Name: Mathis Grossmann aka Magro
Occupation: Producer, drummer
Nationality: Germany
Recent release: Magro teams up with Moses Yoofee for their new single “Grief,” out via Sonar Kollektiv.
Recommendations: John Coltrane - A Love Supreme (Album); D’Angelo - Voodoo (Album)

If you enjoyed this interview with Magro and would like to find out more about his work and music, visit his official website. He is also on Instagram, and Facebook.

For a deeper dive, read our previous interview with Magro.



What was the first time you were consciously impressed by technology – in and outside of music?

Probably the first computer my mom had. It was an Apple Power Book.

Tell me about one or two of your early pieces that you're still proud of (or satisfied with) in terms of production – and why you're content with them.

Leona Berlin - “Nothing Compares 2 U” (Prince Cover)



-> I did the production and arrangement together with Leona Berlin. It reflects lots of elements that defined my style and it is one of my early productions.

Magro - “Trippin” (feat. TwizzMatic & Kurt Rosenwinkel)

-> it was my first single from my first album and still one of my strongest songs to this day in my opinion. It displays my personal ideal of sound: Mixing abstract songs with clear beat elements.

When it comes to arranging, sound design, performing, composing, etc – what are currently concrete topics and aspects that interest you and where you want to improve or simply challenge yourself?

Although I studied jazz I want to still learn more about voicings and harmonics on the piano as well as making the music more tangible while keeping my abstract style.

Do you keep up with recent developments in terms of gear and software? If not, why not? If so, what are you looking for?

I definitely do. Every time I’m finishing a track, I feel like I’m learning new stuff  and am exchanging with my fellow producers about new plug-ins and tricks.

How and for what reasons has your music set-up evolved over the years and what are currently some of the most important pieces of gear and software for you?

My setup is a hybrid setup.

With my computer at home, I have a simple setup such as laptop, speakers, headphones and a midi keyboard. In addition to that, I have a drum kit in my studio.



Jean-Michel Jarre maintained that, despite the advances in virtual technology, we are still "analogue animals made out of blood and bones who need buttons and knobs to touch.” In how far is this statement true or false for your own music?  

I agree with him. I definitely love analogue gear.

For me however, it is much more practical to have everything as plug-ins in my laptop, accessible any place. I also produce while I’m traveling. That wouldn’t be possible with an analog setup.

What are examples of production tools/instruments that you bought for a specific purpose?

I have no specific story to that but from time to time, I’m definitely inspired or impressed by certain gear like a new type of cymbal or a particular plug-in that creates a particular sound.

Late producer SOPHIE said: “You have the possibility with electronic music to generate any texture, and any sound. So why would any musician want to limit themselves?” What's your take on that?

I totally agree with that and that is one of the main reasons I started producing.

It gives me the freedom to express myself exactly the way I hear it. No musician would be able to do that for me.



From the earliest sketches to the finished piece, tell me about the production process for your current release, please.

I don’t have a recipe how I always work. I also want to change it up from song to  song, so that I stay fresh in the process. Sometimes I start with the drum beat, then a chord progression or melody follows. Then the chords and productions are built around that. Sometimes I have a certain mood or sound I want to create.

It’s different all the time. I don’t feel like I can decide on that, I have to let the ideas come naturally and follow it.

What does your own way of working with sound look like? Do you find using presets lazy?

I usually do it in two different ways.

I either have a particular sound in my head and then build it with a synth or with samples, or I only know what kind of sound could fit (like a pad sound for example) and then I start browsing presets and adapt them to the production.

Richie Hawtin, speaking about semi-modular equipment, has stated that a deeper understanding of sound synthesis can lead to “life lessons that go beyond what we can hear.” Can you relate to that statement?

I honestly don’t consider myself an expert in the synth field, therefore I can not personally relate. I can make and adapt my sounds for example with synths such as the Prophet, Moog or Omnisphere but nothing beyond.

What were some of your most positive collaboration experiences? How did this "human element" enhance your solo approach? Did you record via filesharing or in the same room and if so, what did the recording process look like?

I mostly record and produce by myself and have my feature guests recording remotely.  But rarely I record together with them.

One memorable experience was having Kenny Wesley over at my place and recording his vocals. Witnessing him singing everything almost first take was a memorable experience.


Magro BigYuki Session

To some, the advent of AI and 'intelligent' composing tools offers potential for machines to contribute to the creative process. What are your hopes, fears, expectations and possible concrete plans in this regard?

I don’t think much about that actually. Since I’m an artist that is not doing commercial music that can be replaced easily, I’m not fearing it.

I think it will change commercial music production massively in the future. My hopes is that people will appreciate the craft of playing an instrument or having an individual expression more, since a commercial sound or song can be done easily by everyone with AI.

Have you used AI or generative music tools for your own productions? If so, in which way and what did they add?

I sometimes use the AI mastering tool from Ozone, it is a quick fix to make song sounding good before sending it to someone for review in a production process or getting something ready to post on Instagram.

I also use it as reference to compare my master with the AI master.