Glossary
A comprehensive reference guide to terms used in music distribution, streaming, and the LabelGrid platform.
Tip: Throughout our documentation, technical terms appear with a dotted underline. Hover over them to see a quick definition.
Identifiers & Codes
Unique codes used to identify recordings, releases, and rights holders.
Catalog Number
A catalog number is a unique identifier that a label assigns to each release in their catalog. It’s an internal reference system that helps with organization, tracking, and industry communication.
Common formats:
- Letters + numbers: “HR001”, “SMG-2026-001”
- Sequential numbering: “001”, “002”, “003”
- Date-based: “2026-001”
Why use catalog numbers:
- Quickly reference releases internally
- Industry professionals use them for licensing inquiries
- Helps organize your release history
- Some DSPs display them in metadata
In LabelGrid: Catalog numbers can be up to 20 characters and should be unique within your label.
EAN
The European Article Number (EAN) is a 13-digit barcode standard that serves the same purpose as UPC but originated in Europe. In music distribution, EAN and UPC are functionally interchangeable—platforms accept both.
Format: A 13-digit number (EAN-13), also known as GTIN-13.
The relationship with UPC: A UPC can be converted to an EAN by adding a leading zero. For example, UPC 012345678901 becomes EAN 0012345678901. Most modern systems handle both formats seamlessly.
Why it matters: When distributing internationally, having a proper barcode ensures your release can be tracked and sold in any market. LabelGrid handles the technical details, so you don’t need to worry about which format to use.
GTIN
Global Trade Item Number (GTIN) is the umbrella term for the family of barcode standards used to identify products worldwide. In music, you’ll encounter two main types:
- GTIN-12 (UPC): 12-digit code, standard in North America
- GTIN-13 (EAN): 13-digit code, standard internationally
When you see “GTIN” in distribution contexts, it’s usually referring to your release’s UPC or EAN barcode. Both work interchangeably in modern music distribution systems.
IPI
The Interested Parties Information (IPI) number is a unique identifier assigned to songwriters, composers, and music publishers. It’s the publishing world’s equivalent of an ISRC—a way to unambiguously identify who wrote or published a song.
Format: A 9 to 11 digit number assigned by your PRO (Performing Rights Organization).
How to get one: When you register with a PRO like ASCAP, BMI, SESAC (US), PRS (UK), or SOCAN (Canada), they assign you an IPI number. This happens automatically as part of your membership.
Why it matters: Including IPI numbers in your track credits helps ensure songwriters and publishers receive their publishing royalties correctly. It eliminates confusion when multiple people share similar names.
Best practices:
- Always include IPI numbers when crediting songwriters
- Verify the IPI number is correct—an incorrect number means misrouted royalties
- If a writer doesn’t have an IPI, they should register with a PRO first
ISNI
The International Standard Name Identifier (ISNI) is a 16-character code that uniquely identifies contributors to creative works—artists, writers, performers, and publishers. It’s an international ISO standard designed to solve the problem of people with identical or similar names.
Format: 16 characters, typically displayed in groups of four: 0000 0001 2345 6789
Why it matters: Imagine two songwriters named “John Smith.” Without a unique identifier, royalties could easily be sent to the wrong person. ISNI solves this by giving each creator a permanent, unique identity across all platforms and databases.
Getting an ISNI: You can apply for an ISNI through registration agencies. Some PROs and distributors can also help you obtain one.
Best practices:
- Include ISNI when available to ensure proper credit attribution
- ISNI works alongside IPI—they serve different but complementary purposes
ISRC
The International Standard Recording Code (ISRC) is a unique 12-character alphanumeric identifier assigned to each individual sound recording. Think of it as a fingerprint for your track—no two recordings in the world should share the same ISRC.
Format: The code follows the pattern CC-XXX-YY-NNNNN where:
- CC = Country code (2 letters)
- XXX = Registrant code (3 alphanumeric characters)
- YY = Year of reference (2 digits)
- NNNNN = Designation code (5 digits)
Why it matters: ISRCs are essential for tracking plays across all streaming platforms, calculating royalties accurately, and ensuring you get paid for every stream. When your song plays on Spotify, Apple Music, or any other platform, the ISRC is how they know it’s your recording.
