Behind the Scenes With FOH Engineer Dan McKay

We had the pleasure of connecting with Dan McKay, who is currently mixing FOH for Cypress Hill. During our conversation, we had an insightful discussion about touring with major acts and, naturally, the best microphone choices. Check out the highlights from our chat below!

Tell us a little bit about yourself and how you came to know sE microphones. 

I’ve been immersed in the world of sound engineering for nearly 30 years, beginning at just 15 years old with live settings. By the time I was 23, I found myself stepping into the role of Tour Manager, which quickly became my primary focus. However, audio has always been a constant companion in my career. I’ve often worn multiple hats, juggling both Tour Manager and Front of House roles, and through it all, sound has remained second nature to me. It’s something that flows through me effortlessly, like riding a bike—it never leaves me, no matter how much time passes.

sE microphones became a key part of my journey over time. While I’ve worked with other microphone brands in the past, none have offered the perfect combination of qualities I look for right out of the box—everything I need in a single brand. What’s more, sE’s customer service is exceptional, which is vital when you’re on the road, moving from city to city every night. That said, I rarely have to reach out because I never encounter any issues, but knowing that excellent support is always available gives me peace of mind and makes my job that much easier.

Can you give us a rundown of which sE mics you’re using with Cypress Hill on tour?  

On tour with Cypress Hill, we’re using a selection of sE mics that help capture the unique energy of the band. For the vocals, we’ve got the V7 supercardioid dynamic microphone for B-Real and Sen Dog, which gives their voices great clarity and presence on stage. DJ Lord’s vocals are also handled by the V7, ensuring consistency across the board. For the drums, we’re using the BL8 on the kick drum, delivering extra punch and depth. The V7-X is on the snare and Djembe, providing a crisp and controlled sound. Finally, the V-Beats are on the toms and other percussion, helping us capture the wide range of tones that drive the rhythm section. These mics really bring out the best in the sound of Cypress Hill live.

You’ve done tour management and FOH for many acts, but Cypress Hill’s live shows in particular are known for their high energy and dynamic performances. How do sE microphones help you capture the full range of sound in such an intense live environment?

Cypress Hill is definitely renowned for their live presence, and capturing that intensity requires equipment that can handle it all. Although they’re primarily a hip hop act, our setup crosses into rock territory, with live drums and percussion driving much of the energy on stage. The songs themselves are big and heavy, so the sound needs to match that power.

We chose sE microphones because of their versatility and durability, which are crucial in such an intense live environment. Versatility is the key here, and sE really excels in that area. Take the V7 wireless capsule, for example—it delivers a crisp, high-definition high end that almost feels like a condenser mic, but without the fragility that comes with condenser mics in such a demanding setting. Condensers simply wouldn’t work on this stage, especially for vocals. The V7 gives us that clarity and definition without compromising on the energy or durability needed for a show like this.

In your experience, how do the sE microphones perform in terms of durability and reliability during long, high-pressure live performances, especially on tours where conditions can vary? 

In my experience, sE microphones are built like tanks. Touring can be unpredictable—rain, shine, humidity, wind, you name it—and these mics just keep going. At Front of House, I’ve never had to worry about sound quality shifting because of environmental changes. Humidity has never been an issue, and wind hasn’t caused any problems either. Simply put, these mics are the Tonka Trucks of the audio world—tough, reliable, and able to withstand the rigors of live performance, no matter the conditions.

Can you speak to any specific moments or challenges during a live show where sE microphones made a noticeable difference in the sound quality, whether it was clarity, feedback control, or simply capturing the raw energy of the performance? 

A big part of my job as a front-of-house engineer is to pre-EQ my strips based on the microphone that’s being used for each instrument. A lot of times, I’m doing corrective EQing to compensate for the mic’s characteristics. With most microphones, I know what to expect and what I need to cut or boost, but with sE mics, it’s different. I barely have to touch them.

For example, with Cypress Hill, we do a lot of fly-ins and one-offs, which means we get locally provided backline, different drums and percussion every day. Because of that, I spend most of my time correcting the instrument itself—the source sound—rather than adjusting the mic. That’s a huge testament to the quality of the mics. They capture what’s coming from the instrument so accurately that there’s little need for intervention on my part.

One of the best examples is with B-Real’s vocal mic. His voice has a distinct, nasally quality, and in the past, I used to carve out a lot of high mids to control that, then throw on a multi-band compressor to smooth things out. But with the sE mic, I don’t have to do any of that. The source is already right where it needs to be, and the mic captures it perfectly. I leave the high mids completely flat and skip the multi-band compression—just a standard compressor, and that’s it. It’s all about less is more. It almost feels like the mic knows what I need.