Sennheiser UHF EW-DP ENG Body Pack and Plug-on Transmitter Wireless Kit Review

The Sennheiser EW-DP ENG Wireless System is a fully digital UHF wireless microphone system with an all-new receiver design. Its new design is purpose-built to be mounted on cameras, but it can also be used on a tabletop, giving the system a bit more flexibility than the former G4 system. However, in a sound bag, it might be problematic as the antennas need to be orientated up, the LCD would be facing down, making it unreadable in the bag, and the outputs are on the side, not the top.

The EW-DP ENG Wireless System is under the Sennheiser Evolution lineup of digital wireless audio products.

To me, the target user is advanced entry-level. This is someone who doesn’t want to mess around with many setups. Turn it on, pair it, set the output, and go. The UHF EW-DP ENG system delivers on this very well, and it has some nice advanced features, too.

This EW-DP ENG Wireless System includes a body pack and an XLR plug-in transmitter. This nice combo gives you options for a lav mic or a handheld interview. The cool new feature is the EW-DP SKP plug-in transmitter, which includes a recording option with the MicroSD Card slot and yes it has 32-bit float as well!

The Sennheiser EW-DP ENG kit retails for $899.00 and includes the following.

Features of the EW-DP EK Reciever

The Evolution series is fully compatible with Sennheiser’s Evolution Wireless Digital ecosystem, which includes EW-D and EW-DX. This is great if you’re already in their ecosystem. The system offers 93 channels of simultaneous operation in each range and offers up to 56 MHz of bandwidth (2,240 tunable frequencies) to find the best option for your location.

The EW-DP EK digital portable single-channel receiver is an all-new design. It’s larger than the G3 & G4 models, with RX and TX having the same form factor. It’s primarily designed for camera mounting but can also sit nicely on a desk—one advantage of the new design.

The design is very different from the former models and really does pave its own path. The box design is larger than what we’ve seen on the market, as well as former Sennheiser models, and it takes up a bit more room on the camera. They have done a good job on the mounting system, which I’ll discuss later in this review.

134db of Dynamic Range

A key feature is the system has 134db of dynamic range. Why is this impressive? It achieves 5x more input than 120db systems. It eliminates the need for a sensitivity setting on the transmitter, giving the system overall better audio quality from high to low volumes into the transmitter. Sennheiser states that clipping the transmitter will be eliminated.

EW-DP EK Receiver Specifications

UHF versus 2.4 GHz Systems

The 2.4 GHz radio mics have exploded in popularity over the last several years. We have so many options and some very affordable ones too. There are a few differences to consider between the two.

UHF will have better reception through walls and non-line of sight to the receiver. They also have more channels to choose from. If you are getting interference, you can find another clean channel. With 2.4 GHz, you have one frequency and pray you will not be in a congested area with many mobile devices around you that can cause interference.

That is not to say 2.4 GHz systems are bad. They work very well in the right conditions and are generally less expensive. Professionals prefer UHF systems over 2.4 GHz versions because they are more reliable.

I use both, depending on the situation. I don’t need long range for the work I do. This makes all these systems very usable. One big downside to 2.4 GHz is they perform poorly if the TX is mounted behind the body like on the back of talent instead of on the side. They need line of site and the human body is tough for these systems to deal with regardless of distance.
I always monitor my audio when using radio mics because when you don’t, you will get screwed with noise or drop out, no matter the system type you use. Murphy’s law is always applied.

Battery Options

It uses two AA batteries or the included 1720 mAh Sennheiser BA 70 li-ion battery, which can be charged with the USB-C port. A spare BA 70 retails for $49.95. Unfortunately, you can’t recharge AA batteries with USB-C.
The BA 70 is an intelligent battery, so you get an exact read-out of Hours: Minutes of remaining battery life on the Receiver (for Tx and Rx if using BA 70s in both) AA batteries won’t have this benefit.

Outside of the convenience of charging via the receiver, I think high-quality Ni-MH rechargeable batteries are a better option. For $36, you can get an eight-pack of Panasonic Eneloop pro NiMH Batteries (1.2V, 2550mAh). Add a charger, and you are set with longer run times at a lesser price.