Best practices:
- Never reuse an ISRC, even for re-releases or remasters
- Each version of a track (radio edit, extended mix, remix) needs its own ISRC
- LabelGrid can generate ISRCs for you automatically, or you can use your own
ISWC
The International Standard Musical Work Code (ISWC) identifies a musical composition—the underlying song itself, separate from any particular recording of it. While an ISRC identifies a specific recording, the ISWC identifies the song that could have many different recordings.
Format: T-NNNNNNNNN-C (always starts with T, followed by 9 digits and a check digit)
Example: The song “Yesterday” by The Beatles has one ISWC, but each cover version, remix, and re-recording has its own ISRC.
Who assigns ISWCs: These are assigned by authorized agencies, typically through your publishing administrator or PRO when you register your composition.
Why it matters: ISWCs help track all the different recordings and usages of a single song, ensuring writers receive royalties no matter who records their composition.
UPC
The Universal Product Code (UPC) is a 12-digit barcode that uniquely identifies your release as a product. While ISRCs identify individual tracks, the UPC identifies the complete release—whether it’s a single, EP, or full album.
Format: A 12-digit number, often displayed with the barcode image.
Why it matters: Every release distributed to streaming platforms and digital stores needs a UPC. It’s how platforms identify your album as a distinct product, separate from other releases. The UPC is also used for sales tracking and chart reporting.
Best practices:
- Each unique release configuration needs its own UPC (standard vs. deluxe editions, for example)
- If you re-release an album with different tracks, it needs a new UPC
- LabelGrid can generate UPCs for you automatically, or you can use your own from a registered source
Industry Terms
Common music industry terminology and organizations.
Content ID
Content ID is YouTube’s digital fingerprinting system that automatically identifies copyrighted content. When someone uploads a video containing your music, Content ID detects it and applies your chosen policy.
How it works:
- Your music creates a unique audio “fingerprint” in YouTube’s database
- YouTube scans all uploaded videos against this database
- When your music is detected, your chosen policy is applied
Available policies:
- Monetize: Ads are placed on videos using your music; you earn revenue
- Track: Monitor usage without taking action (useful for promotional periods)
- Block: Prevent videos from using your music (rarely recommended)
Earnings potential: User-generated content (UGC) featuring your music can become a significant revenue stream. Popular songs used in viral videos can generate substantial royalties.
In LabelGrid: You can enable Content ID distribution when setting up your release. Revenue from Content ID claims is included in your royalty statements.
DDEX
DDEX (Digital Data Exchange) is an international standards organization that creates standardized formats for exchanging music data between companies. When distributors send releases to DSPs, they often use DDEX formats to ensure all the metadata transfers correctly.
Why it matters to you:
- If you’re transferring your catalog from another distributor, DDEX exports make migration seamless
- DDEX standards ensure your metadata is consistent across all platforms
- Enterprise labels often use DDEX for bulk uploads
Common DDEX standards:
- ERN (Electronic Release Notification): For new releases and updates
- MEAD (Media Enrichment and Description): For enhanced metadata
- DSR (Digital Sales Reporting): For royalty statements
In LabelGrid: We support DDEX imports for catalog transfers, making it easy to move your releases from another distributor while preserving all your metadata, ISRCs, and release history.
Distributor
A music distributor is the bridge between artists/labels and streaming platforms. Distributors handle the technical and business requirements of getting music onto DSPs worldwide.
What distributors do:
- Deliver your music files and metadata to platforms
- Ensure your releases meet each platform’s specifications
- Collect royalties from all platforms on your behalf
- Provide analytics and reporting
- Handle administrative tasks (takedowns, updates, corrections)
Why you need one: Streaming platforms don’t accept music directly from individual artists. You need a distributor with established relationships and technical infrastructure to deliver your music.
LabelGrid as your distributor: We deliver to 150+ platforms worldwide, handle all technical requirements, collect your royalties, and provide detailed analytics—all while keeping your rights in your hands.
DSP
Digital Service Provider (DSP) is the industry term for any platform that delivers digital music to consumers—whether through streaming or downloads.
Major DSPs include:
- Streaming: Spotify, Apple Music, Amazon Music, YouTube Music, Deezer, TIDAL, Pandora
- Download stores: iTunes, Amazon, Beatport, Bandcamp
- Video platforms: YouTube (with Content ID)
- Social media: TikTok, Instagram, Facebook
Why the term matters: When you hear “distribute to DSPs” or “DSP requirements,” it means getting your music to these platforms. Each DSP has slightly different metadata requirements, audio specifications, and delivery timelines.
