Curriculum Vitae
Seva D. L. Ball, US Citizen, b. 28 May 1958.
+1-865-470-7797.
A recording engineer since 1976, mastering engineer since 1991, equipment co-designer since 1989, and composer - sound artist for more than 35 years, Mr. Ball has merged his love for music, audio, and technology every day of his career.
He built tube amplifiers, repaired old radios, then began his recording and engineering interests by taping classical concerts with an Ampex 600-2 when he was twelve. In that same year, played his first Moog. Classically trained as pianist and composer, he also played in rock bands and DJ'd on radio beginning in 1974. At 14, his first computer programming was on a PDP-8E, then bought his first synthesizer that summer. From then to this day, he uses his audio devotion in many roles, including teaching, mixing, mastering, location sound, composing, sound art, and voiceover. Hundreds of commercials for
General Motors dealers on the east coast were produced --TV and radio-- for more than one hundred dealers. He has served as sound editor and re-recording mixer for several feature-length films and many short form videos, targeting traditional film
theater formats, broadcast, internet, and site-specific multi-channel systems.
Learning first-hand on two-inch Ampex machines, with API and MCI analog consoles, his experience in recording and mixing during the seventies crossed paths with Joe South, Dixie Dregs, and Ronnie Milsap. He attended Belmont College (now, University), continued his studies at SUNY Buffalo, and holds a music composition degree from the University of Tennessee. At present he is seeking his MFA from the Vermont College of Fine Arts. He continued in broadcast and production work, including the aforementioned GM commercials, plus over a decade of radio broadcasting, including writing, production, and air shifts. He was awarded a Best of Show Addy, along with numerous other Addy awards over the decade beginning in 1983.
In 1989, he worked with Audio Animation, builders of the 2nd digital mastering console on the market –The Muse-- and while there, met the co-founders of Waves. Within 3 years, he began to work for Waves on pro audio's first 3rd-party plug-in, the Q10 equalizer. Over the next 18 years, Mr. Ball has worked on many aspects of Waves' products and developed mastering techniques using their digital processors, consulting with leading mastering engineers including Dave Collins and Bob Ludwig. He is the Associate Founder of Waves. He wrote over a dozen technical manuals and user's guides, replete with detailed application notes which are highly regarded.
He started Soundcurrent Studios to provide mastering and other audio services in 1994; has had three Grammy nominations and three Dove awards. His mastering clients include Dolly Parton, Corrosion of Conformity, Jim Lauderdale, Dirtbag, 10 Years, Rabbi Shergill, and Acoustic Syndicate.
In 2006 Mr. Ball archived 600 hours of analog tape of the Lewiston Archive (recorded by David Lewiston), now stored at the Library of Congress. He has archived and collections of tapes for individual artists, singers, colleges, and organizations, in accordance with the Producers & Engineers Wing of the Recording Academy's Master Recordings guidelines. In 2008 he was appointed Archivist of the analog recordings in the Bob Moog Foundation collection. He is a member of AES, NARAS, IASA, and ARSC.
Mr. Ball has taught audio engineering at the Pellissippi State Community College for several years, and Sound Art at the University of Tennessee since 2000.
+1-865-470-7797.
A recording engineer since 1976, mastering engineer since 1991, equipment co-designer since 1989, and composer - sound artist for more than 35 years, Mr. Ball has merged his love for music, audio, and technology every day of his career.
He built tube amplifiers, repaired old radios, then began his recording and engineering interests by taping classical concerts with an Ampex 600-2 when he was twelve. In that same year, played his first Moog. Classically trained as pianist and composer, he also played in rock bands and DJ'd on radio beginning in 1974. At 14, his first computer programming was on a PDP-8E, then bought his first synthesizer that summer. From then to this day, he uses his audio devotion in many roles, including teaching, mixing, mastering, location sound, composing, sound art, and voiceover. Hundreds of commercials for
General Motors dealers on the east coast were produced --TV and radio-- for more than one hundred dealers. He has served as sound editor and re-recording mixer for several feature-length films and many short form videos, targeting traditional film
theater formats, broadcast, internet, and site-specific multi-channel systems.
Learning first-hand on two-inch Ampex machines, with API and MCI analog consoles, his experience in recording and mixing during the seventies crossed paths with Joe South, Dixie Dregs, and Ronnie Milsap. He attended Belmont College (now, University), continued his studies at SUNY Buffalo, and holds a music composition degree from the University of Tennessee. At present he is seeking his MFA from the Vermont College of Fine Arts. He continued in broadcast and production work, including the aforementioned GM commercials, plus over a decade of radio broadcasting, including writing, production, and air shifts. He was awarded a Best of Show Addy, along with numerous other Addy awards over the decade beginning in 1983.
In 1989, he worked with Audio Animation, builders of the 2nd digital mastering console on the market –The Muse-- and while there, met the co-founders of Waves. Within 3 years, he began to work for Waves on pro audio's first 3rd-party plug-in, the Q10 equalizer. Over the next 18 years, Mr. Ball has worked on many aspects of Waves' products and developed mastering techniques using their digital processors, consulting with leading mastering engineers including Dave Collins and Bob Ludwig. He is the Associate Founder of Waves. He wrote over a dozen technical manuals and user's guides, replete with detailed application notes which are highly regarded.
He started Soundcurrent Studios to provide mastering and other audio services in 1994; has had three Grammy nominations and three Dove awards. His mastering clients include Dolly Parton, Corrosion of Conformity, Jim Lauderdale, Dirtbag, 10 Years, Rabbi Shergill, and Acoustic Syndicate.
In 2006 Mr. Ball archived 600 hours of analog tape of the Lewiston Archive (recorded by David Lewiston), now stored at the Library of Congress. He has archived and collections of tapes for individual artists, singers, colleges, and organizations, in accordance with the Producers & Engineers Wing of the Recording Academy's Master Recordings guidelines. In 2008 he was appointed Archivist of the analog recordings in the Bob Moog Foundation collection. He is a member of AES, NARAS, IASA, and ARSC.
Mr. Ball has taught audio engineering at the Pellissippi State Community College for several years, and Sound Art at the University of Tennessee since 2000.