The receiver will go into sleep mode when the camera is turned off or goes into standby. This is nice as it will help save the RX’s battery life.

EW-DP SKP RX 3.5 mm Output

The RX has a single locking 3.5mm output, including a locking TRS 3.5mm to 3.5mm and a TRS 3.5mm to XLR coiled cable.

The output is dual mono, and you can use the Sennheiser CL 35-Y 3.5 mm to Dual 3.5 mm Y-Cable ($19.95) and two EW-DP SKP RX units to send two separate channels to the camera with a 3.5 mm input.

While most hybrid cameras now have a headphone jack to monitor audio, the EW-DP has one, which is great for those cameras lacking a way to monitor the audio. This is another advantage of the slightly larger RX, however the level is low but better than no option.

It’s important to note that the cable must be unbalanced or it won’t work. I purchased the Cable Techniques Locking 3.5mm TRS to TA3M Cable for Sennheiser EK 100 G4/G3 to Canon EOS C70 & EOS C400 (15″) and it works great for the C70 or other cameras with the micro XLR input.

Super Fast Pairing/Sync

When Sennheiser states the EW-DP EK is designed to be simple to sync, they mean it. You can use the Auto Scan feature to automatically find a clean channel and tap the SYNC button on the RX and TX. It pairs in a second, and you are ready to go. It doesn’t get any easier than that.

Finding a clean frequency and channel is also simple. If you don’t like deep menus, you will like the EW-DP EK a lot.

Antennas

The two antennas are not removable and are placed on the RX’s back. This can cause issues if you want to use it in a sound bag, but It isn’t designed to be, which isn’t surprising as it is for the prosumer market and mounted on a camera or desktop. While it has two antennas, it is not a dual diversity receiver.

The antennas are adjustable, so you can mount vertically and horizontally.
They are a bit awkward to pack. When folded down they are longer than the RX. I would be careful not to bend them as I said they are not removable and, if damaged, would require repair.

LCD

The LCD is bright and easy to read. You have audio levels and RX and TX battery level indicators, which is very nice. The RX reading is in hours and minutes, and the TX shows a percentage.

In the bottom right corner is a signal strength icon. I like that you don’t have to navigate the menu to see these important functions. You can also dim the LCD in dark environments. The display works well outdoors but not so much in direct sunlight.

Menu

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Sennheiser did a good job keeping the menu easy to navigate and making settings changes. The buttons are laid out cleanly. To enter the menu, you push the SET button and use the up and down arrows to select an option and make changes. To open a setting, you press SET. Make the changes and press set again, and STORED appears to verify the setting is saved. If you didn’t make a change, then press ESC to exit the menu. How simple is that!

Output Level

I tested the system with a Canon EOS R5, and the output was impressive. With the R5 set to one, I got plenty of input level. I even knocked the RX down to +18 db, giving me an acceptable audio level.

EW-DP SKP Plug-in Transmitter

I love dual TX systems as they cover all the bases. One minute, you need a handheld microphone, and the next, you want to use a lav. A dual TX system is the most flexible, and with the EW-DP SKP Plug-on Transmitter, you get the added benefit of recording while transmitting with either XLR or 3.5 mm inputs. It isn’t perfect, but it offers enough to get excited about, especially in this price range.

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This plug-on transmitter adds a lot of versatility as it can be used with any XLR microphone, including +48v phantom power mics and 3.5mm lav mics. It can also be an audio recorder since it has a microSD slot. A HUGE plus is the ability to record WAV files in either 24-bit or 32-bit float while transmitting.

One thing that caught me off guard is the Wav files need to be normalized in your NLE or audio editing software. I thought there was an issue with the files, as when I brought them into Premiere Pro and played them back, I heard nothing, and the audio waveform was a single flat line. After some research, I figured it out. This is the first time I have experienced this. With other 24-bit and 32-bit float recordings, they import and are pre-normalized. In Premiere Pro, you access the Audio Gain by right-clicking on the clip and selecting “Audio Gain”. A recommended starting point is 1db. I’m not a fan of having to do this with every recorded clip. It can be a bit time-consuming if you have several audio recordings.

