i'm sorry, i love you
i'm sorry, i love you
— A Project Walkthrough —
Embedded Files
Project Overview
Project Overview
Life sometimes confronts us with moments we’re not prepared for, leaving us with words we never get to say. When my grandmother passed away, none of us had the chance to say our farewell. I thought maybe posting an Instagram story would suffice, but there just was that lingering sense of regret at not being able to speak my feelings out loud. When my siblings and I discussed who would give the eulogy at her necrological service, I refused. I knew I wouldn’t know what to say or write. In the end, four of them shared their sentiments, and I stayed silent. There’s a line in Tomorrow, a K-drama I personally love, that goes: “Do you have any idea what kind of hell it is to part ways without a proper goodbye?” That line stuck with me ever since, and it unknowingly captured the emotional turmoil I felt. Losing someone suddenly, without the chance to speak your heart, is a kind of pain that lingers in quiet moments, and it was this lingering grief I wanted to express through my project.
“i’m sorry, i love you” is a short audio scene that seeks to recreate the intimate, reflective atmosphere of a memorial service. It is designed from my point of view, so listeners can feel as though they are in the same room, surrounded by people mourning and remembering someone deeply cherished. The project was my way of turning personal grief into something expressive and immersive. From writing the eulogy to recording each track, I was involved in every step of the production, making sure my emotions were present in both the words and the sounds. By creating this audio scene, I was able to finally voice the words I couldn’t say at the time, and in doing so, find a sense of closure and acceptance.
Timeline
Based on the timeline I provided in Assignment 1, I was able to follow the plan up until Week 1. However, in Week 2, I fell behind because I got sick and lost my voice, which made it impossible to record any vocals. Once I recovered, around the middle of Week 3, I began recording the vocal track and some of the foley. Despite my efforts, I wasn’t satisfied with the initial recordings, and the process almost stretched into Week 4. Fortunately, I managed to get back on track with the timeline.
The editing and mixing stage took longer than anticipated because some of the foley didn’t align properly when combined with the vocal and background tracks. This required multiple revisions, retakes, and careful adjustments to ensure that all elements worked together seamlessly. While the timeline shifted due to unforeseen challenges, I was able to adapt and complete the project as planned.
Logistics
Hardware
Laptop: MacBook Pro M3
Microphone: Fifine AmpliGame AM8 USB/XLR (Dynamic) & iPhone 14 Plus built-in mic
Headphones: Beyerdynamic DT 770 Pro 80 Ohm
Software
DAW: Adobe Audition 2025
Recording Setup
Most of the recordings were done in my study. I chose to record at night to minimize background noise and create a quieter environment. However, since it is extremely hot in the UAE right now, reaching up to 40 degrees Celsius, I couldn’t turn off the air conditioner, as it would make the room too humid to work in. The few pieces of furniture in the room, along with my desk pad, helped absorb some of the sound and reduce echo, making the space suitable for recording (there are actually heavy boxes behind that curtain). I also positioned the microphone carefully to capture the clearest possible sound.
My primary microphone was the Fifine AmpliGame AM8, a dynamic USB/XLR mic, which I used to capture the main vocal track with clarity and minimal background noise. For the supplementary recordings, such as foleys, I used the built-in microphone of my iPhone 14 Plus, which was convenient for capturing sounds on the go. To monitor the recordings, I relied on my Beyerdynamic DT 770 Pro 80 Ohm headphones, which provided audio feedback and helped me identify any issues with tone, balance, or unwanted noise. The entire production was managed in Adobe Audition 2025, which served as my digital audio workstation (DAW) for recording, editing, and mixing each track.
Signal Inflow
Signal Inflow
Signal Outflow
Signal Outflow
Writing Process
The hardest stage of the entire process was actually writing the eulogy. I’m not the best person when it comes to writing down my thoughts, especially on such a personal level. In my mind, I had so many things I wanted to say, but when I tried to put them into words, it was impossible. I put it off for three days, not because I didn’t know what to write, but because I was scared. I figured that whatever I wrote would be the last words I could express to her in this form. Once I started, I just jotted whatever came to mind. The project's duration was originally supposed to be around four minutes long, but I got so immersed in writing that it became much longer (funny enough, I already cut it down to about 750–800 words). After finalizing the script, I reflected on the process and realized that, over the course of writing, I kept shedding a tear or two. To be honest, even now I’m not fully satisfied with what I wrote but I think it still captures about half of what I wanted to convey.
Then came the practice stage, and I was back to square one. The only part I could say comfortably was the very first line. At one point, I even questioned why I chose this project. I didn’t know whether to cry, laugh, or crash out from the pressure. In the end, I practiced it once and decided to get on with the recording, which meant a LOT of retakes but thankfully, I was able to complete it.
Recording Process
This project consists of four main tracks, which were eventually condensed into a single mix: 1) the vocal track, 2) the guitar track, 3) the ambience track, and 4) the foley/SFX track.
