Grooves without Boundaries: Inside Soul Supreme’s Sonic Lab
Soul Supreme isn’t just a producer; he’s a groove scientist, blending the DNA of jazz, funk, and hip-hop into tracks that hit your soul and keep your head nodding.
With each cut, he turns nostalgia into something fresh. His sound is unmistakable—raw keys, sharp drums, and a vibe that bridges eras without losing its edge.
A few weeks ago, we had the pleasure of a close encounter with the man behind the music, for a long and pleasant chat. No wonder we’re stepping into Soul Supreme’s world to bring his science to the Production Specs column.
From his creative rituals to the beats and culture that shaped his approach to music and life, we’re here to uncover the alchemy behind his sound. If you’re about digging deeper and doper, this one’s for you. Also, if you haven’t yet, check his latest release at Bandcamp. You won’t be deceived.
Welcome to Stretto Blaster, Soul Supreme. First and foremost, please feel free to introduce yourself to our readers.
Hi, I’m Soul Supreme. I’m a producer, pianist, arranger, and composer. I love making music in all its forms. Based in Amsterdam, my work is rooted in blending everything I love about music—and for me, it all comes back to the soul.
Whether it’s jazz, hip hop, samba, or house, I’m drawn to anything with soul. My goal in everything I create is to ensure you can feel the soul, honesty, and awe in the music. It’s always a reflection of what I feel.
What is your first memory about being interested in music?
I can’t pinpoint exactly when my love for music started, but it was always present in my life. My mom is a hobbyist pianist—she plays just for fun—and my dad has a deep love for music, so there was always music playing in the house.
One vivid memory I have from childhood is watching Austin Powers on TV. It’s a random story, but Marvin Gaye’s “Let’s Get It On” started playing in one scene. The moment I heard it, I thought, "Oh sh*t, I don’t know anything like this, but I need to know more music like this!”. That was around 1999 or 2000, and I didn’t know much about soul music at the time. That song just completely captured my attention.
Another standout moment was hearing “Bonita Applebum” for the first time. I was on a bus, listening to a CD player, and I had burned A Tribe Called Quest’s first album onto a disc. That track hit me in a way that felt transformative. Those moments sparked something in me, deepening my connection to music and pushing me to explore more.
And when did you start playing? I guess you were already playing an instrument before learning about soul music.
I played some music as a kid, but I was never too serious about it. I didn’t know any music theory until much later in life. However, because I had a teacher when I was young, I developed right-hand shapes and a kind of muscle memory. Over time, though, I stopped playing.
Even so, I was always listening to music. It’s something I’ve done for as long as I can remember. As I got older, I explored other creative outlets like b-boying and graffiti. Through those, I learned about breaks and samples, which eventually connected back to music. B-boying, in particular, revolves around music—it’s all about the beats, the classic breaks, and the essence of hip-hop culture.
Playing and producing music was always in the back of my mind, like something I knew I would get into eventually. During high school, I tried to revisit the keys and learn more, but between writing graffiti and dancing, I didn’t have enough time to commit to it. It took some time, but the pieces all came together in their way.
And you were already based in Amsterdam?
No, I’m from Jerusalem originally, but I’ve lived in Amsterdam long enough now.
So you were discovering breakdance, graffiti and all of that while back in Israel, right?
Yes, there was a small but dedicated scene, and for me, it was a time of discovery. Everything felt new—I remember discovering James Brown and A Tribe Called Quest at the same time, or Bill Evans and Jeru The Damaja.
That experience shaped how I think about music. For me, it’s all connected. Genres and borders are useful for context and understanding history, but when it comes to how I feel and experience music, those lines don’t exist. It’s all part of the same larger conversation.
I like this approach. So, what was your first production released ever?
In 2013, I bought an MPC and started producing, but the first thing I released with a label was in 2018 with Star Creature, under a different name, Love’s High, and it was a modern funk boogie kind of record.
You are no stranger to samplers, DJ techniques, breaks and whatnot. I’ve recently noticed with great pleasure your collab with Jay Mumford, for instance, and a question comes easy: how would you describe your approach to music production these days?
Before I started producing, I was a DJ. My approach to DJing has always been rooted in hip-hop principles—anything can work together if it has a good groove. If the vibe is right, one track can flow seamlessly into the next, regardless of genre.