Through LabelGrid: We handle delivery to 150+ DSPs worldwide, managing the technical requirements for each platform so you don’t have to.
Label Copy
Label copy refers to all the written information that accompanies a release—everything that would traditionally appear on a physical album’s packaging. It’s the complete documentation of who did what and who owns what.
Label copy includes:
- Track titles and durations
- Artist credits (primary, featuring, with)
- Writer and composer credits with splits
- Producer credits
- Copyright notices (P-line and C-line)
- Publisher information
- ISRC codes for each track
- UPC/EAN for the release
- Release date and catalog number
Why completeness matters: Complete label copy ensures everyone gets proper credit and, more importantly, proper payment. Missing or incorrect credits can mean lost royalties.
Metadata
Metadata is all the information attached to your music that isn’t the audio itself. It’s how streaming platforms know what to display, how to categorize your music, and how to ensure you get paid.
Types of metadata:
- Descriptive: Titles, artist names, album names, genres
- Identifiers: ISRC, UPC, catalog numbers
- Credits: Writers, producers, performers, contributors
- Rights: Copyright info, P-line, C-line
- Technical: Audio format, duration, track number
- Commercial: Release date, territories, pricing
Why accuracy matters:
- Incorrect metadata = lost royalties
- Poor metadata = harder for fans to find your music
- Inconsistent metadata = fragmented artist profiles
Best practices:
- Double-check spelling of all names
- Use consistent artist name formatting
- Include all contributors and their roles
- Verify ISRCs before submission
PRO
A Performing Rights Organization (PRO) collects royalties on behalf of songwriters and publishers when their music is publicly performed. “Public performance” includes radio airplay, TV broadcasts, live venues, and streaming.
Major PROs by region:
- United States: ASCAP, BMI, SESAC, GMR
- United Kingdom: PRS for Music
- Canada: SOCAN
- Germany: GEMA
- France: SACEM
- Spain: SGAE
- Australia: APRA AMCOS
How they work:
- Songwriters/publishers register their works with a PRO
- The PRO monitors public performances (radio, streaming, venues)
- They collect license fees from businesses using music
- They distribute royalties to members based on performance data
Important distinction: PROs collect for songwriters (composition rights). Recording royalties from streaming come through your distributor (that’s where LabelGrid comes in).
Best practices:
- Register with a PRO in your country
- Register all your songs with them
- Include PRO information when crediting writers in your releases
Royalties & Payments
Terms related to earnings, royalties, and payment structures.
Advance
An advance is an upfront payment made to an artist, typically as part of a distribution deal, label deal, or publishing agreement. It’s essentially pre-payment of royalties you’re expected to earn.
Key characteristics:
- Paid upfront, before the music earns anything
- Recoupable from future royalty earnings
- Not a loan—you don’t pay it back if your music underperforms
- Amount based on expected earnings potential
Pros:
- Immediate cash for recording, marketing, or living expenses
- Guaranteed money regardless of how the music performs
Cons:
- No additional royalties until advance is recouped
- May come with longer contract terms
- Could limit your flexibility
Negotiation tip: The size of an advance often correlates with the terms of the deal. Bigger advance might mean longer commitment or lower royalty rate.
Mechanical Royalties
Mechanical royalties are payments made to songwriters and publishers whenever their composition is reproduced—whether as a stream, download, CD, or vinyl.
The name’s origin: The term dates back to player pianos and music boxes—“mechanical” reproductions of music.
Who earns them: Songwriters and their publishers (the people who wrote the song, not necessarily the recording artist).
How they work in streaming:
- Each stream generates both a mechanical royalty (for the composition) and a recording royalty (for the master)
- In the US, mechanical royalties from streaming are collected by the MLC (Mechanical Licensing Collective)
- Rates vary by country and platform
Important distinction:
- Recording royalties come through your distributor (LabelGrid)
- Mechanical royalties for compositions go to songwriters/publishers through separate channels
- If you wrote the song you’re releasing, you may be entitled to both types
Net Receipts
Net receipts is the actual money received from streaming platforms and stores after their fees and deductions. It’s the starting point for calculating your royalties.
How it works:
- A streaming platform collects revenue (from subscriptions, ads, or sales)
- They deduct their share and fees
- They pay the remainder (net receipts) to the distributor
- The distributor calculates your royalties based on this amount
Why this matters: When you see “royalty based on net receipts,” it means your percentage is calculated from what the distributor actually receives, not from some theoretical gross amount.
