We are New Mexico's Premier full service digital audio mastering facility for the discriminating musician and producer.
We are 100% dedicated to music mastering and tape restoration/transfers. We don’t record, mix, do video, film, or voiceover work.
Music mastering is what we do, and it’s the only thing we do. If you want the most experienced and professional finishing touches for your project, you want someone recognized for excellence. That’s Michael MacDonald at AlgoRhythms Mastering.
With more than twenty-five years of experience operating in New York City, AlgoRhythms moved to Santa Fe, NM in 2016. We have mastered more than a thousand commercially released recordings in all genres of music from all over the world.
AlgoRhythms Mastering is the only Certified Apple MFiT (Mastered for iTunes) mastering facility in New Mexico.
Please look around and feel free to contact us with any questions you may have regarding our work, or how we might add your name to our growing list of satisfied clients.
Michael MacDonald, owner and chief mastering engineer, is a two time Grammy winning recording/mastering engineer. He was named "Best Mastering Engineer 2018" by the NMMA.
In addition to his studio work, he is the Senior Instructor for Recording Arts and Sciences at the Peabody Institute at Johns Hopkins University.
Weiss DS-1 mk3
Weiss Saracon Resampling
UAD complete plug in library
Ampex ATR 102
Ampex MX10/Neve 1264 line mixer
Studer B67 mkII and Revox A700
Spectra Sonics 101 line/mic amps
AlgoRhythms/Western Electric CIA custom Inductor amplifier
Full service mastering in all musical genres, specializing in Jazz, Rock and Acoustic music. We also specialize in analog tape transfer using Ampex, Studer and Revox tape machines.
Certified Apple MFIT studio maximizes your Apple iTunes release as well as Spotify, Napster, YouTube and other streaming services.
We embrace the newest R128 measurement systems, including LUFS scale and True Peak, which are optimised for the highest fidelity and dynamic range for 21st century streaming delivery systems.
Our carefully controlled listening environment was designed by Fran Manzella of Francis Manzella Design Ltd.
Our main monitors are Dunlavy SC4a loudspeakers with custom McCormack DNA-1 amplifiers. To keep the purest signal path possible we use no active preamp. Instead, volume levels are controlled by a Placette passive attenuator system and interconnect wires are custom designed by Ambient Labs.
Our secondary system is all vintage: McIntosh 225 tube amplifier and JBL LE8T full range alnico drivers. There is something intoxicating about the sound of a single driver with no crossover powered by a classic tube amp.
Our rates are competitive with our esteemed competition. But our results and attention to detail is unrivaled.
Please tell us about your project and we will design a mastering budget that fits.
Magix Sequoia Mastering Workstation 192/64 bit x2
UAD-2 Octo with complete UAD plug in library
Lynx AES16e digital audio pci card x2
RME HDSP-9652 digital audio pci card
Weiss Saracon resampling software
Plug Ins from UAD, Waves, SoundToys, Nugen, Sonex, DMG Audio, Sonarworks
MetricHalo SpectroFoo Complete metering FFT system.
a/d and d/a
Prism ADA-8XR 192/24 ADC/DAC
Prism AD2 96/24 ADC
Lynx Aurora 16-VT
Crane Song Avocette 192/24
Benchmark DAC1 192/24
Lucid Technologies Clock-X8 Word Clock distribution amp
M Audio CO3 Digital Format Converters
Digital Domain FCN-1 Digital Format Converter w/ bit scope monitor
AlgoRhythms/Lundahl AES / SPDIF Format Converters
outboard digital processing & midi
Weiss DS1-MK3 digital compressor / limiter
Waves L2 UltraMaximizer digital limiter
Meridian 518 DSP processor
MOTU Midi Time Piece AV
outboard analog processing
Custom Ampex MX10 vacuum tube mixer with Neve 1264 line amps
Manley 16x2 vacuum tube Mixer
Manley Massive Passive Stereo Program EQ
Manley Electro-Optical Leveling Amplifier (modified)
Pendulum Audio OCL-2 Vacuum Tube Compressor/Limiter
Maselec MPL-2 Peak Limiter/ DeEsser
Teletronix LA2a Vacuum Tube Compressor/Limiter
Gates Sta-Level Vacuum Tube Compressor
Klark Tecknik DN-780 reverb
AKG BX-20 Reverb
API 5500 Mastering EQ
Spectra Sonics 101 line/mic amplifiers from Record Plant East console
AlgoRhythms/Western Electric Custom Passive Transformer M/S network
AlgoRhythms/Western Electric CIA 111 (Custom Inductive Amplifier)
Telefunken V72a line amplifiers
Neve 31102 Mic/Line Preamp Equalizers
Neve 1024 line amplifiers
FunkLogic AP-302 AlgoRhythmic Prosecutor
