How It Was Made: Ten Walls feat. GØYA – In My Eyes

Ten Walls is a Lithuanian producer whose career has seen a big upswing over the past year, and this momentum has continued with his latest track, “In My Eyes,” which features the vocals of a singer named GØYA

Ten Walls is no stranger to the electronic music industry. He has shared stages with Maceo Plex, Nina Kravitz, John Hopkins, Chemical Brothers, Tales of Us, and many more. In keeping with his usual style, this track, “In My Eyes,” is groovy, texturally dense, ominous, punchy, and warm—all the hallmarks of a master of his craft.

I figured there would be no better time to invite him on for a How It Was Made to learn about the plugins he uses and some of the studio tricks he likes to use when making his music. So listen to the track below to acclimate your ears to the sauce he’s about to share and the images he’s about to drop because there is a lot. This way, you can see the settings, presets, and everything else he uses, giving you the best chance to replicate some of the sounds and textures he brings to his music.

Listen to the track below to get familiar with it, and then let’s dive into the latest iteration of How It Was Made, “In My Eyes,” featuring GØYA, a melodic deep house track of the summer.

Cubase 13

Speaking about vocals now, I use microphone Neumann U 47 and BAE 1073D Preamp. For vocals I have preset too, wich I use now for 12 years as basic vocal preset. And each time I record vocals, I need minimally edit the preset, to have it fit for women or men vocal.

Vocal group FX:

First plug in goes Fabfilter Pro-Q2. With it I fix resonance frequencies.

Third goes Waves RDeEsser, to make high freq sound more soft (letter s)

Forth goes Waves RVox limiter

And only at the end I use coloring effects, like old one Waves TrueVerb. With less mix and 10 secs feedback.

Speaking about vocals in this track, there are 3 vocals sounding, singing unison: central one, left one 50%  and right one 50%.

Then I fix notes with local melodyne. Then I fix sync and send to group with all my plugins. Using 3 vocals, singing same melody, the voice sounds stronger and more expressive. 

Speaking about main jumpy bass, I use Omnisphere synth and searching for arp sequence sounds. I found the bass, which I individually edited and I created the main track bassline. 

This is next bass, fx pansion strobe 2 bass. Keeping the harmony and low register. I always have been a fan of fx pension squad synths, but it is 32bit, and never have been released 64bit, so cant use it with Cubase as it is too old. With this 32bit strobe i did “Gotham” track bass and arp.

For main drum kits I usually use NI Battery 4. I ask constantly other producers, on what frequence hz you have your kick peak, but usually they can’t answer. Peak is 50hz, in pop or house music, so for this Battery 4, 080 Multiple Kit is ideal for kick. It has perfect 50hz.

If someone would ask, pick one synth that you could live with, I would say NI Kontakt. I think for this sampler it is the most sound libraries created. And as sampler recreates very well organic acoustic sounds, like strings, guitars, exotic percussions, piano and bass. To have this emotional wave I use piano. In many years of searching, the best sound and for me it is Cine Samples “Piano in Blue” for NI Kontakt. 

I like creating music, when I put final mastering plugins on master channel, then I hear sound of final result. On the process the preset changes, but the basic stays.

First plug in goes Fabfilter Pro-Q2 cut low freq

Second goes Waves RCompressor Opto mode

Third goes Waves PuigTec EQP1A  – it changes very nicely high and low freq

Last one goes Waves L3-LL Multiband Limiter

I use rme 400 fireface soundcard. For analyzing sound I use rme digicheck analyzer. When I use final plug in limiter, I look at digicheck track characteristics. So that low freq from 50hz goes down, and high freq from 16kHz also goes down. And the main characteristics stays in one line. And last one what I check is RMS all threshold, so that RMS max would be into -6 db.