Since all the buttons are on the bottom of the transmitter, if you are interviewing someone using the XLR option, you can’t see the record light, mute or power. It would be nice to have an extra LED light near the XLR input as well.

No Monitoring

Unfortunately, the plug-on transmitter doesn’t have a headphone jack, so you will have to monitor with the receiver. It would have been great to plug a set of headphones into it, but the ability to use a 3.5mm lav microphone is a nice feature. When using the locking 3.5 mm input, the XLR connector is shut off. You can only use one at a time, not simultaneously, but again having the ability to record while transmitting is a big plus.

Some microphones, like the RODE Reporter, need more gain, so the EW-DP Receiver needed to be set at either +39 or +42 dB to get a proper level.
+42 dB is the maximum gain available. The EW-DP SKP Plug-in transmitter doesn’t have a level adjustment; the gain is set with the receiver. With 134 dB of Dynamic Range, the transmitters have a lot of headroom to avoid clipping.

EW-DP SKP Plug-in Transmitter Specifications

No Timecode Option

The onboard recording is great for a backup, but without timecode sync, you must match it up in post. Most NLEs have good audio sync features, but good old timecode embed and sync with a camera is always ideal.

I am surprised they didn’t include a timecode, as it is offered in competing products from the RODE Wireless Pro ($363.00 USD) and DEITY THEOS ($1,090.00 USD). Adding timecode would increase the price, and the DEITY THEOS is more expensive. It also includes recording on the bodypack and the soon-to-be-released DXTX plug-on transmitter that will not be available to US customers.

EW-D SK Digital Wireless Bodypack Transmitter

An important missing feature of the EW-D SK Digital Wireless Bodypack Transmitter is a recording option like the EW-DP SKP Plug-in Transmitter. Why Sennheiser chose not to include it seems like a miss to me. I’m not sure if Sennheiser is paying Zaxcom for the use of their patent to record and transmit at the same time, and maybe it would cost more to have two devices with this ability.

The kit includes the Sennheiser EW-D SK Digital Wireless Bodypack Transmitter, retailing for $299.95 USD and not including the Lav mic when purchased separately. Sennheiser states that all their digital transmitters are cross-compatible as long as they are in the same frequency range. It is important to note that if you get a transmitter with encryption like the EW-DX SK (or SKM) transmitters, it will only have the features the EW-D receiver offers.

The body pack has a metal case and feels solid but light in the hand. The belt clip is attached and is ridged. I like that it doesn’t use an adapter, just a stiff metal clip.

The antenna is not removable. Its girthy base looks well protected, ensuring its longevity. Time will only tell.

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The power on/off button is inside the battery compartment. On top is the locking 3.5 mm input for the lav mic, a sync/pairing button, and a mute switch. The mute switch can easily be turned on, so monitor your audio carefully. The mute switch can be disabled via the receiver or the app.

There are no adjustable functions available on the TX. Adjusting the output/gain is done with the receiver. All you do is turn it on and pair it to the RX, and it’s fast. This is a standout feature as I’ve unpaired and re-paired several times, and it only takes a few seconds and doesn’t hiccup. Nice! While I like having settings available on a device, the tiny menu screens can be tough to work with. The clear LCD screens can also scratch and crack. I cracked the Deity THEOS LCD screen after two weeks of use. It was my fault, but nevertheless, it’s a bummer.

EW-D SK Body Pack Specifications

Included LAV Microphone

The kit includes a Sennheiser ME 2 Omni Lav Mic ($129 USD). It’s an entry-level lav mic that works well. However, it’s fairly large and harder to hide under clothing. The windscreen is attached and not removable. It should be fine for corporate video work, but if you are serious about audio, I would look to replace the ME 2 with a higher-quality lav mic and keep the ME 2 in your kit as a backup. My favorite is the Sanken COS 11D ($389 USD). Yes, it will cost more, but I think it’s the best upgrade you can do. It can be used with all 3.5 mm input systems except Sony models, as they have a different wiring scheme.

