AVLA

Frequently Asked Questions on ISRC

1. What is the ISRC?

The ISRC (International Standard Recording Code) is the international identification system for sound recordings and music video recordings. Each ISRC is a unique and permanent identifier for a specific recording which can be permanently encoded into a product as its digital fingerprint. Encoded ISRCs provide the means to automatically identify recordings for royalty payments. AVLA acts as the Canadian administrator for ISRC codes on behalf of Music Canada.

2. How do I get an ISRC Code?

Please fill out the ISRC Registrant code application at www.avla.ca. Once we receive your application you will be e-mailed your ISRC registrant code.

3. Who needs to apply for an ISRC Registrant code?

The master rights owner of any sound recordings or videos (usually the record label).

4. Who is the Registrant? Is that my name, the band name, the label?

The registrant is the master owner, usually the record label, band or individual artist.

5. You have assigned a code to me and not my label; shouldn't it be assigned to the label?

The registrant code should be assigned to whoever owns the master rights. In some cases that is the individual artist or band, while in others it is the record label. (Check your recording contract if you are signed to a record label and unsure).

6. Do I apply for a new ISRC Registrant Code for each new year?

No, each master rights owner is supplied with one ISRC Registrant Code for Audio and one for Video. This is a permanent code for everything released by each master owner. The last 5 digits (the designation code) of the ISRC code change for each individual track released and with each new year you would change the year of reference and reset the designation code to 00001.

7. Do I fill out one application form for every song or album, or do I just submit a song list with the form?

You only need to fill out one form. You do not need to submit a song list as AVLA does not keep a record of codes issued. The registrant code is the same for all the songs. It is a code to represent the master owner. You then assign the rest of the code yourself for each individual song.

The structure of the ISRC is shown in the following example:

ISRC CAS230900001

ISRC	CA	S23	09	00001
	Country Code (2 characters) Canada = CA	Registrant Code (3 characters) S23	Year of Reference (2 digits) 2009 = 09	Designation Code This is unique to each individual song (5 digits)

 

Example for an entire album:

Track Name:	ISRC Number:
Recording #1	CAS230900001
Recording #2	CAS230900002
Recording #3	CAS230900003
Recording #4	CAS230900004
Recording #5	CAS230900005
Recording #6	CAS230900006
Recording #7	CAS230900007
Recording #8	CAS230900008
Recording #9	CAS230900009
Recording #10	CAS230900010
Recording #11	CAS230900011
Recording #12	CAS230900012

 

8.Who do I register the ISRC's with once I have assigned them?

AVLA does not require each registrant to provide us with a list of all codes issued. The Registrant, is solely responsible for keeping an up-to-date record of what ISRCs have been assigned and providing them to any agencies that use them (i.e. iTunes, CD Baby, etc).

9. If I have lost track of the ISRCs that I have assigned can AVLA send me a list?

AVLA does not keep a list of codes that have been issued by all Registrants, we only keep a record of the Registrant Code. It is the responsibility of the Registrant to always have an up-to-date record of all codes that have been assigned to audio recordings and music videos.

To retrieve your lost or forgotten ISRC Registrant code, please click here.

However, if you become a member of AVLA, when submitting your repertoire to us for our database you can include ISRCs. In this case we will have a record of the codes you have assigned. For information on AVLA Membership please click here.

10. When do I assign a new ISRC code?

A new ISRC code should only be assigned for the following reasons:

1. Re-mixes/ Edits / Session Takes:
   • If multiple sound recordings are produced in the same recording session with or without any change in orchestration, arrangement, or artist and if they are preserved or turned into commercial products, each recording shall be encoded with a new ISRC.
   • A new ISRC shall be assigned to each re-mix, edit or new version of a recording.
   • It is recommended that the Registrant associate in its database the ISRC numbers of the original recordings used in the remixing.
2. Changes in the playing time:

   The following rules should be applied in determining whether a new ISRC is to be allocated:

   • A record begins with the first recorded modulation and ends with the last recorded modulation.
   • Deviations in the playing time, resulting from different measuring methods or changes in fade and which have no influence on existing legal rights, should not result in the allocation of a new ISRC.
   • When there is a change of playing time 'musically or artistically', a new ISRC should be allocated. The recommended threshold is 10 seconds.
3. Special Cases:

   A separate ISRC should be assigned to any new (and different) version of a recording, which will be exploited regardless of the nature of this exploitation. For example:

   1. 30-second clips: As even 30-second clips need to be licensed, they can be 'separately exploited'. Therefore they should be allocated a distinct ISRC.
   2. Hidden Tracks: Although currently it is not possible technically to embed an ISRC into a hidden track on a Compact Disc, it is nevertheless recommended that an ISRC be assigned.
   3. Interludes: These are brief tracks that contain music and/or speaking and are generally put between songs on an album. Found on commercial and promotional product, they sometimes get their own skip number and sometimes they are attached to the track that follows. If these can be separately exploited, an ISRC should be assigned.
   4. Callouts: These are excerpts of existing songs; they are used as the "hook" or the catchy part of a recording and are generally used on pop promotional product. Ranging from a few seconds to almost a minute, they are given their own skip number. If these can be separately exploited, an ISRC should be assigned.
   5. Skits: When a skit is primarily music or music-related and can be separately exploited, an ISRC should be assigned.
   6. Interviews: Assignment of an ISRC depends on whether the Registrant may separately exploit the work in the future. If the answer is yes, then an ISRC should be assigned.
4. Compilations:

   When previously released recordings are compiled, ISRCs shall be used as follows:

   • If previously released recordings are used in their entirety and unchanged, the original ISRCs shall be used.
   • If previously released recordings are used partially, i.e. faded in or out, a new ISRC should be assigned. The duration of the fade must exceed the recommended threshold of 10 seconds.
5. Allocation of ISRC to existing recordings:
   • Recordings, which have not been assigned ISRCs, should be provided with an ISRC by the present owner of the rights to such recordings, prior to a re-release.
   • Additionally, the Year of Reference element should reflect the year of allocation of the ISRC. Thus a track that was originally released in 1996 but not assigned an ISRC until 2001 should have a 2001 Year of Reference ("01").
6. Recordings sold, licensed to /or distributed by agents:

   The ISRC must be retained irrespective of when or by whom the recording is manufactured, distributed or sold.

7. Licensed repertoire:

   ISRC numbers have to originate from the Master Rights Owner and have to bear the owner's registrant code. It is the duty of the licensee to inform the owner how to obtain a registrant code if none exists. Where the owner is unable or unwilling to assign an ISRC, AVLA is able to authorize the licensee to assign an ISRC.

8. Split deals:

   The companies or individuals involved in the split ownership must agree on which one will be responsible for allocating the single ISRC used to identify the track. The unique numbering of a recording worldwide must be ensured.

9. Re-mastering:
   • When a track is re-mastered for the purpose of reproduction on a new carrier without restoration of sound quality, then no new ISRC is required.
   • It is nevertheless the Registrant's responsibility to decide where to draw the line between sound restoration (full re-mastering) and simple re-mastering.
10. Ring Tunes:
    • If the rights holder needs to clearly identify, clips of digitized audio files, known as ring tunes that are used on mobile phones it is recommended that an ISRC be assigned to them.
    • The following is an example of how to name a ring tune (if the exact clip used is not regarded as important) and its ISRC:

      Track Name:	ISRC Number:
      30 second clip from "song name"	CAS230900001

    • The following is an example of how to name a ring tune (if the exact clip is important) and its ISRC:

      Track Name:	ISRC Number:
      0m36s to 1m06s from "song name"	CAS230900001

11. How long does the whole process take?

Before you receive your ISRC Registrant code you must answer a few yes or no questions and then fill out the application form. Once completed, an ISRC registrant code is generated automatically and you will receive your code right away.

12. What is the cost?

There is no cost. The ISRC registrant code is free.

13. Is this a bar code?

No. AVLA does not issue barcodes and cannot provide you with information on how to obtain them.

14. I made an error in my application. Should I fill out a new one?

No, please do not fill out another application. If you made an error in any part of your application, please email all corrections to isrc@avla.ca.

15. Neither myself or my company are based in Canada, can AVLA still provide me with an ISRC Registrant code?

AVLA cannot provide a Registrant code for any individual or company that is not based in Canada. Any applicants not residing in Canada must apply for an ISRC Registrant code from their National ISRC agency in the country that they or their company is based. For a full list of National ISRC Agencies please visit: http://www.ifpi.org/content/section_resources/isrc_agencies.html

16. I am not the master rights owner, but am acting on their behalf; can I still apply for an ISRC Registrant code?

If you are not the master rights owner please email isrc@avla.ca for information and approval on becoming a Third Party Registrant.

For detailed information and procedures for assignment of ISRCs by Third Party Registrants please click here.

Examples of a Third Party Registrant are:

1. Managers
2. Producers
3. Distributors
4. Digital Download sites (i.e. CD Baby)

17. Is it acceptable that I had a digital distributor such as CD Baby or TuneCore assign ISRCs to my recordings?

Yes, it is acceptable for these companies to assign codes on your behalf as they have been given permission from the ISRC agency in their country to do so.

However, if at a future date you chose to apply for your own registrant code, please be aware that once an ISRC has been assigned to an audio recording or video, it stays with that recording forever (please see question #10 for cases in which a new ISRC can be assigned) and only new recordings can be assigned an ISRC using your unique registrant code.

18. What is the IFPI?

The International Federation of the Phonographic Industry (IFPI) is the organization that represents the interests of the recording industry worldwide. It is headquartered in London, UK, with regional offices in Brussels, Hong Kong, Miami and Moscow. Its stated mission is to promote the value of recorded music, safeguard the rights of record producers and expand the commercial uses of recorded music. Its services to members include legal policy advice (lobbying), anti-piracy enforcement, litigation and regulatory affairs, market research and communications support.

If you have any questions that have not been answered here please email them to isrc@avla.ca

Also See IFPI's FAQ's http://www.ifpi.org/content/section_resources/isrc_faq.html