What Is an ISRC Code? How to Get One for Your Song
Get an ISRC for a finished recording, avoid duplicate codes, and know when a remix, remaster or distributor change needs a different decision.
If you are releasing one finished master, you need one ISRC for that recording. The simplest route for most independent artists is to let their distributor assign it during upload, save the code in a release record, and reuse that same code whenever the unchanged master appears again.
An ISRC is an identifier. It isn't an audio fingerprint, a copyright registration or a royalty account. That distinction prevents the expensive mistakes: duplicate codes for one master, one code reused for two versions, and a distributor switch that accidentally breaks the recording's history.
The quick answer: how should you get an ISRC?
| Your situation | Best starting route |
|---|---|
| You are releasing a single or occasional EP through a distributor. | Use the distributor's assignment if it is included, then keep the code in your own records. |
| You want one or a few codes recorded directly in the international database. | Use IFPI's online assignment service after checking that the recording does not already have a code. |
| You run a label or assign many codes to recordings you own. | Apply through the official agency for your territory for an ISRC Prefix and maintain an assignment ledger. |
| The same master was released before. | Find and reuse its existing ISRC. Do not create another one. |
Do this after the final recording exists but before delivery. Finish the master first with a controlled Logic Pro mastering workflow. A later mix edit can change whether you're still holding the same recording.
What is an ISRC code?
ISRC stands for International Standard Recording Code, and it permanently identifies one sound recording or one music video. That's all it does. It doesn't identify the composition, lyrics, album, product barcode or artist as a person.
Think in layers. A songwriter's composition can be identified by an ISWC. Your finished studio master of that composition has an ISRC. A live take, radio edit, remix and music video are separate recorded assets and can need their own codes. A single or album as a commercial release normally uses a product identifier such as a UPC or EAN in addition to the track-level ISRCs.
The US Copyright Office's music guide separates these identifiers for the same reason: musical works and sound recordings are different rights objects. An ISRC can help systems match usage to the right recording. The characters do not prove who owns it.
How the 12-character ISRC format works
IFPI defines three elements: a five-character Prefix Code, a two-digit Year of Reference, and a five-digit Designation Code. A machine-ready example is AA6QZ2600047. For people, it may be printed as ISRC AA-6QZ-26-00047. The word ISRC, spaces and hyphens aren't part of the 12-character code supplied in a data feed.
| Part | Example | What it means |
|---|---|---|
| Prefix Code | AA6QZ | Five characters allocated through the ISRC system. Do not invent your own prefix. |
| Year of Reference | 26 | The last two digits of the year the ISRC is assigned. It is not necessarily the recording or release year. |
| Designation Code | 00047 | A unique five-digit number from the range available to the registrant for that year. |
The code is compact by design. Artist, title, version, rights owner and publication year belong in the reference metadata stored beside it. Do not try to read current ownership from the prefix or year.
How to get an ISRC code for your song
- Confirm that the final recording does not already have an ISRC. Check a previous distributor dashboard, label copy and the international search before creating anything.
- Decide who is authorized to assign the code. Usually that is the recording owner, a distributor acting as an ISRC Manager, or an official assignment service.
- Choose one route: distributor assignment, IFPI online assignment, or a registrant prefix from the official agency for your territory.
- Prepare exact metadata for the recording: artist, title, version, first-publication year, duration, asset type and explicit-content status.
- Assign or accept one code, then copy the 12-character value into your own release record before submitting the release.
- Use that code whenever the same unchanged recording is delivered again, and create a new entry only when the recorded asset materially changes.
Route 1: let your distributor assign it
For most independent releases this is the lowest-friction route. Spotify says labels or distributors typically assign ISRCs. The Spotify for Artists glossary tells artists to hold onto that identifier for the life of the recording, including future distribution changes.
Don't assume every plan includes assignment, or that every dashboard exposes the code at the same stage. Before you pay or submit, check three things: whether assignment costs extra, where the final code appears, and whether the service lets you enter an existing ISRC for a previously released master.
A distributor-assigned code doesn't transfer ownership of the recording by itself. Your distribution agreement controls the service relationship. Rights data stays separate from the identifier.
Route 2: assign one through IFPI online
IFPI now offers an immediate online assignment route for self-releasing artists. You create an account, enter recording metadata, run a lookup, receive the code and have the recording data registered in the International ISRC Database.
As checked on August 30, 2026, the official service charges £15 plus UK VAT where applicable for 30 credits. A normal new assignment uses three credits: one for the lookup and two for assignment. If the lookup finds an existing code, it stops after the lookup credit. Fees can change, so verify the current IFPI online-assignment page before paying.
Route 3: obtain your own ISRC Prefix
A prefix is an administrative system. It isn't a badge of artistic independence. IFPI describes it as most suitable for labels because the registrant must follow assignment rules and keep accurate records. Apply through the official agency for your territory. Procedures and fees differ by country.
A prefix lets you assign codes to recordings you own, from your allocated range. It doesn't authorize you to hand codes out casually to clients' recordings. Studios, aggregators and other services that assign on behalf of unrelated owners normally need the appropriate ISRC Manager authority.
Check for an existing code before assigning a new one
Start with your distributor, label or prior release paperwork. Its record should hold the exact delivered value. Then use the public International ISRC Search by artist, title, release or code. Search is useful evidence. Spelling, version labels and incomplete submissions can still complicate a match.