The recording process took a significant amount of time, as I had to redo several parts multiple times to achieve the quality I wanted. Since I fell behind on the original plan of completing the recordings over two weeks, I had to condense the process into just one week, focusing on completing everything within five days. On August 18, I recorded the first trial of the vocal track. However, it took three days of retakes and revisions to finalize the vocals, and I was able to finish this part on August 22. By August 23, I recorded the guitar track with the help of my sister. On August 24, I recorded the foley sounds and the ambience track, to layer these elements to create a realistic and immersive soundscape that would bring the memorial atmosphere to life.
The following are the raw clips:
Voice Recording
I recorded the vocal track using my Fifine AmpliGame AM8 dynamic microphone. Since it’s a dynamic mic, it naturally minimized background noise, which was helpful given the limitations of recording at home. However, I had to experiment with different mic positions to capture my voice clearly without sounding too boomy or as if I was breathing directly into the mic. Delivering the eulogy was another challenge, as I wasn’t initially sure how to approach the tone or pacing. This uncertainty led to a large number of retakes. Eventually, I decided to deliver it in my normal speaking voice, which felt most natural and authentic. There were moments when I had to pause because I became emotional, but I was able to persevere and complete the entire recording.
photo for documentation purposes
Guitar
The guitar track was recorded with the help of my sister, using the same Fifine microphone. This is actually "The Day You Said Goodnight" by Hale. Initially, I had planned to place the mic a few meters away from the guitar to create a distant, subtle accompaniment behind the vocal track. However, the mic had difficulty capturing the acoustic guitar at that distance, so we had to move it closer to pick up the sound clearly. While this didn’t perfectly match the original plan, I decided to adjust the perceived distance of the guitar during the mixing stage. The goal was to make the guitar feel like a soft, supportive layer behind the vocals.
Ambience
For the ambience track, I asked for help from my two siblings. I considered using pre-recorded tracks from online sources, but I couldn’t find one that suited the tone I envisioned; they were either too loud, distracting, or didn’t feel authentic. Recording live with my siblings allowed me to tailor the sound to the mood I wanted. Since the Fifine microphone doesn’t pick up soft, distant sounds well, I used my iPhone 14 Plus’s built-in microphone to capture the ambience. Since the study was too small to fit all of us comfortably, we opted to record in the dining area instead. Even then, the background noise from the house was quite loud, so I had to edit the track carefully during post-production to reduce unwanted sounds while keeping the ambience natural.
photo for documentation purposes
Foley/Sound Effects
The foley and sound effects were deliberately kept minimal, consisting of four key elements, to maintain the subtle, realistic atmosphere. This part of the recording was challenging because I had to find the right materials to create sounds that felt authentic. For the page shuffling, I used stapled papers, recording them close to the mic to mimic the sound of shuffling papers on a podium. For footsteps, I initially considered recording actual heels, but the result didn’t suit the scene. Instead, I mimicked the sound of heeled footsteps on a carpet by tapping my knuckles on my desk, with a desk pad to soften the sound. To add realism, I included sniffles, recording myself to subtly convey emotion without overwhelming the scene. Lastly, the deep inhale/exhale was recorded live and is the shortest sound (only used around 3 seconds of the recording) in the foley track, but it added an essential human touch, emphasizing the emotional presence while I deliver the eulogy.
Mixing Process
My Final Project in Adobe Audition
Once all the tracks were recorded, I moved on to the editing and mixing process. Using Adobe Audition as my DAW, I set up a multitrack session to carefully arrange and balance each element. This stage was one of the most meticulous parts of the project, as it required close attention to detail and a lot of critical listening. Most of the tracks needed additional processing, such as reverb, to add spatial depth and create a sense of being in a larger room, as would be expected in a memorial setting. I also applied noise reduction to clean up unwanted background sounds and used EQ adjustments to balance the frequencies so that each track would sit well together in the mix. I manually adjusted the volume levels and panning throughout to ensure that the vocals remained clear and expressive without being overpowered by the guitar, ambience, or foley sounds.
The following are the edited clips:
Voice
Since this was the centerpiece of the entire project, I treated the vocal track with the most care. Before adding any effects, I inspected the spectral frequency display to spot unwanted sounds, such as tiny background noises or mouth clicks, and used the spot healing tool to manually remove them to ensure I was working with a clean recording. Then, I proceeded to apply the Studio Reverb effect using the “Vocal Reverb – Small” preset to replicate the subtle acoustics of a quiet memorial space which is not too echoey, just enough to give my voice a natural sense of space. For this one, I wanted to imitate the sound that you'd hear usually when you speak with a mic. I followed this with a Parametric Equalizer to enhance vocal clarity, rolling off unnecessary low frequencies that could make my voice sound muddy and boosting the high end slightly to add clarity and presence to my voice. I also added a Loudness Meter using the “Cinema” preset to maintain a consistent volume level across the entire piece, which is especially important since there were emotional pauses that could otherwise make the track sound uneven. Lastly, I used the Automatic Click Remover to eliminate any residual clicks or pops from my recording.
