Nicholas Bergh has been working in the field of sound recording and restoration for nearly 30 years. He received his B.A. and M.A. in Ethnomusicology from UCLA where he specialized in the history of recording technology and sound archiving. During this time, he was also working as a sound restoration engineer and was fortunate to be mentored by engineers who worked in the earliest decades of optical sound, disc, and magnetic technologies. In 2003, he started Endpoint Audio Labs in order to focus on improving the quality of sound transfers before restoration. Endpoint has become known for both unique transfer technologies as well as using historical research to inform transfer decisions, and has been chosen to preserve some of the most precious studio and public archive sound elements. Projects range from hundreds of tent-pole film titles like SOUND OF MUSIC (1964) and TITANIC (1997) to hundreds of unique field-recorded elements such as ethnographic wax cylinders and the original lacquer discs of the Hindenburg crash. Endpoint also provides sound supervision and sound mixing to modern film documentaries that are using historical material. In recent years, Nicholas has been actively helping other institutions improve preservation sound quality by developing a variety of unique archival audio equipment. This equipment is now being used at some of the most demanding archives around the world including the Library of Congress, the Swiss National Archive, and the National Film and Sound Archive of Australia. Nicholas is a member Academy's Sci-Tech Council Historical Subcommittee, as well as the archival technical committees of AES, ARSC, and IASA. Nicholas has presented a variety of papers on subjects including the birth of electrical recording, multi-track optical recording in film, the evolution of stereo sound in film, and the technical history of RCA/Victor studios.