Sennheiser EW-DP ME 2 Set Review

Having released countless legendary products and continually leading the industry with outstanding quality and technology, the prestigious brand SENNHEISER has come out with the EW-DP ME 2 SET. I had the opportunity to actually try out the product and test it out.

What is the EW-DP ME 2 SET?

SENNHEISER continues to lead wireless audio transmission across a wide range of industries, from live concerts to video productions.
The EW-DP ME 2 SET was provided by SENNHEISER and it’s an on-camera wireless lavalier microphone set (omnidirectional clip-on mic) designed specifically for video shooting.

This model operates in the license-free UHF B band and delivers excellent audio performance.
It features an impressively wide dynamic range of 134 dB and comes with the highly regarded ME 2 omnidirectional lavalier microphone.
This professional-grade wireless microphone set is also ideal for interview recording.

For specifications and more detailed information, please refer to the product page on the Sound House website:

⇒ SENNHEISER / EW-DP ME 2 SET (T12)

Since this is a wireless mic intended for video production, I will be sharing my impressions of the EW-DP and include its strengths, features, and usability from the perspective of someone involved in creating our product introduction videos and other content on a regular basis.
I hope you will read through to the end.

1.9 ms Ultra-Low Latency

When using a digital wireless microphone, one of the first concerns is likely audio latency.
Until recently, analog B-band microphones were the mainstream in video production. This was largely due to the long-standing perception that digital wireless microphones have significant latency, and even now, many professionals continue to favor analog systems for that reason.
However, recent technological advancements have been remarkable. A growing number of low-latency digital wireless microphones have emerged and have expanded the range of available options, which have rapidly changed this perception.
The newly released EW-DP is listed in the catalog as having 1.9 ms latency.
This is far below the commonly cited threshold of 20 ms, at which humans begin to perceive audio delay.
In practice, after reviewing the recorded video and audio, there was no noticeable latency at all.
When reviewing footage recorded with a low-cost wireless microphone in the editing software, you may occasionally notice a slight delay between the video and the audio that is commonly known as a lip-sync issue.
In such cases, it may be necessary to shift the audio track 1 to 2 frames earlier in the editing timeline to correct the sync.
However, with the EW-DP, no such adjustment was needed at all.
Of course, in situations where strict frame-level synchronization is required, some caution may still be necessary. But, in those scenarios, wired microphones are typically used anyway.
Therefore, for applications like interview recording, the EW-DP can be considered more than sufficient.

＜Signal Transmission via Digital Modulation on the UHF B Band＞

134 dB Dynamic Range

The EW-DP features an outstanding 134 dB dynamic range that sets it apart from conventional microphones.
This wide dynamic range significantly reduces the risk of audio clipping (distortion) and allows the system to adapt smoothly to unexpected changes in volume.
Even when transitioning from a quiet environment to a sudden loud sound, you can continue recording without needing to adjust the input level. This is one of the EW-DP’s key strengths.

Unlike large-scale TV productions, low-budget or small-scale shooting environments may not always have dedicated sound engineers or assistants on-site.
As a result, it’s not uncommon for camera operators themselves to handle both filming and audio level control simultaneously.

Let’s take a small-scale interview shoot, for example.
From the moment the REC button is pressed, the camera operator must manage numerous elements simultaneously, like adjusting exposure and focus, checking battery levels and recording time, controlling camera shake, composing the shot, handling lighting, and monitoring the subject’s expressions and eye lines, all while continuing to shoot.
If they are also serving as the director, they may need to oversee the content of the conversation, the pacing of the interview, the speaker’s tone, and the overall timing.
In many cases, reshoots are not an option due to scheduling constraints, so having to constantly pay attention to not just the visuals but also to the audio can become a significant mental burden.

In addition, vocal volume is inherently unstable. Unlike professional announcers or reporters, most untrained individuals cannot maintain a consistent volume while speaking.
It’s common for voices to start off quiet and naturally get louder as the conversation becomes more engaging.
With traditional wireless microphones, it’s often necessary to frequently adjust recording levels in order to keep up with these fluctuations.

But what if you take advantage of the EW-DP’s wide dynamic range?
The risk of audio clipping is greatly reduced, so there is no need to constantly worry about adjusting levels. Allowing the camera operator to focus fully on the visual side of the shoot.
Monitoring is typically done using earphones or headphones, and as long as you are alert to any abnormalities such as noise or signal dropouts, that is generally sufficient.

The peace of mind that comes with not having to worry about clipping is a huge support for camera operators on set.
It frees up mental space, encourages more creative thinking and focus, and ultimately increases the chances of producing higher-quality content.

Simplicity That Allows for Quick Use

All you need to do is take it out of the box, power on the transmitter and receiver, and the pairing is complete. After that, simply connect the receiver to your camera using the included cable, and you are ready to start recording immediately.

To take advantage of this, I recorded an outdoor guitar performance by one of our staff members using the EW-DP ME 2.