Transparency: At LabelGrid, we provide detailed breakdowns in your royalty statements so you can see exactly how your earnings are calculated.
Performance Royalties
Performance royalties are payments made when a song is publicly performed. This includes radio airplay, TV broadcasts, live performances at venues, background music in businesses, and streaming.
Who earns them: Songwriters and publishers (composition rights holders).
Who collects them: Performing Rights Organizations (PROs) like ASCAP, BMI, PRS, SOCAN, and others.
How it works:
- Businesses that play music publicly (venues, radio stations, streaming services) pay blanket licenses to PROs
- PROs track which songs are being performed
- They distribute royalties to registered songwriters based on performance data
Important: To collect performance royalties, you must:
- Be registered with a PRO
- Register your songs with that PRO
Streaming performance royalties: When your song streams, it generates both a performance royalty (collected by your PRO) and a mechanical royalty (collected separately). Your recording royalty comes through LabelGrid.
Recoupment
Recoupment is the process of recovering an advance payment from an artist’s future royalty earnings. It’s a standard practice in record deals and distribution agreements that offer upfront payments.
How it works:
- Artist receives an advance (upfront payment)
- As the music earns royalties, those earnings go toward “paying back” the advance
- Once the advance amount is fully recouped, the artist begins receiving royalty payments again
Important to understand:
- Recoupment is not debt—you don’t owe money back if your music doesn’t earn enough
- You just won’t receive additional royalty payments until the advance is covered
- Different deals have different recoupment terms (rates, what counts toward recoupment)
Example: $10,000 advance with 80% royalty rate. Your music earns $15,000. First $10,000 recoup the advance, then you receive 80% of the remaining $5,000 ($4,000).
Royalty Split
A royalty split defines how earnings from a recording or song are divided among all the people who contributed to its creation.
What can be split:
- Recording royalties (from streams and sales)
- Writing/publishing royalties (from the composition)
- Producer royalties
- Label share
Common scenarios:
- Solo artist keeping 100%
- Band splitting equally (25% each for a 4-piece)
- Artist/producer split (80/20 or 90/10)
- Label deals with various split structures
Best practices:
- Agree on splits before releasing music
- Get agreements in writing
- Consider all contributors: co-writers, featured artists, producers
- Update splits if collaborators change
In LabelGrid: You can set up royalty splits for each release or track, and we’ll automatically distribute payments according to those percentages.
Statement Period
A statement period is the specific time range covered by a royalty report. It shows all earnings, streams, and sales that occurred during that window.
Common statement periods:
- Monthly (most common in modern distribution)
- Quarterly (traditional label accounting)
What’s included:
- Streams by platform and territory
- Revenue earned
- Detailed track-by-track breakdown
- Currency conversions (for international earnings)
Timing note: There’s always a delay between when streams occur and when they appear in statements. This is because DSPs report earnings after their own accounting cycles close.
In LabelGrid: We provide monthly statements with detailed breakdowns by platform, territory, and track, making it easy to understand where your earnings come from.
Rights & Licensing
Copyright, licensing, and ownership terminology.
C-Line
The C-line (©) is the copyright notice for the underlying composition—the song itself (melody, lyrics, arrangement). It indicates who owns the publishing rights.
Format: © [Year] [Owner Name]
- Example: © 2026 Luna Martinez
- Example: © 2026 Stellar Publishing
The © symbol: This universal copyright symbol covers the composition (and other creative works). It’s different from ℗ which specifically covers sound recordings.
Who goes in the C-line:
- The songwriter(s) or their publisher
- If multiple writers: ”© 2026 Writer A, Writer B” or publisher name
- If you wrote the song: your legal name or publishing entity
Year: The year the composition was first published.
P-line vs C-line:
- P-line (℗): Who owns the recording (master)
- C-line (©): Who owns the composition (publishing)
- They’re often the same for independent artists, but not always
In LabelGrid: Both P-line and C-line are required metadata for your release. They may be the same (you own both) or different (cover songs, signed deals).
Master
“Master” has two related meanings in music:
1. The master recording: The final, finished audio file—mixed, mastered, and ready for distribution. This is the definitive version of your recording.
2. Master rights: Ownership rights to that specific sound recording. Whoever owns the masters controls how that recording is used, licensed, and monetized.
