like what Rob Fraboni taught me about the importance of common areas in the studio. It’s been a rewarding addition to our lifestyle and work environment. It started small and grew during the pandemic. I also have rescue dogs and a cat who hang out in the studio. They de-escalate things and make it less serious.
How do you assess new technologies and gear for your studio?
I'm pretty strict with gear. If I don't use something in two years, I probably won't use it or I probably won't need it. I try to fill gaps in my arsenal, like compressors and effects. The MPC Live was a game-changer, bringing back the tactile feel of making music. I also use Tonex technology for sampling amps, which saves me from lugging heavy equipment around.
A big part of my sound is drums, and and have improved my workflow and made things faster and more efficient.
What does your studio setup look like?
My studio setup is designed for efficiency and creativity. I have 48 channels, all ready to go with everything laid out in a template. This allows me to start recording immediately and maintain a smooth workflow. I use a variety of microphones, including a main vocal mic and a handheld mic, which are always active to capture any spontaneous ideas or notes. The studio features different speakers for different sound characteristics, including my Adam monitors, Avantones, Sonos, even a Beats Pill, and random speakers for specific effects. Having all my equipment and channels ready to go helps minimize roadblocks and keeps the creative flow uninterrupted.
SurferEQ made it so much easier to manage frequencies dynamically.
How did you first learn about our products?
Rob Fraboni, who was the producer for ‘’ and built '', played a significant role in my journey. He introduced me to a lot of great gear, including Schoeps, Tree Audio, and Inward Connections. About ten years ago, we were working together, and we had this crazy resonance issue because we were tuning everything to 432 Hz. I didn't know how to fix it at first, and after Googling for solutions, we came across SurferEQ.
Using SurferEQ was a breakthrough. It helped us notch out that problematic frequency, and from then on, I started using it regularly. SurferEQ made it so much easier to manage frequencies dynamically, especially for challenging elements like 808s that need to sound good on small speakers. It’s become an essential tool in my workflow, thanks to Rob for introducing me to it and helping me solve that initial problem.
Let's dive into plugins—your organic hybrid workflow of hardware and software is impressive, and you're a big advocate for several tools.
has been a game-changer for my workflow. While my recordings are generally in phase, the small adjustments that Auto-Align makes can have a substantial impact on the sound quality. It tightens the low end and makes the cymbals less harsh, contributing to a more cohesive and professional sound. This is especially important in projects with complex mic setups, like drum recordings. Auto-Align saves me a lot of time and effort by ensuring everything is perfectly in phase without having to manually tweak each track.
I generally use Auto-Align on my drums and drum breaks. It’s biggest role was with this album by Ultra Q.
SurferEQ is incredibly useful for making 808s and other low-frequency elements sound good on small speakers, like phones and laptops. It helps bring up the second and third harmonics of bass frequencies, making them more audible and impactful across various playback systems. This is crucial in modern music production, where listeners often use devices with limited bass response. SurferEQ simplifies the process of ensuring that my mixes translate well across different listening environments, which is a huge plus for me.
What are your biggest musical and creative influences?
Prince was my main influence growing up. My teacher, Mr. Morris, who fed me with random records also had a huge impact. Noah, my collaborator, is a constant source of inspiration. He's like a big brother and has taught me so much about business and creativity. My family, especially my parents and grandparents, made sacrifices that allowed me to pursue music. Inspiration comes from anywhere, and I'm grateful for anyone who has contributed to my journey.
If there's anything on my resume I want people to know, it's definitely the record ‘Mid Air’ by Paris Texas.
Thank you for sharing your story with us. You are truly and radically inspiring!
Connect with Bill
www.williamjsullivan.com
www.wreckinjoint.com
www.instagram.com/wjpsullivan
www.x.com/wjpsullivan