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I grew up in the early 80's in Salt Lake City, Utah. My brother and I were raised on our parent's vinyl records and homemade cassette mixtapes. Wherever we went, there was always a soundtrack to whatever we were doing. My parents listened to everything from The Beatles to Sade.


I played ice hockey from age 12 through my mid 20's religiously. In high school I was the captain of my high school team along with my travel team. By the time I graduated, I moved to Canada to pursue a potential career in hockey. When I wasn't on the ice, I would either be listening to my MiniDisc player, or learning to play my acoustic guitar.















I ultimately decided to quit hockey competitively and moved back to Salt Lake. I ended up working in construction for a few years and in my free time, got really into playing my guitar. The more I learned about guitar the more interested I became in recording and eventually my fascination with recording took over.

It didn't start there though, I got into recording fairly early with my brother. We would overdub our favorite movies onto cassette with our own voices and completely change the dialog along with the plot. I didn't realize it at the time, but I think this overdubbing along with watching my dad record his vinyl down to cassette, was where my fascination with recording actually began. 

After dabbling in guerilla recording and learning ProTools for a few years (post high school), I decided to move to Los Angeles and go to school for audio engineering in 2005. Before I graduated I got my first job (in the music biz) as a runner at the world renowned Conway Recording. 








After several months at Conway, I decided to jump ship and start working for a cartage/studio rental company (Lon Cohen Studio Rentals).  It was here that I would cut my teeth in studio etiquette and discover the real inner workings of the studio life all across Los Angeles. An average day would consist of setting up gear at Capitol, The Record Plant, Ocean Way, Cello, The Village, Sunset Sound, NRG, Fox, WB, Universal and Sony Scoring stages and many more incredible home studios.  Our clients were some of the biggest session musicians and producers of the early to mid 2000's: Abe Laboriel, Robben Ford, Greg Leisz, Mike Elizondo, Lyle Workman, Tim Pierce, Ross Hogarth, Justin Meldal Johnsen, Brian Ray, Rusty Anderson, Ringo Starr, Neal Avron, Billy Bush, Danny Elfman, Joe Chiccarelli and so many more...

I would eventually become the General Manager of the company and would oversee every aspect of the business. From dispatch to payroll to guitar tech-ing to amp repair, I wore a lot of hats.












I worked (4) 10 hour days per week and freelanced as much as I could on the 3 days I had off. By 2009 I decided to go to school in the evenings and learn everything post-production sound. After a year and half of school, I graduated and became Avid Certified in post production.


In an effort to make more connections and scoop up any unused studio time, I started working part time (as a tech) at the school in the evenings. Between the cartage/rentals and teching at the school, I was essentially in a studio 6 days/nights a week. This would eventually take its toll on me and I ended up leaving LCSR to give myself more time to build my own career while supplementing my income as a studio tech at the school. 

By 2013 I had built up enough of my own business, so I decided to quit working as a tech and made Bergatron Music my full-time job. I haven't looked back!

Outside of the studio I spend as much time as I can with my wife and my dog, camping and going on adventures together. 

#ringostarley logged a few off-road miles today at #humelake thanks to _eddieswheels

Ringo Starley

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