Who typically owns masters:
- Independent artists usually own their own masters
- Signed artists may transfer master ownership to their label (varies by deal)
- Work-for-hire recordings are owned by whoever commissioned them
Why ownership matters:
- Control over licensing (sync deals, samples, remixes)
- Receiving recording royalties directly
- Ability to transfer or sell your catalog
- Long-term value of your music
With LabelGrid: You keep 100% ownership of your masters. We help you distribute and monetize them, but the rights remain yours.
Master Rights
Master rights are the ownership rights to a specific sound recording—the actual audio file you hear when you play a song. This is separate from publishing rights, which cover the underlying song (melody and lyrics).
What master rights control:
- Distribution and sale of the recording
- Streaming royalties from the recording
- Licensing for sync (films, TV, ads)
- Creating derivative works (remixes, samples)
Master vs. Publishing rights example: When Aretha Franklin recorded “Respect,” she owned the master rights to her recording. But Otis Redding (who wrote and originally recorded the song) held the publishing rights to the composition. Both earn royalties when Aretha’s version is played.
Independent artists: When you record and release your own music through LabelGrid, you typically own both the master rights (your recording) and publishing rights (if you wrote it)—giving you full control.
Mechanical License
A mechanical license grants permission to reproduce and distribute someone else’s musical composition. The name comes from the early days of “mechanical” reproductions like player piano rolls and music boxes.
When you need one:
- Recording a cover song (your version of someone else’s song)
- Sampling a composition (using melody/lyrics from another song)
- Creating physical products (CDs, vinyl) of covers
When you DON’T need one:
- Recording your own original compositions
- Live performances (different license, handled by venues)
How to get one:
- Services like Harry Fox Agency, Songfile, or Easy Song Licensing
- Direct negotiation with the publisher
- Some distributors offer licensing services
Costs: Mechanical licenses have statutory rates set by law (in the US) or negotiated rates. Expect to pay per unit distributed.
Important: You need the license BEFORE distribution. Releasing a cover without proper licensing can result in takedowns and legal issues.
Neighboring Rights
Neighboring rights (also called “related rights”) are the rights of performers and record labels to be compensated when their recordings are publicly performed. They exist “next to” (neighboring) the traditional copyright held by songwriters.
Who benefits:
- Performing artists (singers, musicians on the recording)
- Record labels (master rights holders)
What triggers payment:
- Radio airplay of recordings
- TV broadcasts
- Public performances in venues, shops, etc.
- Some streaming (varies by country)
Geographic differences: Neighboring rights are recognized differently worldwide:
- Strong in Europe, UK, Canada, Australia, Japan
- Not recognized in the US for traditional radio (but streaming counts)
Collection: Organizations like PPL (UK), SoundExchange (US digital), and SENA (Netherlands) collect these royalties. Artists must register to receive payments.
Why it matters: Neighboring rights can be a significant revenue stream, especially for recordings with radio airplay. Many artists don’t realize they’re owed these royalties.
P-Line
The P-line (℗) is the copyright notice for a sound recording—the phonogram. It indicates who owns the master recording and when the copyright was established.
Format: ℗ [Year] [Owner Name]
- Example: ℗ 2026 Horizon Records
- Example: ℗ 2026 Luna Martinez
The ℗ symbol: The “P” in a circle stands for “phonogram” (sound recording). It’s different from © which covers compositions and other works.
Who goes in the P-line:
- The owner of the sound recording (master rights holder)
- For independent artists: typically your name or artist name
- For signed artists: typically the record label
Year: The year the recording was first published/released.
Why it matters:
- Legal notice of copyright ownership
- Required metadata for distribution
- Establishes public record of your rights
In LabelGrid: You’ll enter P-line information when creating your release. Make sure it accurately reflects who owns the recordings.
Publishing Rights
Publishing rights are ownership rights to the underlying musical composition—the melody, lyrics, and musical arrangement that make up a “song” regardless of who records it.
What publishing rights control:
- Who can record the song (mechanical licenses)
- Sync licensing (using the song in visual media)
- Performance royalties (radio, TV, streaming)
- Print rights (sheet music)
Publishers and songwriters:
- Songwriters create the composition and initially own publishing rights
- Publishers help administer these rights (licensing, collection, promotion)
- Publishing deals often involve sharing ownership or assigning administration
The split: Publishing income is typically divided:
- 50% “writer’s share” (always goes to the songwriter)
- 50% “publisher’s share” (goes to publisher, or writer if self-published)
For independent artists: If you wrote your song, you own the publishing rights. You can self-administer or work with a publishing administrator to help collect global royalties.