Sennheiser offers a variety of lavalier upgrades as well, such as the MKE Essential and MKE 2.

Mounting Options

The mounting system is designed around strong magnets on the RX’s bottom. The four magnets mount the RX on an included Cheese Plate with a cold shoe adapter that can be positioned wherever you like on the plate. You can change the orientation of the cold to adapt it to your camera and position requirements.

The plate has two long mounting points that use 3/8 sized screw heads and adds additional mounting options such as other plates.

I like the cheese plate design as it gives you so many options. You could add a NATO rail instead of the included cold shoe or just use an articulating arm. Options are good!

The magnets are surprisingly strong and hold the RX very securely. One benefit is being able to pull it off quickly without fiddling with knobs.

For example, on my Canon C70, I have a monitor mounted to the top cold shoe. I use a cage with the C70 and added a cold shoe adapter on the side for a wireless RX. The setup has worked well for the RODE Wireless Pro, DEITY THEOS, and Lectrosonic LR B1 Receiver that I have.

The box design has an issue with how I need to mount it, as the antennas should be oriented straight up, not to the side. When mounted with the antennas up, the LCD is facing down, and I can’t see the settings. Here is where the magnet mounts come in handy, as I can pull it off quickly, check it, or make changes, such as pairing and searching for a cleaner, stronger channel.

I highly recommend auto-scanning every time you change locations. It’s so easy, and the system pairs fast without the need for an app. Better safe than sorry.

You don’t have to use the cheese plate; the cold shoe adapter can be mounted on the RX’s bottom with included hardware. One issue I found when using the cold shoe directly on the RX is the locking arm sticks out right over the EVF of the Canon R5. Therefore, if you want to use the EVF, the arm will poke you in the forehead. I suppose you could trim it and file it down so it doesn’t protrude, but the design isn’t very good if you use it with a hybrid camera.

If you use the included Cheese Plate, the problem disappears as it locks down before stopping at the EVF. This is on the Canon R5, and I don’t have other mirrorless cameras to test, but the good news is having the option fixes the issue. It also puts the RX more on the camera’s left side, so the cable is over its input.

You can stack another RX on top to have a two-channel system or keep stacking to your heart’s content just as long as you have the inputs on the camera or recorder. This is very handy, as this is an issue when you use smaller cameras or cameras that don’t have a cage with multiple cold shoe options.

Mobile App

The Sennheiser iOS and Android OS-compatible Smart Assist puts full control in the palm of your hand, but you don’t need it to make settings changes. You can also do everything from the RX.

Sennheiser states that the Smart Assist provides automated setup, operation, and monitoring, plus intelligent setup functions that automatically create a reliable wireless connection without any wireless expertise required. I have to say I found the app a bit frustrating to use at first. I had the app installed on my iPhone previously and it wouldn’t connect to the TX or RX units. To troubleshoot the issue I deleted the app and reinstalled it. This fixed the issue of Bluetooth pairing.

Once paired, I found the app to work well. When the devices are powered off and back on, I open the app, and the devices are connected. No reestablishing is needed. I can make all the setting changes simply with the receiver, but it’s nice to have the ability to fully control and make changes with the app.

Updating the firmware was simple and quick. You must use the app to do updates.

You can also trigger the record on the plug-in transmitter with the app. There are no playback options to check the recordings or monitor the audio from the app. Frequency allocation and wireless channel naming are also possible via the app. You can’t change the names once the units are Bluetooth paired with the app. This must be done when initially pairing the units.

Documentation

Sennheiser has an app with all their product manuals, and it’s better than I thought it would be. Using the app is very convenient if you are in the field and need some guidance. You can still download the documentation if you want it on your desktop.

Performance

Sennheiser doesn’t officially state the system’s range in any of the specifications, but I asked them, and they said the maximum range distance is 328.1 feet or 100 meters line of sight.

