Burnout, Breakthroughs, and Piano Graveyards...
- Elliott Jack Sansom
- 6 days ago
- 4 min read
Welcome back, and thank you for all the love, comments, and support so far - and, of course, for being here! Sharing Night Light has been an overwhelming experience in the best possible way…!
For today’s post, I thought I’d take you behind the scenes and share the crazy recording process that went into this album - the multiple pianos, several versions, and various studios. If you know me, you already know this about me, but if not, let me start by saying - I’m obsessed with pianos. To the point where I’ve accumulated over 10 upright pianos (over many years), each one having a special place in my heart. But none of them are perfect; they all have their quirks. And let me tell you, when you think you've found 'the one,’ those quirks quickly turn into complete madness. I will display some of my pianos on this blog...
People often think I’m a bit ‘excessive’ when it comes to buying pianos. But my dad, a classic car enthusiast, understands me better than anyone - mainly because he’s just as obsessed… except his obsession is with cars, not pianos.
Anyway, back to the process. Well, you can't really call it a process. It felt more like a jigsaw puzzle, where every piece was almost right, but never quite clicked into place. Every time I thought I had it, something felt wrong. The recording process never made sense, and I had to step back and accept what it turned into - or else, my mental health was on the line. Add fatherhood to the mix, and by the time I hit a point where I felt completely burnt out, I knew I needed to let go.
It all started in November 2023 when I got a new piano - an adorable Danmann HS2. I immediately fell in love with how the music sounded on it. I spent days and nights recording, but by the seventh day, I couldn’t stand how it was translating. So, naturally, I bought another piano. This time, a big French Gaveau 130cm upright. For seven days, I poured my heart into the recordings, only to fall out of love with it. After about a month of this back and forth, I needed a break. I took a pause to focus on Christmas and spent quality time with Alfie. It was also becoming clear that I was running out of space in our cottage. At one point, it started to look like a piano graveyard - something my brother, Olly, never fails to point out.
The new year came, and with it, a fresh start. I felt ready to try again. I dug through the "graveyard" and hired a Yamaha U3, convinced that this was finally “the one.” But again, after some time spent recording, I ended up hating it. At this point, I had three albums I hated and was spiralling further into obsession. My mental health was at risk, and I knew I needed a major change.
In February 2024, I splashed even more of my savings on a Yamaha U1 - this time, I tested it extensively at Yamaha HQ to make sure I made the right choice. Finally, I felt good about the piano. But by this stage, I had burned myself out emotionally and physically. I could only manage to record three pieces. So, I decided to take the recording to my studio, Sansom Studios, which I co - own with my brother Olly in the Midlands. (Though it’s technically another piano graveyard!) We’ve got a Bechstein model 10 Upright, a Yamaha S6 Grand, and a Yamaha YUS5 Upright in there. I booked five days in April to get the album done, but after just three days, I found myself on the verge of a complete breakdown.
I had overcooked it. I was obsessing over tiny details, suffering from severe loss of perspective, and just plain exhausted. Tired ears, tired hands, tired head... I was done. Katie stepped in, insisting I completely step away from the piano. She put me on strict duties: no more piano, no more listening to recordings, just take a break and get my head back together. That was the best decision for my health. I have been here many times, but this time it felt worse than ever.
So, after all of that - the trial and error, the multiple pianos, the endless hours of work - the final album features two pianos: the Yamaha U1 and the YUS5 at Sansom Studios. I can’t say I’m completely satisfied with the production of either, but I do know that the performances are as natural and meaningful as I could possibly make them. And that’s what matters the most. It doesn’t matter what piano you use, what microphones you have, or what studio you’re in - the most important thing is capturing a special period and letting the music be what it is. That’s what I keep telling myself, anyway. I’ll NEVER be fully happy with the results, but that’s part of being an artist - striving for something better, not just in music, but in life as well. It’s about doing your best and leaving the rest behind.
So, I hope you enjoy the album. And I hope you’ve enjoyed following along with these blog posts as a behind - the - scenes look at this crazy, wonderful journey. I hope to share more of the journey, as the post release weeks unfold. Feel free to sign up to my mailer below to receive an update here and there!
