April 28, 2023 at 5:33 am #42476
I’m curious to know why here and there on the forum I read about how important it is to upload our non exclusive tracks to Spotify (and other DSPs) to obtain ISRC codes, UPC Codes, ISWC codes.
What advantages would you have in distributing (with Distrokid, Tunecore and similar) your non-exc tracks in order to obtain those codes?
Thank youMay 31, 2023 at 1:47 am #42765
bumpMay 31, 2023 at 6:00 am #42767RM90Participant
Here is some info about this. ISWC codes are created when you register your tracks with your PRO. That has nothing to do with distributing on Spotify, etc.
A lot of composers upload their non exclusive tracks to those platforms in order to make some extra money from streaming. I don’t do it, but some claim it is worth it.
You can purchase the ability to make your own ISRC codes at USISRC.org which I do recommend doing. ISRC codes matter for collecting royalties through Soundexchange. When CDBaby (or whatever) assigns ISRCs to your tracks, it is with their code. If you have your own code, it shows that you truly own the music.June 2, 2023 at 2:26 pm #42790Michael NickolasParticipant
Art published on this site an article I wrote about codes. It was a while back but I wouldn’t think much has changed:July 26, 2023 at 9:44 am #43218
Thanks a lot.
I still would like to understand better how obtaining ISRC codes for my non-exclusive music (not via a distributor since I don’t want to upload these tracks to Spotify or other DSPs) would benefit me in terms of income.
Neighbouring rights?July 27, 2023 at 7:05 am #43222MaxPowerParticipant
I was talking to a guy from the PRS a couple of weeks ago and he said that the DSP’s use these codes to inform the PRO’s of each play on their platforms, so if you’ve registered the correct code with your track you’ll get paid by your PRO for the play – even if you’ve also been paid by the distributor you’ve chosen to host your music.