A little disclaimer here is I tested this system last year and had transmission issues. I took to the neighborhood with my rolling feet meter and walked away as well as facing the camera and got 122 feet or 37.1856 meters before getting drop outs. This is 200 feet shy of the stated range, so I did an Auto Scan and redid the test. It performed the same. I will say I was disappointed it didn’t hit the stated range by a lot.

I contacted Sennheiser, and they said there is an issue with the demo model they sent, and engineers have fixed the issue. Now I have a new one to test and it performed better.

As with all wireless devices, they will perform differently when you move around to different locations. Having more channel options is always good, as you can change them and hopefully get a clean signal with better performance in the location you are shooting.

EW-D SK Digital Wireless Bodypack Transmitter Range

Like before I took the system outside, I walked with a Measuring Wheel to see how far I could go before it dropped out. At 210 feet, I was able to get a solid signal with no dropout. As I moved farther away to 235 feet, I was getting some intermediate dropout, and at 340 feet, it lost connection.

EW-DP SKP Plug-in Transmitter Range

The EW-DP SKP Plug-in Transmitter and the body pack didn’t perform well. I got a solid signal at 80 feet, but I got many dropouts after that. This is probably due to the plug-in TX not having an antenna. I’m speculating here.

Inside my home, I could walk around upstairs and behind doors without any dropouts. This is more important than long distances from the receiver, but everybody has different needs. With digital systems, you either get audio or you don’t. There aren’t any static or strange sounds; it just cuts out.

The conclusion is that the EW-DP didn’t live up to its stated range when I tested it. For the bodypack transmitter, 130 feet is pretty far, but not 328 feet, and it performed marginally better than the previous version I had tested. Before testing, I performed a scan for the best signal, and tests were done with line of sight to the receiver. The Plug-in was a bit disappointing, as its range was 80 feet, which is not very far, but I could see it more usable for interview situations.

Other Options

You don’t have many choices in the affordable UHF Digital Wireless space for camera mounting. The Deity THEOS system is one you should consider. If I were in the market today, I would go for a digital UHF system, as they are more dependable, but a bit more money.

There are many options in the 2.4 GHz space, from DJI to Hollyland, Rode, and many more. These systems are inexpensive and work well, especially if you are not pushing them hard with long distances and using them in line-of-sight conditions. The only downside is not having channels and frequencies you can change when interference is ruining your audio.

Final Thoughts

EW-DP EK Reciever

The Sennheiser EW-DP ENG kit is a nice upgrade in the Evolution Series of digital systems. Its RX has nice mounting options but is not designed for sound bag use. It can be clipped outside of a bag with the included clip. This isn’t a con, as it is a consumer-oriented system designed to be mounted to the camera; however, that doesn’t mean much these days since professionals will use it for paid gigs.

The receiver is a bit large, and when you look at other wireless audio products from DJI and RODE, and Deity it’s downright huge.

Settings

If you don’t want to fuss with settings, this system is made for you as it’s very fast to set it up and search for the best signals to use in your current area.

The body pack’s lack of buttons or menu options makes sense; after all, it will be clipped to someone’s belt or attached to a leg with a strap. It’s always awkward having to go back to Talent and make adjustments, especially if it’s under clothing. I like that all the settings can be changed with the app, and you can trigger record on the plugin transmitter.

Plug in TX Onboard Recorder

Having a 32-bit float backup on the plug-in transmitter is great; however, I’m getting spoiled with the current Deity THEOS product, which has timecode and TC jamming options but at a higher price of $1,090.00 USD. The Plug-in TX can record and transmit at the same time. Oh, the choices! Plus Deity has pulled their plug-in DXTX Transmitter from the US market due to legal reasons. If the option for a plug-in TX is essential, you must decide.

I do wish the body pack also included a recorder. Maybe Sennheiser will upgrade or offer a new version in the future.

One thing is for certain: Sennheiser makes quality products for the professional and consumer markets. Using current tech and UHF versus Ghz for wireless makes it a good upgrade from the G4 models, but I do wish it had a better range.