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Mixing Under an Empty Sky

Warren Huart

Inside My Collaboration with David Bennett at Spitfire Studio London

There are certain projects that feel less like “work” and more like a shared musical journey. Mixing Under an Empty Skywith David Bennett was exactly that.

David is not only a fantastic musician and songwriter, he is deeply curious about the why behind every decision. So instead of simply delivering mixes, we sat down together at Spitfire Audio HQ to go through the album in detail, instrument by instrument, decision by decision.

What followed was one of those wonderfully nerdy, inspiring deep dives where creativity and technique meet.

 

A Philosophy First, Not Just Plug-ins

Before we even touched a single EQ, the goal was clear:

Serve the song, not the soloed track.

This album lives in a beautifully intimate space, piano-led, emotionally driven, with subtle arrangements. That meant restraint was key. Nothing hyped unnecessarily, nothing fighting for attention.

Every move had to earn its place.

 

Acoustic Guitars – The Power of the Midrange

One of the first things we explored together was the acoustic guitar.

A common mistake is chasing brightness. However, if a guitar is well recorded, it already has all the top end it needs.

So instead:

That midrange push brings the guitar forward, giving it presence without harshness.

And importantly, the acoustic becomes almost percussive, acting like a rhythmic glue in the track.

 

Vocals – Control Before Compression

With multiple singers across the album, there was no one-size-fits-all approach.

The biggest takeaway we discussed:

Clip gain before compression.

Instead of forcing a compressor to deal with wildly uneven levels:

Chain highlights:

Reverb was heavily controlled too, compressed before being sent, so it remained a consistent “shimmer” rather than jumping in and out.

Cello – Emotion Needs Consistency

The cello on this record often doubles as both a melodic and low-end instrument.

Challenges:

Solutions:

This brings out quiet details without making the track louder overall.

The result is a cello that feels present and emotional throughout.

Bass – The Tim Palmer Trick

This is a technique I’ve used for years, learned from Tim Palmer.

Split the bass into two worlds:

Then blend them.

Add to that:

It’s simple, musical, and incredibly effective.

 

Piano – Let It Lead

David’s piano is the heart of the record.

The goal wasn’t to reinvent it, just to support it:

That’s an important concept:

Reverb can make something feel louder without turning it up.

 

Drums – Restraint and Character

We tracked drums together at Brighton Electric Studios, aiming for a 70s-inspired feel.

That meant:

Key techniques:

Each mic had a job. Together, they created a complete picture.

Mellotron and Texture Element

The Mellotron, beautiful as it is, comes with built-in quirks.

So:

 

The Bigger Picture

Sitting together at Spitfire, going through these mixes, what stood out most wasn’t any individual technique.

It was this:

Mixing is about perspective.

David brought incredible musicality and arrangement clarity. My role was to enhance that, not overwrite it.

Every EQ move, every compressor, every reverb choice was in service of the song’s emotion.

Final Thoughts

Working on Under an Empty Sky was a reminder of why collaboration matters.

When you sit in a room together, listen critically, challenge ideas, and stay open, something special happens.

You stop mixing tracks.

You start shaping a story.

And that’s what this album is.

 

If you haven’t heard it yet, I highly recommend diving into Under an Empty Sky. It’s a beautifully crafted record, and it was an absolute privilege to be part of it.

Have a marvellous time recording and mixing.

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