Sync License
A sync (synchronization) license grants permission to use music alongside visual media—“syncing” the audio to video. This covers films, TV shows, commercials, video games, and online videos.
Two licenses needed: Sync placements typically require two separate licenses:
- Sync license: From the publisher (composition rights)
- Master use license: From the label/artist (recording rights)
Why sync is valuable:
- One-time fees can range from hundreds to hundreds of thousands of dollars
- Ongoing royalties from broadcast performances
- Massive exposure for your music
- Prestigious placements build career credibility
How to get sync placements:
- Music supervisors discover music through libraries, pitching services, and direct submissions
- Having your music properly registered and easily licensable helps
- Quality recordings with cleared samples/covers are essential
Independent artist tip: Keep your rights clear and be responsive to licensing inquiries. Quick turnaround on paperwork can make the difference in landing a placement.
Technical & Audio
Audio formats, quality specifications, and technical terms.
ADM BWF
ADM BWF (Audio Definition Model Broadcast Wave Format) is the file format used to deliver Dolby Atmos music. It contains both the audio and the spatial metadata that describes where sounds should appear in 3D space.
What’s in an ADM BWF file:
- Audio channels (7.1.4 bed plus objects)
- Spatial metadata (position, movement, size of each audio object)
- Technical specifications embedded in the file
Technical requirements:
- 48 kHz sample rate
- 24-bit depth
- Maximum 128 audio objects
- 7.1.4 bed configuration typical
Creating ADM BWF files:
- Export from Dolby Atmos Renderer
- Export from Logic Pro 10.7+
- Export from Pro Tools with Atmos production suite
Delivery: ADM BWF files are delivered alongside your stereo masters when distributing Dolby Atmos content through LabelGrid.
AIFF
AIFF (Audio Interchange File Format) is an uncompressed audio format developed by Apple. It’s functionally equivalent to WAV in terms of quality and is common in Mac-based studios.
Characteristics:
- Uncompressed (lossless)
- Quality identical to WAV
- Commonly used in Mac/Logic Pro environments
- Can store additional metadata
AIFF vs. WAV:
- Both are uncompressed, full-quality formats
- Both are accepted for distribution
- WAV is more universally compatible
- AIFF is preferred in some Apple/professional workflows
For LabelGrid uploads:
- AIFF is accepted alongside WAV
- No quality difference from WAV
- Use whichever your DAW exports natively
Bit Depth
Bit depth determines the dynamic range and noise floor of digital audio—essentially how much difference there can be between the quietest and loudest parts of a recording.
Common bit depths:
- 16-bit: CD quality, 96 dB dynamic range, standard for final distribution
- 24-bit: Professional standard, 144 dB dynamic range, preferred for recording/mixing
- 32-bit float: Maximum headroom, used in modern DAWs for processing
For distribution:
- Minimum: 16-bit
- Preferred: 24-bit (most DSPs preserve this quality)
- Hi-Res platforms: 24-bit recommended
Why 24-bit for recording: The extra headroom prevents clipping during recording and allows more flexibility in mixing. You can always convert down to 16-bit for delivery if needed.
Best practice: Record at 24-bit, deliver at 24-bit when possible. Modern streaming platforms increasingly support hi-res audio.
Dithering
Dithering is a process that adds small amounts of noise when reducing bit depth (like converting from 24-bit to 16-bit). This noise actually improves audio quality by preventing unpleasant digital distortion called quantization error.
When dithering is needed:
- Converting from 24-bit to 16-bit (for CD or some delivery formats)
- Exporting final masters at lower bit depth than the session
- Any time you reduce bit depth
When dithering is NOT needed:
- Exporting at the same bit depth as your session
- Delivering in 24-bit (which most DSPs now accept)
- Working entirely in 32-bit float
Dither types:
- POW-r, MBIT+, UV22HR, and others each have subtle sonic differences
- Most produce results indistinguishable in normal listening
Best practice: If you’re mastering and delivering in 24-bit (which we recommend), you may not need dithering at all. If you must deliver in 16-bit, apply dither as the final step in your chain.
Dolby Atmos
Dolby Atmos is the leading spatial audio format for music, creating an immersive experience where sounds exist in a three-dimensional space around the listener.
