Low audio bit rate?

I have finished my project and have uploaded it to Vimeo where I get a message that the audio bit rate is 116 kbit/s. Who's fault is that? The lav or recorder (iPhone)? I used these: www.boya-mic.com/products/show-398.html
They aren't good, but they did some ok work. Had to speak with normal voice, if not they peak. There is no way to turn down the volume on the mic, and if I do, regular and normal voice would disappear.

Anyhow. If it is the mic, I need to find my self some better lavs.

The mic doesn't determine bit rate at all. That is the recording device you're using, OR the settings you're using to export your media from the Timeline.

1- What app on the iPhone are you using to record?
2- If not an iPhone, what are you recording with, and what are the settings?
3- What is your audio setting for the timeline you're editing in?
4- What are the specs of your export?

FCPX.guru wrote: The mic doesn't determine bit rate at all. That is the recording device you're using, OR the settings you're using to export your media from the Timeline.

1- What app on the iPhone are you using to record?
2- If not an iPhone, what are you recording with, and what are the settings?
3- What is your audio setting for the timeline you're editing in?
4- What are the specs of your export?

1. I used the inbuilt app. There is no settings on the app.
2. It was an iPhone
3. Stereo and 48kHz, but was recored on a mono mic.
4. Think it was exported as mono, 44,1 kHz. But the exported file has 2 channels. So I'm not sure.

You need to monitor the level on the iPhone while recording. It shows a wave form being generated during recording. It should be halfway between the middle and the upper and bottom most limit of that waveform window. If it touches the top and bottom, it is overloading.

Are you exporting directly to Vimeo from inside FCPX, or from a Master File? I'm assuming you're uploading an H.264 or something.

Are you pulling the audio off the iPhone via iTunes? If so, then it is mono and 16.41kbits/s. Which ain't too shabby for just a voice. I'm surprised Vimeo even cares.

Not an option to monitor the levels on the iPhone, since everyone carried their own iPhone as a recorder in their pockets. But I adjusted the lavs distance from the mouth. But they easily spiked!

I'm uploading the master file as h.264.
No, I send every file as e-mail to myself and then downloaded the audio files.

Vimeo recommends 120 kbit/s and mine came out as 116 kbit/s.

Difference of 4 kbit/s is nothing. Ignore the warning if you can. If the audio sounds good to you, and is good on the meters in the timeline, I'd not worry about it. Vimeo is being picky.

That's good to know. But in the future, how do I get better sound? Better recorder? Or both better lavs and recorder?

The number one priority in recording audio is the microphone. iPhones/iPods do a great job of recording audio. I use them often. BUT, I test them thoroughly first. Record, put them in place, have the talent do a few line (not just a few word or counting to ten). Check it, move the mic if I have to. I'd even consider getting an app that allows recording to WAV instead of MA4. That makes it more FCPX friendly. And one that allows mono 48kHz recording. "Awesome Voice Recorder Pro" is one. Draw back is you can't monitor the recording while you're filming, which I consider vital.

What we use is a professional level wireless recording solution. At the TV station we use a Tectronix unit that is a wireless lav with transmitter, and a small receiver that plugs into our Osmo and GoPro cameras. The station also uses a Zaxcom self contained unit that records to SD cards. I'm not fond of Zaxcom only because you have to convert the files from their proprietary format to AIFF, and their converter strips timecode off. But the audio quality is fantastic. But their gain levels are set due to experience and experimentations. We can't monitor the audio will filming, which I am very NOT comfortable with.

My personal rig is an Audio-Technical rig. Two labs with transmitters, to a single dual channel receiver I can plug directly into my Blackmagic Cinema cameras or Canon DSLR. I'm much happier with way as I don't have to bother with synchronizing audio to video in post. Huge time saver. And I can monitor the audio as it is recording from my cameras. I can monitor from the receiver, but that doesn't tell me what the camera is recording. You need to monitor from the camera, what is actually being recorded, not audio before the recording process. Very important.

When using a DLSR or other camera, there's a myth floating around that the camera internally records bad audio, or less than pro quality audio. False. The built-in mics are often sub-standard, but the circuitry inside most all pro and prosumer cameras made today, that encodes and records the audio is really great. This circuitry is old hat, been around for ages, very good quality. You'd have to use a pretty cheap camera to not get good audio with an external mic. My Canon 7D records some of the best, cleanest audio I've ever heard, and it's considered "old". Using an external mic with a camera is always the optimum option. I've yet to see a separate audio recorder to anything better. Yes, they have bells and whistles, but in the final delivered product, naw, it's all the same.

I'd try for a better quality lav first. And I have to recommend Sweetwater for audio gear over anyone else. You may save a $4 going to Amazon or B&H, but the support you get pre and post sale from Sweetwater is priceless. I've been dealing with them for over a decade now, same sales engineer (Jason Koons) too, and have had better service and support from them than any other company I've ever done business with, ever. Get some consulting from an audio pro, get a good lave. If you have the money, get a good wireless rig.

BTW, a good wireless rig will not get interference. My rig has been set to the same channel for 6 years and I've never had any issues. Auditoriums, chemical processing plants, schools, police stations, city streets, hotels, never had any interference issues. A good quality rig will become invaluable to your production. And save time with all that sync clip stuff in post.

Thank you very much for that complimentary answer!

I have always wanted wireless lavs, but they are a bit expensive. I also want a rig with two transmitters and one receiver which I can plug in my 5D, so I can record the audio internal. And as you say, you don't have to sync the audio - which is fine, but it is time consuming and a lot more work on set.

I will dive into wireless mics and see what I can find, and I will consider Sweetwater. Thanks again!

Setting up a wireless lav rig on set is really simple and quick. Don't worry about that. Be sure to do it a couple of times in your home first, to be familiar with it. But once on set, it's a snap.

These are old, outdated, but work great. Transmitters are ATW-T1801's and the receiver is an ATW-R1820. Super easy, super fast to set up. I adjust levels on the receive itself, takes all of three seconds.

Cool thing about wireless systems is, you can start small and grow. One transmitter body pack, one receiver. But another set later, plug each receiver into a different camera. Or upgrade to a dual receiver to put both channels on one camera. Add a hand-held mic butt do you can do wirless man-on-the-street type rigs. Going to be filming in an auditorium? Get a desk-top receiver that will have much further reach distance wise. Later, upgrade the mic itself to better quality lav mics. So much long term potential. And nothing says you can't plug the receivers into a dedicated audio recorder instead of your camera. Though no how I prefer to work, personally.

Best of luck!

P.S. A little research, that low audio bit rate is due to the iPhone's original recording format. Start by spending $5 on an iPhone app that records WAV or AIFF. Go from there. Or use Compressor to convert it all into AIFF before hitting FCPX.