That mindset has carried over into my production. These days, I don’t focus too much on genre or style; it’s more about capturing a certain groove or feel and expressing it naturally. I follow my ideas wherever they take me, experimenting along the way. Sometimes I sample. Other times, I’ll record something, resample it, and chop it up. And there are moments where I’ll record a live drum take and leave it completely untouched.
I’m not a purist when it comes to process—I care about what makes the music sound the best in the end. Whether it’s heavily edited, left raw, or created using MIDI, none of that matters to me.
What matters is the final result. It has to sound good when it comes out. As a producer, that’s my bottom line because, in the end, it’s the listener’s experience that counts most.
So you’re not like, um, I kind of say, um a geek for specific tools?
It’s funny: when I was using the MPC, I had this purist mindset—like, “You only sample breaks, and everything has to be OG.” I wouldn’t touch anything else.
But as I’ve gotten older, I’ve realized there are no rules to making music. I have to give credit to people like Buscrates e TallBlackGuy—they started incorporating synths and exploring new approaches. They showed me it’s really about creating something fresh and making music that resonates with people.
Now, I’m not so strict anymore. I still love recording my keys live because that’s the vibe I go for, but if you want to sample reissues, go for it. If drum packs are your thing, use them. At the end of the day, it’s all about what works for you and the music you’re trying to make. I’ve let go of those rigid rules—I just want to create and enjoy the process.
How long did it take you to produce something you were proud of? How steep was the learning curve?
After a couple of years of making music, I had tracks that I felt good about, but I didn’t release anything until 2018. I’ve always been pretty strict with myself about quality, and I knew the earlier stuff wasn’t quite there yet. It wasn’t until 2018 that I finally felt comfortable enough to release a record.
That record isn’t perfect—it has its mistakes—but I’m okay with that. By then, I felt like I had something meaningful to say musically and knew how to put it out into the world.
I also think that spending time listening to music before jumping into production taught me a lot. It gave me a foundation of understanding and helped shape my approach when I eventually started creating and releasing my work.
What’s your favourite production setup these days?
My number one instrument is the Fender Rhodes. It feels like an extension of my hands—I’ve been playing it for so long that it’s become part of me. What makes it even more special is that every Rhodes keyboard feels unique, and mine has a character I love.
These days, I’d also highlight Ableton Live. It’s incredibly fast and efficient, which is essential for my workflow. My synths are another big part of my setup, but I keep it modern and practical. I use a Moog Sub37, which is fantastic for creating great sounds quickly. It’s reliable, easy to recall settings, and doesn’t require constant maintenance like vintage gear often does.
I also use the Sequential DSI OB-6, which is another favorite. Recently, I’ve been collaborating with Melbourne Instruments, designing presets for their Delia synth—a new and exciting venture for me.
Lastly, the piano and clavinet remain integral to my production process. They bring a timeless and versatile quality to my music that I always come back to.
Do you still dig for records?
Yes, I still buy records, though not as obsessively as I did 10 years ago or back when I was DJing full-time. I go digging a few times a month, but my habits have definitely evolved as I’ve gotten older.
These days, I find myself gravitating toward jazz more often. With everyone chasing the same records and Discogs prices getting ridiculous, I’ve shifted to focusing on local shops. I try to explore the overlooked sections—records that aren’t on everyone’s radar yet and are still reasonably priced. That way, I avoid the competitive side of digging altogether.
For me, record shopping is also a social experience. I’ve built relationships with shop owners who know me, know my taste, and sometimes recommend things I might not have discovered otherwise. It’s a great way to connect with people I like and meet friends through a shared love of music.
As I’ve gotten older, I’ve also noticed a change in my perspective. I care less about owning rare or hyped records—the ones everybody wants. It’s not about ego anymore; I just want to enjoy good music. So, I’ve learned to tune out the noise around trends and focus purely on what I love listening to.
Any digging advice you have ever received?
I wouldn’t say I have a specific piece of advice, but more of an approach I’ve developed: the idea that expensive doesn’t always mean good, and cheap doesn’t necessarily mean bad.
Just because everyone is chasing after a particular record doesn’t mean it’s great or that you’ll even like it. The key is to trust your ears above all else.
You don’t need to spend a fortune chasing what you want. Be patient—sometimes you’ll find that special piece, and other times you won’t, and that’s perfectly fine. It’s all part of the journey, and it’s not a competition.
I can attribute this mindset to a handful of people in my life—not just one, but a collection of individuals whose musical tastes I deeply respect. They’ve helped shape this perspective and remind me that music is about enjoyment and discovery, not about keeping up with others.