Guitar
For the guitar, I wanted it to serve as a subtle layer beneath the vocals. I applied a Parametric Equalizer and enabled the High-Pass (HP), Low (L), High (H), and Low-Pass (LP) filters. This allowed me to roll off unnecessary low-end rumble, control the lower frequencies, slightly boost the highs for clarity, and tame any excessive brightness on the very top end. The result was a guitar tone that sounded clear yet gentle, perfectly complementing the vocal without drawing too much attention to itself. Then, I added Studio Reverb with the “Guitar Amp Verb (Mono)” preset to give the instrument a natural resonance, making it sound as if it was softly playing in the same room as the speaker. To minimize any background noise captured during recording, I applied a light noise reduction at 10%, which kept the track clean. Finally, I intentionally set the guitar’s volume to -15.9 dB so that it would sit quietly in the background, supporting the vocal track rather than overpowering it.
Ambience
The ambience was key to setting the tone, so I carefully balanced it to feel present but never distracting. I began by cleaning up background noise from the house using a light noise reduction at 10%, which reduced hums and chatter. Then, I applied a Parametric Equalizer to soften the harsh frequencies, cut out unnecessary low-end rumble, and keep the ambience warm and natural so it wouldn’t clash with the other tracks. To create a realistic sense of space, I used Surround Reverb with the “In the Church – Mid-Sized Room (Impulse)” preset, which gave the track a reflective, spacious depth, enough to make the listener feel as though they were quietly seated in the same room. During the middle part of the mix, I kept the ambience at the lowest volume possible so it wouldn’t obstruct the vocal or guitar track, letting them carry the emotional weight of the scene.
Foley/Sound Effects
Each sound effect was treated individually to make sure it blended naturally into the mix. For the footsteps, I used the same effects as the ambience track: reverb, EQ, and noise reduction, to make it feel blended with the ambience of the room. I wanted this track to act as the emotional cue that sets the tone for the entire scene. However, I slightly increased the noise reduction to 20% to remove the background noise that the mic picked up. For the mic check and page shuffle sounds, I used noise reduction again but this time at 80% because these recordings contained more unnecessary rumble, and I wanted to isolate just the sound of the action itself. I also applied a customized Studio Reverb to the page shuffle sounds to match the spatial quality of the vocal track, so it would sound like it was happening at the same podium where I am supposedly standing at. For the sniffles, I used a processing chain similar to the vocal track: EQ, reverb, and noise reduction to make it sound natural like it was coming from me and not a separate, out-of-place audio clip. I panned the track slightly to the left to create the impression I was turning away from the microphone while sniffing. Lastly, the inhale/exhale SFX was treated with the same approach as the page shuffle, using subtle reverb and noise reduction to blend it seamlessly. Despite using it on a short note, I feel that this sound is crucial because it added important realism and emotional weight to the piece.
All of those, into this:
Final Thoughts and Reflection
In terms of technicality, I am aware that my idea was fairly simple compared to my classmates’ more elaborate projects, but throughout the process of creating this piece, I came to realize that audio production is definitely not for the weak. Even with only eight tracks condensed into one mix, there were a lot of challenges I encountered, from limited equipment to recording in less-than-ideal spaces, such as the dining area, which introduced background noise that I had to later edit out. One of my biggest struggles was with the guitar track. Maybe, just maybe, if I had better equipment, the guitar track could have turned out cleaner and fuller, or perhaps I could have opted to use a pre-recorded track. However, I stood by my decision to record everything live, because I wanted the final product to carry a sense of authenticity, even if it meant more work on my part.
Apart from technical challenges, the emotional weight of the topic also made this project difficult for me. This was meant as a eulogy for my grandmother, and there were moments when I doubted if I could even finish it because of how heavy it felt to speak those words out loud. I even considered changing my idea completely. However, I didn’t want to abandon the concept because it was personal to me, and I knew that seeing it through to the end would be worth it. With this project, I hope to finally receive the closure that I needed. Working on it gave me the time to reflect on my memories with her, and to say the words I wish I had told her while she was still here. It reminded me of one of my favorite lines from Reply 1988 (using a lot of K-drama references, but oh well):
“Time continues on. That is why time eventually creates farewell and it always leaves people with regrets. If you love someone, you have to tell them now, before your fleeting days become filled with regret.”
Looking back, I realize that this project gave me a deeper appreciation for the art of sound design and mixing. It pushed me to be more intentional with every creative decision, from where to place certain sounds to how to balance each element so that nothing gets lost. More than just a technical exercise, it made me confront my emotions which I often avoid and translated them into something that others can experience too. So, even if the final output still isn’t “perfect” in my eyes (or ears), I hope you feel my sincerity.
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