Dolby 361 dolby A noise reduction
Dolby SR noise reduction
dbx 180 series 1
dbx K9 noise reduction
Dunlavy SC 4-a
JBL LE-8T single driver full range speakers (AlNiCo version)
McCormack DNA-1 monoblock amplifiers modified by Steve McCormack
Placette Audio Passive Attenuator Monitor Control
Dorrough Loudness Meters (mastering scale)
Headroom Home headphone amplifier
Sennheiser HP600 headphones
Grado HP-1 Headphones
Radio Shack "Auratone" type cube speakers
Tivoli Model Two Stereo FM radio
analog tape recorders
Ampex ATR 102 1" 1/2" or 1/4" 2-Track (rebuilt by ATR Services)
with Flux Magnetic extended response heads stereo and mono
Studer B67 1/4" 2 -Track (rebuilt and modified by John Klett)
"butterfly" heads, NAB and CCIR 30 and 15 ips custom rebuilt motors,
ceramic capstan, external Lambda 24v p/s for analog cards
Studer B67 1/4" 2 -Track NAB and CCIR 30 and 15 ips
Studer B67 1/4" Quarter Track playback deck for those old home recorded and semi-pro tapes 3.75, 7.5, 15 ips
Revox A700 1/4" Quarter Track and 2-Track CCIR NAB 3.75, 7.5, 15 ips
Revox B215 Cassette Recorder
dat and cd recorders/players
Alesis Masterlink w /20 gig hard drive 9hr 96k/24 bit capable
Tascam DA78HR DTRS 8 track 24 bit recorder
Tascam DA45HR 24 bit DAT recorder
Tascam DA30 ll 16 bit DAT recorder
Sony DA 545 16 bit DAT recorder
Tascam CD-RW2000 CD recorder/player
Sony CDP-D500 CD player
HHB CDR-850 CD recorder
Tascam CD-D4000 CD duplicator
Sony PCM F-1 w/ Sony SLO 420 Beta Deck
lp vinyl playback
Thorens TD165 turntable
Audio Technica 13s phone cartridge
Adcom 565 preamp
CD disc checkers
Plextor Professional CD diagnosis software for checking C1, C2, and CU disc errors
NERO SurfaceScan CD error check software
Z Systems 32x 32 Digital Patchbay w/ midi automation
Signex Smartpatch 40x40 analog patchbay w/ midi automation
McIntosh MI-3 phase meter and scope
Leader 60mHz dual trace scope
Separate AC circuits for analog and digital/computer equipment
Equi=Tec Balanced AC power conditioning for all analog equipment
Tripplite UPS Battery back-up power supplies for computers
Digital Cables: Belden Media Twist Hi Speed / Hi Bandwidth cable. Apogee Wide Eye AES/EBU and S/PDIF
Analog cables: Goertz Alpha Core silver speaker wire
Ambient Labs Music Wire custom XLR and RCA wiring
FM radio transmitter broadcasts output to Tivoli Model Two Stereo FM radio for "ON AIR" check
Sprouts of Santa Fe Coffee, fresh brewed and strong
Recently we overhauled our pair of Studer B76 1/4" analog tape decks. These are fantastic sounding machines and in my opinion are superior sounding to the more known A80 series. You owe it to yourself to hear 15ips record/playback using a B67 set up with CCIR EQ curves. This is THE sound of Rock'n Roll!
We also refurbished our collection of analog tape noise reduction systems, including Dolby A, Dolby SR and dbx. We are the only facility in New Mexico that offers full service record and playback of 1/2" 1/4" widths, all tape speeds and head formats as well as complete noise reduction decoding. And of course we can bake tapes!
New addition: we've added a Prism ADA-8XR 8 channel analog digital/digital to analog converter, significantly upgrading our analog insert and monitor path. Stay tuned for an announcement for our new audio computer workstation.
Congratulations to Leslie Pintchik and Scott Hardy on having their original music chosen for the soundtrack of Orson Wells's recently discovered movie "The Other Side of the Wind". Michael MacDonald recorded, mixed and mastered this material at Ambient Recording Studios and AlgoRhythms Mastering.
Here's how to save at least $100 on your next mastering session.
1. Choose your final mixes before before arriving at your mastering session. Sometimes that may not be possible because you need your mastering engineer's opinion or want to listen to the difference between a digital and an analog mix. But if you narrow your decisions before your session begins, you'll save money by reducing auditioning time, which is billable time.
2. Document your source material and make sure it is correctly formatted. Don't bring in a hard drive with hundreds of files with names like:
Put your final mixes with their proper titles in a separate folder called Final Mixes for Mastering. Be sure that your titles and songs match. Failure to do this requires your mastering engineer to go fishing in order to harvest the correct files. This is a waste of his/her time, which translates into a waste of your money.