Can you share any digging-related funny stories or anecdotes?
It’s not exactly a funny story, but a cool one from my neighbourhood, which is this wonderfully random and vibrant area. One day, I was walking around and noticed some records tossed out with the trash. Curious, I started going through them when I saw this elderly lady adding more trash—and a few more records.
For some reason, I asked her, “Are these your records?” She said yes and mentioned she had a lot more but no one to help her clear them out of the house. Then she added, “If you’ll help me, you can have all of them.”
It turns out that the entire collection once belonged to a Surinamese DJ. The catch? Many of the records had been sitting for years, with a cat having made them its territory. The smell was unbearable on some, but others were in incredible condition and insanely rare.
Among the gems, I found reggae 45s, a few double-piece records, and even some African boogie. Eclectic and random stuff. It was clear this lady wasn’t the one spinning these records, and I have no idea how she ended up with that collection.
In the end, by just helping her out, I ended up with a treasure trove of vinyl. It’s one of those stories that reminds you how sometimes, amazing things just fall into your lap when you least expect it.
And it was in Amsterdam, right?
Just two minutes from my house, something random happened in the middle of the street. It’s worth mentioning that I live in a street-level apartment, so my windows face directly onto the street, and everyone can see inside.
The most unexpected interactions happen when people see me playing music and decide to knock on my window and start a conversation. Some of these encounters have been incredible—I’ve met people I’ve later collaborated with, worked on projects with, or even just become friends with.
I’m not sure if this kind of thing is unique to Amsterdam, where so many apartments are at street level, but it creates a unique kind of connection. If you’re playing music every day, people hear you, and the city kind of responds. It’s this spontaneous interaction that makes it so special.
Do you have any mixing tips that you can share with our readers?
The first step is to learn how to mix. For me, I wanted to understand the process, so I pursued a degree in sound engineering. While I can’t say the degree taught me everything, it gave me enough of a foundation to understand how things work.
There are two key principles to follow:
- Be honest with yourself.
I’ve had productions from as far back as 2015 that I liked, but deep down, I knew they didn’t sound as good as the music I admired. You need to be able to recognize when your work doesn’t measure up and be willing to improve. - Trust yourself as you grow.
Once you’ve gained a certain level of technical understanding, it’s important to trust your instincts. I’ve sent tracks to producers with great ears for feedback, and they’d tell me things like, “This snare is too loud” o “This keyboard isn’t coming through enough.” While that advice is valuable, you must also develop your tastes and trust your gut. Everyone has different preferences, and part of finding your sound is learning to rely on your ear.
Building your sound is a process of trusting your instincts and refining your judgment. It takes time, and you’ll make mistakes along the way. Some of my earlier records weren’t perfectly balanced or polished, and that’s okay.
The key is to keep going. Stay honest about where you’re at, trust your ears as you evolve, and never stop working at it. Improvement comes with persistence, and over time, you’ll get better. Trust yourself, be patient, and keep creating.
Any production mistakes in your career? Any major learning from these?
I feel there’s a significant issue in the music industry: people don’t talk enough about the challenges of working within it or the pitfalls to avoid. As you grow older, you start to realize that understanding the industry and knowing how to work with people is just as important—if not more so—than making music. Creating music is the easy part; navigating what comes after is much harder.
It’s crucial to know who you’re dealing with and act accordingly. From my experience, I’ve learned that trust is a double-edged sword. While collaboration is one of the most valuable aspects of being an artist, you need to be cautious about whom you place your trust in. Unfortunately, even friends can disappoint you.
For instance, during my time working with the Mutual Intentions label, I trusted someone I thought was a friend. That trust backfired when they not only took credit for my work but also mishandled it, leading to a five-year legal battle that’s still unresolved. Worse, the music caught in this dispute may never be released.
This experience taught me a harsh but essential lesson: always approach relationships in the industry with a mix of openness and caution. The truth is, as an artist, you’re often at a disadvantage. Labels have money and power, so you need to find your own way through the system. At the very least, educate yourself—read a book on the music industry and music law. That knowledge can be your first line of defence.
One thing I’ve noticed is that people who behave unethically in the industry rarely target just one person. But because these stories are not shared openly, bad actors continue to exploit artists. Raising awareness and sharing these experiences can help others avoid falling into the same traps.
