M. Erik Matlock: As ridiculous as it might sound and allowing for the warping of the fabric of the universe, I’d probably bounce back to the 1970s to mix for the up-and-coming comedians of that era. Maybe I’d connect with Steve Martin on his first solo tour. Maybe I’d be the guy helping establish production and mix shows at the Improv.
If I was any good I’d likely end up at front of house for the first season of Saturday Night Live and spend time with John Belushi and Gilda Radner. But then the 80s would roll around and I’d probably finagle my way in with Metallica, probably around 1983 and take Big Mick’s seat before he ever claims it. Nothing personal Mick, you’ve just got a great gig and I’m possibly a tiny bit jealous.
Scott Mullane: U2 was the first artist that sprang to mind for me. They tick a bunch of boxes in relation to what excites me as an audio challenge and obviously has some scope for quality outcomes. I love the way this band uses spatial FX, which is a core to my own mixing approaches. Clearly the Edge uses spatial FX to great advantage for his own guitar tones and the placement of his individually miked amps in the stereo image of the PA would be a very rewarding result.
Also, the fact that U2 play stadiums that are notoriously reverberant and filled with strong reflections – the challenge of system design to minimize the negative effects and maximize the beneficial effects of these spaces appeals to me greatly.
I love working hand in glove with a competent systems tech and collaboratively coming up with creative approaches to system design, and the spaces that U2 perform in are a great challenge and a very rewarding result if managed correctly. A rock band with drums, bass and guitar played by quality, seasoned performers is also right in my wheelhouse, so there is that…
Ales Stefancic: I feel like the best time to do audio is right now. With all the tools at our disposal and the fidelity that the audio gear can provide, our work is more demanding and exciting than ever. Although I would want to have my hands on the console at iconic events, such as the Live Aid concert, my selection of artists has to be from the current era.
I’d love to shape audio for sonically complex yet subtle audio material. In this genre, I’m thinking of Jacob Collier, Jack Garratt and Snarky Puppy as artists that I’d like to collaborate with. Plus, we don’t have to think about time travel and ruining the time-space continuum for this selection, so everything is much easier…