Rylan looking very serious outside of Catch One in 2023

BIO

My name is Rylan Sunseri and I am a multi-disciplinary professional audio technician based in Los Angeles California. I consider my eclectic and varied career as diverse and riveting as I am!

Upon graduating high school, I chose Chico State to follow my passion for electronic music and audio design. I graduated from CSU Chico with a double major in audio engineering and music composition in 2019.

Upon graduating from CSU, my first job came as an Assistant Technician for the start-up studio The Rattle Room owned by Dresden Dolls front of house Jaron Luksa (The Dresden Dolls, Margret Cho, Barns Courtney, Spiritualized). I remained at the Rattle Room until the studio’s closure at the start of the 2020 pandemic.

Late-pandemic, I received a single DM message that turned my career prospects around. It was an invitation to work a freelance gig at a post-production house deep in the San Fernando Valley. My organizational and communication habits, careful attention to detail, and determination to use a DAW to pay my bills led me to more callbacks and VO recording gigs. This included recording English dubs for Netflix’s High Heat, a 40 episode behemoth of a project that took nearly 3 months to record.

Studio recording with happy clients!

Post-pandemic, my lifelong electronic dance music obsession and love for the DIY underground combined to great success when I was hired as an audio engineer at Catch One Nightclub.

While Catch One provided a key connection to LA’s underground music scene, the club’s endless supply of DJ nights left me feeling limited in my ability to just work with only audio.

It was at this time that I chose to further my skills in stage lighting by learning Avolites Titan, GrandMA2/3, Resolume, and basic video skills. With more control over stage lights, I became a more valuable contributor to dance music culture. Since learning more about how stage lighting works, I have found a new passion for lighting up LA’s exploding electronic music scene.

Working lights and sound for various clubs around Los Angeles

Beyond the energy of the club scene in 2022, my day job prospects also turned around when I was hired as a staff audio engineer for Roundabout Media Group.

One of the largest independent post-production facilities in Los Angeles, I managed to quickly make friends with veteran re-recording mixer and important mentor, Bill Komar (ICarly, Drake and Josh, Henry Danger). While I was initially hired at Roundabout as a English dubbing recordist, Bill helped me deepen my skills to become a more serious and disciplined Hollywood audio engineer. This led me to minor editorial roles for shows such as AMC's Keke, Magnolia's Bargain Mansions, Kevin Hart's Celebrity Prank Wars, as well as assembly and Pro Tools prep for numerous other episodic and feature length films.

Me on Stage D of Roundabout Media

In 2023, I was invited to run playback for celebrity YouTuber, Dream. Dream’s debut tour, his first ever for the combined one billion plus views YouTuber, increased my reputation in the live sound world and brought me great joy traveling around the country doing what I loved most.

Photos from stage during Dream’s tour in 2023

Upon leaving Roundabout Media Group in March of 2024, I quickly transitioned away from being a staff engineer into being a full-time freelance audio engineer. 

It was during this time I was hired by two important employers, The Regent Theatre in downtown LA, and VoiceTrax West in Studio City California.

Two major companies that helped me transition into full time freelancing

Rylan in Studio A of VoiceTrax West

Exterior of The Regent Theatre in Downtown Los Angeles

VoiceTrax West allowed me more freedom and creativity in the VO recording world. Their main clients consisted of localization companies specializing in video game dialogue. This meant a different approach to dubbing style localization that let me grow, learn, and develop as a recordist. 

The Regent allowed me to develop my live sound and stage lighting skills. By having more responsibility working alongside touring acts and musical groups, I was able to develop my confidence in live sound and stagecraft. 

Eventually, my time at The Regent DTLA led to an amazing opportunity, my first bus tour with Robert Schwartzman's band Rooney working as a stage manager and backline tech in late summer/fall of 2024. Rooney received the direct support slot opening for Jeff Lynne's ELO (Electric Light Orchestra) on the national arena tour. This project proved to be a challenging and extremely self-rewarding experience, allowing me to grow my skills more so in three months than any time prior in my career.

Rooney band & crew in Atlantic City New Jersey

Rooney opening for ELO at Madison Square Garden, New York City

Nearly 8 months after the end of Jeff Lynn’s ELO "The Over and Out Tour", I got my next amazing opportunity. This time, I was tasked with Front of House duties for rising alternative singer Julia Wolf. This nearly two month tour saw me solo audio teching around the world, from Anaheim, to Long Island, to Germany, to the UK. It was an exciting tour and major opportunity that utilized all my skills developed until that point.

Photos of me working Front of House for Julia Wolf’s Pressure Tour 2025

In the Fall of 2025, another major opportunity came my way when a friend of mine offered me the chance to work as active lighting director for Pixel Grip's "Precepticide: The Death Of Reality Tour Part 2". Precepticide proved to be my first tour on the Grandma3 platform and my first time on the road as a touring LD. Both of these qualities allowed me to grow as a lighting director, forcing me to adapt and think outside the box in the fast paced ever evolving craft of stage lighting.

Pixel Grip preforming at Revolution Hall Portland Oregon

Pixel Grip and I after the Seattle Show at Neumos on Precepticide Part 2

Between live stages fueling my soul and post-production fueling the rest of my life, I’m a 24 hour audio tech. A word of advise from me? More interesting people take interest in more things. In order to be the right person at the right time, you have to be the wrong person at the wrong time a million times. There’s a lot of rejection in this game. You got to really know who you are and be willing to share it with others.

Questions about my past or what I’ve done? Want to know more about me? Feel free to get in touch anytime at the contact information below!