If you find a plausible match with different metadata, don't guess. Compare duration and version details, then ask the original label, distributor or rights owner. A duplicate ISRC can split reporting. Attaching an unrelated existing code can misidentify the recording.
Keep the old ISRC or assign a new one?
| Situation | ISRC decision |
|---|---|
| The exact single master appears later on an album. | Keep the existing code. |
| You change distributor, label, territory, file format or bitrate without changing the recording. | Keep the existing code. |
| Ownership of the unchanged recording changes. | Keep the existing code and update rights metadata separately. |
| You make a remix, radio edit, new performance or surround mix. | Assign a new code. |
| The playing time changes by more than ten seconds. | IFPI lists this as a modification requiring a new code. |
| You make a normal remaster with no significant new creative input. | Generally keep the existing code. |
| The remaster adds significant creative input or materially changes the recording. | A new code may be appropriate. |
| You create a music video using the same audio. | Assign a separate code to the music video. |
These rules follow IFPI's current When To Assign and When Not To Assign guidance. The useful question is not whether the filename changed. Ask whether listeners are receiving the same recording.
Can you generate an ISRC code yourself?
You can assign codes yourself only after an official agency has allocated a prefix and an authorized designation range to you. An ISRC code generator or spreadsheet formula will happily assemble valid-looking characters. Valid format isn't the same thing as valid assignment. Type a country-like prefix, year and serial number at random and you can collide with a code controlled by someone else.
If you hold a prefix, build the code from the range your agency supplied, use the two-digit year of assignment, and record every designation number once. IFPI warns that designation codes must not repeat within the same prefix and year. A simple ledger does the job: reject duplicates before export, keep cancelled codes marked as used.
If you don't hold a prefix, use an authorized distributor, ISRC Manager, national agency or IFPI's direct online service. Be wary of websites that sell you a string without telling you who is assigning it, whether they check for an existing match, and where the recording metadata will be retained. The question isn't “can this page print 12 characters?” It is “is this party authorized to assign this identifier to my recording?”
Five ISRC mistakes to catch before release
- Assigning before the version is locked. Decide which mix and edit is the release master first. A later radio edit or replaced performance is a different asset, not a renamed file.
- Letting a second distributor create a new code. When moving an existing release, choose the option for a previously released track and enter the old ISRC.
- Using the release year in a self-assigned code. The Year of Reference is the year of assignment. A 2024 recording given its first code in 2026 uses
26. - Giving an album one track code. Each distinct recording needs its own ISRC. The release itself uses a separate product identifier.
- Keeping the only copy inside a vendor dashboard. Export your codes and metadata before closing an account or transferring a catalog.
A useful pre-submit check compares the audio duration, version label and ISRC on one screen. If the code belongs to an older version, stop the delivery. If the same master already exists, stop the new assignment. This two-way check catches both kinds of identity error.
Does an ISRC collect royalties?
No code collects money by itself. The ISRC lets services, labels, distributors and rights organizations refer to the same recording in usage reports. Payment still depends on delivery, rights ownership, registrations and the agreements between the platform, licensor, label, distributor and artist.
Spotify's royalties guide explains that recording royalties go to the rightsholder through the selected licensor, usually a label or distributor. Publishing royalties follow a separate path for the composition. An accurate ISRC helps identify the recording in that chain. It doesn't replace songwriter, publishing, neighboring-rights or copyright work.
Save a release record before you upload
Create one plain spreadsheet or label-copy document that outlives any distributor account. For each master, keep the ISRC, exact artist and title spelling, version label, duration, explicit flag, first release date, rights owner, distributor, source master filename and the date the code was assigned.
Store the final master and that record beside a recoverable project archive. Our Logic Pro backup guide covers the project side. The metadata sheet covers the release identity. Handing the project to another engineer? Include the chosen master and label copy rather than a folder of ambiguous bounces. The Logic Pro handoff checklist helps keep that delivery readable.
Once a code is assigned, never recycle it for another recording, even if the planned release is cancelled. Mark the entry unused and move on. A gap in the sequence is harmless. A reused identifier isn't.
Frequently asked questions
Can I get an ISRC code for free?
Many distributors include ISRC assignment in their release service, but plans and fees vary. IFPI's direct online service is paid, and national-agency procedures differ by territory. Check the exact service before submission rather than assuming every route is free.
Do I need a new ISRC when I change distributors?
No, not for the same recording. Give the new distributor the existing ISRC and keep the title, artist, version and other core metadata consistent. Changing the delivery company does not create a new master.
Does a remaster need a new ISRC?
Not automatically. IFPI says a remaster that remains fundamentally the same recording can retain its code. A remaster with significant new creative input may justify a new one. Document what changed instead of treating the word “remastered” as the rule.
Is an ISRC the same as an ISWC or UPC?
No. ISRC identifies a sound recording or music video. ISWC identifies the underlying musical work, and UPC or EAN identifies a commercial release such as a single or album product.
Can the same ISRC be used for a single and an album?
Yes, when both contain the exact same recording. Reuse the single's code on the album. If the album uses a different edit, mix or performance, assign a code for that different recording.
Should I put the ISRC inside my WAV file?
IFPI recommends carrying the ISRC with the recording where the medium supports it, but delivery methods differ. Most digital distributors collect the code in their release form and include it in platform feeds. Follow the distributor's specification; do not invent a second code or alter the audio because a tag field is missing.