3. Make sure you know and you tell your mastering engineer ahead of time what format, sampling rate and bit depth your mixes are in. If you have mixes with different formats and sampling rates, letting your mastering engineer know ahead of time will streamline and shorten the load in process because he/she can optimise their proceedures for maxium efficiency.
4. Don't assume your mastering studio has the same kind of computer or software that you used in the mixing studio. Most Macs can read a ProTools formatted hard drive, but many PCs can't. Ask beforehand.
5. Get your mix files or tapes to the mastering studio a few days before your session. This allows the studio to check and verify, or catch a problem before your session begins. If there is a problem, there's usually enough time to fix it, preventing a missed deadline or you being billed for time that isn't productive.
6. Decide on your song sequence before the mastering session. It's okay to change your mind later, but have a first version sequence to start with. Deciding what order your songs belong in while in mastering just runs the meter unnecessarily.
7. Provide the correct title and spelling of each tune at the beginning of the session. The mastering engineer will only have to enter the proper information once, rather than have to first enter something incomplete or incorrect and then take time to correct it later.
8. Obtain your UPC and ISRC code information before the session. Don't wait until the end of your session to mention you will get them later. If you do, then more time will be needed to create a new master with the information you could have brought to the session at the beginning.
9. Prioritize your problems so your mastering engineer will know how to allocate time to best solve your most important concerns. This will help prevent your session from running over budget because too much time was spent dealing with the trivial matters first.
10. Limit those attending your mastering session to the absolute minium. Each additional person will add at least 30 minuites to your final bill. If your session turns into a "hang", you'll be paying for an expensive party rather than the creative musical finish you had hoped to achieve.
Following these steps will save at least 1 hour of billing time and produce a better final product because your mastering engineer can concentrate on being the creative professional you expect, rather than spending time and money on problems that could have been solved before your session began.
1994 GRAMMY WINNER: McCoy Tyner, Journey, Large Jazz Ensemble
1992 GRAMMY WINNER: McCoy Tyner, The Turning Point, Large Jazz Ensemble
1983 Music soundtrack Recording Engineer for Academy Award winner Tender Mercies starring Robert Duval
2002-Present: Senior Audio Recording Instructor - Peabody Institute at Johns Hopkins University
1983- Present: Chief Engineer/Owner AlgoRhythms Mastering Studio NYC and Santa Fe, NM
1976 BA – St. John’s College, Santa Fe, NM
I’ve loved Santa Fe since I went to college here. And when I graduated, I promised myself that someday I’d come back to stay. After 30 years of a successful career recording, mixing and mastering in New York City, it was time for a change.
As much as I love New York, I don’t miss the crowded subway commute or the noise. I traded that for a ten-minute drive to work, where I see snow capped mountains and breathe clean air.
My clients hail from around the world and usually don’t attend sessions; it doesn’t matter to them where I do my work. And I’m delighted to meet new friends and clients from the Southwest who need my mastering skills.
I have to admit that I miss two things from New York City: my old friends and good sushi…delivered!
Honestly, I couldn’t be happier than I am in Santa Fe, providing world class mastering services to the Southwest and fulfilling a long-standing dream.
Acoustic America Music
Bel Canto Society
Blue Toucan Music
Chriss Cross Jazz
Free Lance Records
Nagel Hayer Records
Fresh Sound New Talent
Red Moon Records
Three Blind Mice
Ann Hampton Callaway
Art Farmer Quintet
Asian American Jazz Trio
Dr. Lonnie Smith
Humbucker And The Hi-LoTones
Jackie and Roy
Jane Ira Bloom
Jeff "Tain" Watts
Jane Ira Bloom
Mary Cleere Haran
New York Jazz Quintet
New York Unit
Niels Lan Doky
Oliver Lake Quintet
Richard Rodney Bennett
Ron de Shazo
Scott Shane/Palace Recording
Sir Charles Thompson
Trio Da Paz
Vinnie Ruggoeri Trio
Yang Hee Eun
Here are links to download a fully functioning DDP player. You can audition your file set and burn a CD.
To install the AlgoRhythms DDP Player on either Windows or Mac, follow these steps:
The AlgoRhythms DDP Player is now installed. During the first startup you will be asked to enter a key.
Clients can obtain this key by emailing a request. Once installed you will not need it again.
Listen to your music, check logs, ISRC, UPC/EAN, and meta data for errors and burn a fully functioning CD.
You can use this software for any DDP files you receive in the future, even ones from another places. And its free!
We love our clients, so feel free make an appointment to stop by and listen during normal business hours.
3600 Cerrillios Road, Santa Fe, NM 87507