Lenno on Recording, Signal Chains, and Nu Disco 2

For Lenno, great samples don’t start in the DAW — they start at the source. From carefully chosen microphones to driven analog preamps and meticulously treated acoustics, every stage of the recording chain plays a role in shaping the depth, punch, and polish heard in Lenno Nu Disco 2. In this edition of Signal Flow, Lenno walks us through the gear, techniques, and philosophies that define his approach — proving that character isn’t added later, it’s captured from the very first take.

What are some of your favorite pieces of recording equipment (ex. microphones, preamps, etc.)?

So many! The main mics used on this pack were a pair of Neumann KM184s, along with an AEA R84, Neumann TLM193, Shure SM57, Shure SM7B, Slate ML1 (without the modeling) and a few others. I find a good recording chain makes a huge impact on the quality and "finished-ness" of the recordings, so I have a couple of different options. My mono chain is a lunchbox with a Chandler TG2, Audioscape V3A and Electrodyne 511, all of which can be both clean and characterful. My main stereo recording chain is an Overstayer Modular Channel, which is an insanely deep box that can do everything from mastering to all-out obliteration. And for ultra-linear clean sound, I use a Grace preamp.

Tell us about how you use these pieces of gear in context. What gear do you use to capture certain instruments?

On this pack, I'm really glad how the live snare recordings turned out. For those, I used a combination of three microphones - a close SM7B and an "overhead" pair of the KM184s. With the close mic I'm looking for impact and punch, whereas the overhead pair gives me width and air. The gain staging and processing on the way in is a big part of the sound - I'll drive the close mic's preamp (on the aforementioned lunchbox TG2) quite hard, which clips the initial transient and makes the close mic sound more cohesive. I'm also positioning the mic really close to the snare to make use of the proximity effect which gives me a nice boost around the fundamental frequency of the snare. I find driving analog gear hard retains the character of the original signal better than plugins in a lot of cases, you can really over-process things while still keeping them sounding pleasant.

If using microphones, how do you position them in relation to what's being recorded?

It totally depends on the instrument, and I make a point to listen on headphones and really find the best-sounding position for the mics - it can make a huge difference and is often not the most obvious one. I think it's important to keep an open mind and be ready to surprise yourself. I do enjoy using at least a mono spot mic and a stereo pair, even a little hint of stereo information can make a sound a lot more exciting to me.

How do you treat the room you record in? How does this impact the overall sound of your samples?

I'm massively into the science of acoustics, and have gone to great lengths with the acoustic treatment of my space. There's a big 30cm deep ceiling trap, some diaphragmatic bass absorbers, some cylindrical traps that also work as monitor stands.

Are there specific aspects of recording that are unique to sample creation that might be less relevant for commercial music or other applications?

It's always a fine balance between making sure something is ready to be used as is, while still leaving some room for processing by the end user. On my own productions, I'd typically process/clip/compress things even harder than I do on my sample packs, but I definitely do employ a lot of the same techniques.

Are there any other tips, best practices, philosophies, etc. around recording that you'd like to share?

I think people tend to over-emphasize gear and techniques, and under-emphasize the really important stuff: getting good sleep, being aware of what you're actually listening to, keeping an open mind in the studio, drinking enough water, taking breaks and eating well. I think all of those are way more important than any technical thing can ever be.

Do you have a preferred digital audio workstation for recording? Why do you prefer it?

I was on Logic for the longest time (15+ years), but changed to Ableton two and a half years ago. I find the speed and customizability of Ableton simply unparalleled.

Are there any recording techniques or technologies you’re excited to experiment with in the future?

I'm a bit bored of traditional forms of synths right now, and have been diving into some exciting territories lately (like spectral, physical modeling, granular and West Coast synthesis). I have no idea what I'm doing and I'm loving it! I hope I won't fall down the Eurorack rabbit hole though…

While Lenno’s studio is filled with carefully curated microphones, preamps, and outboard gear, his philosophy ultimately extends beyond equipment. For him, great recording is about intention, listening closely, and staying open to discovery — whether that means pushing analog gear into musical saturation or diving into unfamiliar synthesis methods just to see what happens. Lenno Nu Disco 2 reflects that balance: technical precision at the source, paired with creative curiosity that keeps the sound evolving.