EW-DP ME 2 SET (T12) SOUND SAMPLE

For this recording, we attached the ME 2 lavalier microphone (clip-on mic for wireless systems) to the performer’s chest.
Even though I did not use a dedicated guitar microphone and kept the setup simple, the sound was captured with well-balanced clarity.
As I mentioned earlier, thanks to the wide dynamic range, the system handled volume changes smoothly, and the recording remained clean and free of distortion.

Please note that the recorded audio that’s completely unedited and unprocessed is “as recorded.”

The reliability of being able to start stable recording immediately, without complex settings or pairing procedures, is incredibly valuable in fast-paced shooting environments, and it truly provides a sense of peace of mind.

Battery with Up to 12 Hours of Operation & AA Battery Compatibility

The internal battery offers up to 12 hours of continuous use. That alone is reassuring, but the fact that it also supports AA batteries (up to 8 hours of continuous use) is incredibly helpful.
In most cases, when heading into a shoot, we carry multiple backup batteries to be prepared for anything.
Still, there is always the risk of batteries running out during long shoots, forgetting to charge them, or even battery dying on you.
With AA battery support, you can safely keep spare batteries in your bag for extended periods without worry.
If necessary, you can also easily purchase replacements at a 24-hour convenience store, smaking it much easier to deal with unexpected issues.

＜Receiver & Transmitter Compatible with AA Batteries＞

Lightweight and Compact Receiver & Easy-to-Detach Cheese Plate

The receiver is very lightweight as it only weighs about 350 grams (including the battery). The display is compact yet highly visible, making it easy to check and adjust the levels.
By attaching the included cheese plate, the receiver can be securely mounted to the camera using a powerful magnet. The setup is sturdy, and detaching it is easy, allowing for quick adjustments to suit the shooting requirements.
However, to mount it directly onto the camera body, you will need to use the hot shoe. It’s recommended to attach the receiver to a dedicated camera cage or similar mounting system.

＜Receiver Mounted with SONY / α7 IV's Dedicated Cage＞

Additionally, since this product is designed for 1-channel reception per receiver, if you wish to use two microphones, you will need to use multiple receivers as shown in the photo below.

＜Receivers Can Be Stacked Using Magnets＞

By using a powerful magnet to stack the receivers vertically, the setup is simplified and space-efficient. This thoughtful design reflects Sennheiser's user-centric approach, which shows their commitment to high-quality craftsmanship.

Simultaneous Use of Up to 10 Units

The transmission range is up to 100 meters, and up to 10 units can be used simultaneously at the same location. While it's unlikely that you’ll need to use all 10 units in a typical scenario, interference seems unlikely. This feature makes it well-suited for large event venues, where multiple cameras and EW units can be used for concurrent reports and interviews.

Personal Wishlist

Although I am highly satisfied with the EW-DP, after getting some hands-on experience, I would like to share a few features that would make it even better if implemented.

Windscreen

This time, I used the set that includes the ME 2 wireless lavalier microphone, and I felt it would be great if a dedicated windscreen that fits this mic were available.
Wireless mics are often used in outdoor shoots, so having a windscreen becomes essential—especially in windy conditions.
Even if it’s not included in the initial set, I would really appreciate it if Sennheiser offered it as an accessory in the future.

Clip Position on the Lavalier Mic

Regarding the ME 2 wireless lavalier mic again. The clip attaches slightly below the microphone itself on the cable section.
Because the mic head itself is not secured, it may swing or shift if the wearer moves, which could become a concern.
If the clip can firmly hold the mic body itself, it can provide even more peace of mind during use.

＜ME 2 Wireless Lavalier Microphone＞

Transmitter Clip

To avoid the transmitter appearing on camera, it’s usually clipped to the back waist or rear pocket of the wearer.
Occasionally, the wearer may forget it's there and accidentally bump or sit on it, which can lead to damage.
The EW-DP transmitter uses a fixed clip design, but if it’s used as a separate-style holder, like the one included with the XSW-D series, the transmitter could detach from the holder upon impact and help to prevent damage.
A separate-style holder would be a welcome improvement.

＜Detachable Clip-on the Transmitter＞

Receiver Volume Adjustment Button

While it may be technically challenging, I would personally prefer a dial-type volume control instead of the current push-button style.
When the receiver is mounted on top of a camera, the push-button requires a firm press, which can lead to camera shake during operation.
A light, stepless dial would require less force and make fine adjustments easier.
However, this type of control could also increase the chance of accidentally changing a setting, so preferences may vary depending on the user.

＜Receiver Control Buttons＞

What did you think?
In this article, I shared my impressions of the SENNHEISER EW-DP from a production field perspective.
It delivers industry-standard sound quality and reliability, all while being lightweight and compact, yet offering excellent reception range and stability.
The setup is simple and allows for quick deployment even in hectic shooting environments.
For professionals seeking peace of mind during on-location recording, this could very well be one of the best options available.