After training as a drummer, punk and the revolutionary new music-making came into his life in 1977. The founding of the band S.Y.P.H. was the beginning of his musical journey. Together with Peter Braatz, Thomas Schwebel and Uwe Jahnke, and later Jojo Wolter, this adventure began. Sound recordings in studios were due. A turning point: the Solingen punk band S.Y.P.H. record their second and fourth records in the legendary Innerspace CAN Studio. Holger Czukay produced the band. For Ullip, Holger became the role model for sound design, editing and sound design. Numerous records and CD's were produced in this formation, which became internationally known. The song "Zurück Zum Beton" was a milestone in the punk movement and in 1978 it became the anthem which then culminated in a large exhibition of the same name in the Düsseldorf Kunsthalle in 2002. Over 60,000 people saw this action and attracted attention worldwide. S.Y.P.H. were the co-founders of the German punk scene and have cult status to this day.

With this experience, Ullip set up his first studio in 1981, the "Trinwasserstudios" in Solingen. While working with Udo Berger (later known as Chilltopia), the first recordings were made with the veteran of techno, the Roland Bassliner 303. Synthis paired with Ullip's own drum style gave birth to the music of "MIDI Divison". Many recordings by the band Bit's were made in this studio.

Ullip then founded the Bit's formation with Jojo Wolter. Gintaras Gaubis and Waldemar Kutschma were added, and later Uwe Jahnke was also on board. Many recording sessions produced a lot of material. Then the band traveled to Michael Karolis - Outerspace Studio near Nice and recorded the Bit's Maxi single there with Karoli (ex CAN). The record became a masterpice in cutting and sound engineering and received a lot of attention worldwide. This resulted in the commitment to "Documenta 7" in Kassel, where a major action integrated the band into the art scene. Joseph Beuys and Carmen Knoebel helped the band with this. Later on, other CDs and many participations in samplers were created. Bit's music was always free improvised music that could largely be reminiscent of the music of CAN but also of PIL, while being completely independent, taking up and transforming all styles. Life also play the formation with many other musicians. Damo Suzuki, Matthias Keul, Anna Donarski, Boris Polonski, Dominik von Senger and Michael Karoli should be mentioned as guests. Appeared on the label Fuefundvierzig. Many fans of this band can be found in Japan and America / Canada. 

In the decade from 1986 to 1997, Ullip occupied himself in a completely different field:

His family was now in the foreground and turmoil his musical life. There was also a very intense phase with his passion for horses. During this time he worked on sound design and recording techniques. He was torn between the chairs. Changes were pending. In 1998 the time had come when the collaboration with Damo Suzuki's network began, the way back to his passion was taken up again.

The way back into the music world began with a bang. With Damo Suzuki's Network he played a 6.5 hour long concert in Dresden and drummed himself back. These trips on the Network went as far as New York on Broadway. The musical career got going again, the old recordings of S.Y.P.H. should be published in Japan, as there was great interest there, the recordings were digitized and implemented jointly by Kurt Dahlke with Uwe Jahnke and Ullip in the Atatak studio. By working with samplers, drum machines and computers, Ullip's music changed significantly and still forms the basis of many of his pieces today. While tape was still being cut in the 80s, he has now completely turned away from it. Pure, uncut, not ironed flat, authenticity should take the helm. A mixture of electronic sounds and percussive ambient developed. A lot of film music was created during this phase. The results of this time can be heard in his albums: New Brain, Between all chairs and Affinity. Finesong, a decoupling from Affinity, is featured in many drum & bass samplers.

Due to his new life partner and great love, his music changed steadily in 2004 and got a completely different face. By working with "Mama Africa" he was able to adapt this world of rhythm to his playing. His approach was to take the elements out of it, but not to copy the type and technique of African music, but to reinterpret it. The beginning of the percodrumming was laid. The Soul of Future project brought the change from stick to hand. A new possibility of expression was allowed to develop from now on. His drumming began to tell stories, became a language of its own with percussion to tell stories.

With various band projects, Ullip continued to expand his percodrumming. However, the style should be immersed in the fascinating musical world of Persia, Afghanistan and India. From 2012 he learned to love the frame drum and kanjira through the master percussionist Hakim Ludin. The congas and bongos as well as the traditional Indian instruments Gatham and Madga found their way into his setup.