ISRC vs ISWC Codes and Why They Matter for Music
Confused about ISRC vs ISWC codes? Knowing the difference could mean the difference between getting paid for your music or leaving money on the table.
ISRC vs ISWC Codes & Why They Matter for Music
by Chris Huff via Disc Makers Blog
Ever since Prometheus brought the CD down from the Gods on Mount Olympus to give to humanity, people have relied upon metadata — the identifying information embedded in a digital music file, such as title, artist name, album name, etc. — for tracking different kinds of royalties. Ok, the Prometheus part may not be true, but music metadata has been used since the advent of digital music to make sure songwriters’ and performers’ works have been tracked fairly. Once you release a song, it could be played on the radio, synced to a TV commercial, streamed to Spotify, Qobuz, or Apple Music, covered by another artist, or downloaded on Bandcamp, to name but a few examples. All of these instances are tracked differently by different organizations.
So, for the songwriter and performer to be paid appropriately, it’s important to make sure you’ve registered for the appropriate codes to add to your metadata. Here’s some information on ISRC vs. ISWC so that you know what is required for your music.
What is an ISRC (International Standard Recording Code)?
The ISRC is used to catalog individual sound recordings around the world. It is a unique identifier based on a 12-character alphanumeric code assigned to a specific sound recording performed by an artist or band. The structure of the ISRC identifies the country, the issue date, and the unique person or company registering the code. The same ISRC applies to a recording whether it is on physical product, digital download, or a stream. If different versions of the same song exist (such as live versions, cover versions, demo versions, or remixes), each recording requires its own ISRC.
What ISRC codes do for musicians
Publishers, record labels, digital music services, distributors, and performance rights organizations use ISRCs to track revenue from sales and streamings of recordings. If you don’t have the codes, you might not get paid! Certainly, it will slow things down and perhaps certain revenue streams might fall into the cracks. Keeping your metadata detailed and accurate is important to making sure you are paid properly. Additionally, the streaming services will not accept digital files without ISRC codes; they use them for tracking your streams.
What is an ISWC (International Standard Musical Work Code)?
The ISWC is a unique, permanent identifying number that corresponds to the underlying composition of a work. It differs from the ISRC in that it is not attached to a specific sound recording; a song can and will have multiple ISRCs for different recordings but will only have one ISWC.
Why ISWC codes matter for songwriters and composers
ISWCs ensure that the songwriters and/or composers get credit and are compensated for their work, regardless of who performs or records the song. In the same way that organizations track recordings with ISRCs, they use the ISWC to track compositions and songwriter royalties. So truly it isn’t ISRC vs. ISWC, as both have entirely different purposes and operate hand in hand.
ISRC vs. ISWC: Key differences and their role in music revenue
It’s important for artists to understand what makes these codes different and how they’ll play a role in the royalties you earn. Here are some key details to know:
Who needs an ISRC?
Anybody who releases a sound recording and plans on releasing it for public consumption needs an ISRC for each track on their album so the organizations responsible for compensation and keeping track of the song’s activity can properly direct that compensation to the artists, producers, and record labels. In short, unless you’re just keeping your music for yourself, you need ISRCs. If you want your music on the streaming services, they require them.
Who needs an ISWC?
Anybody whose compositions are being recorded and distributed needs an ISWC for each song. This is how the music royalties will be tracked, in most cases, to ensure you receive your writer’s portion of the revenue. As the writer, you’ll receive those royalties even if you’re not the performer; covers or samples of your work are tracked by the ISWC. The kinds of royalties tracked by ISWCs are administered by the performers’ rights organizations (PROs), so it won’t affect any kind of distribution into the world if you don’t have them.
Why you might need both codes
If you’re the songwriter AND performer, you should have both codes. Each one tracks different revenue streams. If you’re the songwriter and you are creating the sound recording while representing a record label or producer, you’ll need both codes. The only time you wouldn’t need both is if you are the composer only and you are not involved with making or distributing sound recordings at all; then you would just need the ISWC. But anyone with a sound recording will require ISRCs. As said before, they are required for the streaming services.
How to get ISRC and ISWC codes for your music
It’s easy and affordable for independent artists to get ISRC and ISWC codes. Here’s how:
Getting ISRC codes
You can get ISRC codes through your record label or distributor, and often also your manufacturer. If you manufacture physical products through Disc Makers, ISRCs for your album are provided at no additional charge. Alternatively, you can pay a one-time fee of $95 to USISRC for a registrant code which will allow you to assign up to 100,000 ISRC codes, and it is yours for life. If you are a record label that will be releasing other artists, it’s sensible to get a registrant code, but otherwise you most likely won’t need this. In general, if someone other than USISRC tries to charge you money for ISRC codes, it’s a scam; CDBaby and Distrokid will provide them at no additional charge if you use them as your distributor.
Registering for an ISWC code
ISWC codes are assigned through your PRO, which in the United States would generally be ASCAP, BMI, or SESAC. Outside the U.S., it would also be your PRO; a list of the agencies assigning ISWCs is available at ISWC.org. You and your composition must be registered with one of these agencies in order to receive the ISWC; the same holds true if you are trying to obtain this code as a publisher. Again, this is the only source of these codes; any third party trying to sell them to you is a scammer.
Choosing the right codes for your music goals
ISRC vs. ISWC — what to choose? Like was said previously, this is a false dichotomy as most people reading this article are probably best served by obtaining both. Remember, if you are a performer who sings and records your own songs, you will most certainly need both to protect your songwriting AND performance royalties. If you are a writer only who does not perform, you will just need the ISWC for your song. If you only perform and record other people’s songs, you will just need the ISRCs. ISRCs are required for streaming services.
Common questions about ISRC and ISWC codes
Let’s explore some frequently asked questions about the different types of codes that are assigned by PROs or distributors:
Can I use the same ISRC and ISWC codes for a remix?
Remixes require their own unique ISRC; every new sound recording requires its own ISRC. The ISWC, however, won’t change as long as the underlying composition hasn’t changed. If you are adding the remixer to the song credit, then this would be a new composition and would require a new ISWC.
How do ISRCs and ISWCs affect my royalties?
The basic royalty payments for sound recordings and underlying compositions remain the same regardless of whether or not you have ISRCs or ISWCs. However, the companies that make these payments use the codes to track royalty payments, so your payments might be delayed or stuck in limbo if you don’t have the codes. In short, get the codes!
What happens if I don’t have the right codes?
The Gods will come down from Mount Olympus and strike you down with lightning bolts! Not really, but there will be delays in you getting paid. We’ll leave it up to you to decide which is worse! Also, you won’t be able to get your music onto streaming services without ISRCs.
Take control of your music sales
It is true in this digital age that performance and compositional royalties aren’t what they used to be. Even with all the proper codes, you might not reap huge rewards from your compositions. But little bits can add up, especially if you’re entering into the realm of sync licensing and have some modicum of a following on social media streaming your songs and requesting them on the radio. Learning about ISRC vs. ISWC will ensure that whatever royalties are owed to you will be collected from different platforms. Make that money!
Chris Huff has been a professional singer, multi-instrumentalist, songwriter, and producer for over 25 years. He has worked as a sideman with Peter Yarrow (Peter, Paul, and Mary), Echo and the Bunnymen, Chuck Hammer (David Bowie, Lou Reed), and Tom Kitt (Broadway composer of Next To Normal). Chris also wrote liner notes for David Bowie’s Live And WellCD.