That said, be aware that not all lawyers will solve your problems, and sometimes the legal system can complicate things further. Even when you’re right, court cases don’t always deliver justice.
The best advice I can give is to be as direct and clear as possible when working with labels, producers, or collaborators. Speak up if something feels off—don’t hesitate.
Get everything in writing, and don’t shy away from questioning people’s motives. It’s not about being paranoid; it’s about protecting yourself in an industry that doesn’t always have your best interests at heart.
What do you use for mixing? You go with headphones straight away and then you go into the loudspeakers, or vice-versa?
When I learned sound engineering, I didn’t follow the “proper” methods to the letter. My room isn’t acoustically treated, and I use Yamaha HS8s—decent speakers, but nothing extraordinary.
That said, I firmly believe that knowing your room well with a modest setup is far better than working in an unfamiliar space with the best equipment. The key is to spend time listening to a wide variety of music in your room, especially from the spot where you mix. This helps you understand how your creations will truly sound in that environment.
Before diving into fancy plugins, it’s crucial to focus on the basics: set your levels correctly, get your panning right, and listen. Proper panning in your mix is far more important than relying on plugins like stereo wideners. The goal is to ensure everything sits well in the mix before adding effects.
Since my room isn’t treated and I often need precision with bass frequencies, I use headphones for detailed adjustments. However, most of my work is done on speakers, saving headphones for the final tweaks.
Lastly, I recommend working with a skilled mastering engineer in a well-equipped room. While mastering won’t fix a bad mix, a good engineer can highlight issues caused by your setup and collaborate with you to resolve them, ensuring the best final result.
Your accolades are very diverse and different, as far as we’ve seen in the past few years. You are often labeled as “too funk”, or “too jazz”. Would you care to elaborate on your positioning? (laughs)
Let me put it this way: when you try to break away from formulas and do your own thing, challenges arise. The jazz crowd might say you’re too hip-hop. The hip-hop crowd might find your sound too funky or unstructured.
Then there’s the funk crowd, who might feel you’re using too many chords or intricate melodies and label you as “too jazzy.” For them, it’s not simple enough.
That’s the issue when you strive to create something different. Audiences who are deeply rooted in one genre often feel like you’re not fully capturing what they’re looking for.
As a DJ with many years of experience, I firmly believe that people genuinely love music and are often more open-minded than they realize. The key is presenting the right music at the right moment and guiding them to discover new sounds. I approach production with the same mindset a skilled DJ would.
A great DJ helps audiences—whether seasoned music lovers or casual listeners—realize their deeper connection to music. We’ve all experienced that moment at a good party when a DJ plays an unexpected track that, in the right context, becomes something you grow to love. Ultimately, I trust the listener; they appreciate more music than they might initially think. This belief shapes my approach.
This is the perfect time to finally ask: what we can expect from you shortly? Are you going to release on 45 the stuff you did with Jay Mumford honouring Shadez of Brooklyn?
Yes, we have other projects we’ve worked on in the past that are set to be released. Over the last year or so, I’ve spent a lot of energy trying to resolve legal issues, and looking back, I wish I hadn’t let that take so much of my focus.
So, what can you expect from me? For the rest of 2024 and into 2025, it’s all about the music. I’m aiming to release a 45 by the end of this year, another early in 2025, and then an album after that. You can also expect more live shows—I did a few last year, and I’m planning for more moving forward.
As for specifics, I don’t want to give away too much about what exactly we’re releasing, especially the project with Jay. But trust me, it’s good stuff, and I’m sure you’ll enjoy it. A couple of weeks ago we dropped a preorder for a new 7′ you should check, it’s coming live in February 2025, and more are coming.
As our conversation with Soul Supreme unfolded, it became clear that his journey was anything but conventional. From digging through dusty breaks to crafting live jazz licks, and from the streets of Jerusalem to the vibrant intimacy of Amsterdam’s music scene, he embodies the essence of modern hip-hop: ever-evolving, genre-defying, and profoundly soulful.
With insights shaped by years of digging, creating, and navigating the complexities of the music industry, Soul Supreme reminds us that music is as much about honesty as it is about skill. It’s not just what you play, but why you play it. His philosophy? Trust your ear, trust the groove, and let the music tell its truth.
As we anticipate his upcoming releases, one thing is certain: we’ve only begun to uncover the depth of what he has to offer. Keep your eyes open and your ears ready—Soul Supreme is a force you won’t want to miss.