How it works:
- Sounds are positioned as “objects” in 3D space
- The system renders the audio based on the listener’s playback setup
- Head tracking on compatible headphones makes sounds “stay in place” as you move
For distribution:
- Requires ADM BWF file format
- Separate delivery from stereo masters
- Specific technical requirements (7.1.4 bed, objects, etc.)
Platform support:
- Apple Music (major push for Atmos content)
- Amazon Music HD
- TIDAL
Getting started:
- Tools: Dolby Atmos Music Panner, Logic Pro 10.7+, Pro Tools with Atmos renderer
- Consider: Working with a specialized Atmos mixing engineer
- Delivery: Through LabelGrid alongside your stereo release
FLAC
FLAC (Free Lossless Audio Codec) is a compressed audio format that reduces file size while preserving 100% of the original audio quality. It’s the best of both worlds—smaller files without quality loss.
Characteristics:
- Lossless compression (no quality loss)
- Typically 50-60% smaller than WAV
- Open-source, royalty-free format
- Wide compatibility
FLAC vs. MP3:
- FLAC: Lossless, larger files, full quality
- MP3: Lossy, smaller files, permanently reduced quality
For distribution:
- FLAC is accepted by LabelGrid and most DSPs
- Platforms transcode to their streaming formats
- Quality equivalent to WAV after decoding
When to use FLAC:
- When storage/bandwidth is a concern
- For archiving (smaller than WAV, full quality)
- When uploading if WAV upload is too slow
Best practice: Master to WAV, archive in FLAC if needed, upload in either format.
LUFS
LUFS (Loudness Units Full Scale) measures perceived loudness—how loud a track actually sounds to human ears, not just its peak levels. Streaming platforms use LUFS-based normalization to keep all songs at similar perceived volumes.
Platform normalization targets:
- Spotify: -14 LUFS (may turn down louder tracks)
- Apple Music: -16 LUFS
- YouTube: -14 LUFS
- TIDAL: -14 LUFS
- Amazon Music: -14 LUFS
What this means for mastering:
- Tracks mastered louder than -14 LUFS will be turned DOWN
- This removes the advantage of “loud” mastering
- Tracks mastered at appropriate levels sound more dynamic
Recommendations:
- Target around -14 LUFS integrated for streaming
- Don’t sacrifice dynamics for loudness—platforms will normalize anyway
- Use a loudness meter plugin to check your masters
The loudness war is over: In the streaming era, dynamic, well-mastered tracks often sound better than hyper-compressed “loud” masters because the platform turns everything to similar levels anyway.
Sample Rate
Sample rate is how many times per second an audio signal is measured (sampled) during digital recording. Higher sample rates capture more detail, especially in high frequencies.
Common sample rates:
- 44.1 kHz: CD quality standard, adequate for most listeners
- 48 kHz: Standard for video/film audio, common professional format
- 88.2/96 kHz: High-resolution audio
- 176.4/192 kHz: Ultra-high-resolution, archival quality
For distribution: Most DSPs accept 44.1 kHz or higher. We recommend:
- Minimum: 44.1 kHz
- Preferred: 48 kHz or higher
- Hi-Res streaming: 96 kHz (for platforms like Apple Music and Amazon Music HD)
Best practice: Record and mix at the highest sample rate practical for your setup (48 kHz minimum recommended). It’s easy to downsample for delivery, but impossible to add detail later.
Spatial Audio
Spatial audio is an immersive audio format that creates a three-dimensional sound experience. Instead of traditional stereo (left-right), spatial audio places sounds all around the listener—above, below, and behind.
Major formats:
- Dolby Atmos: Most widely supported, used by Apple Music, Amazon, TIDAL
- Sony 360 Reality Audio: Supported by Amazon, Deezer, TIDAL
Where spatial audio plays:
- Apple Music (AirPods Pro, AirPods Max, compatible speakers)
- Amazon Music HD
- TIDAL
- Supported soundbars and home theater systems
- Compatible headphones (with head tracking)
Creating spatial audio:
- Requires specialized mixing tools (Dolby Atmos Production Suite, Logic Pro)
- Need to deliver separate spatial audio files (ADM BWF format)
- Additional mastering expertise required
Is it worth it? Spatial audio is growing rapidly, especially on Apple Music. Early adopters gain visibility in dedicated spatial audio playlists and categories.
WAV
WAV (Waveform Audio File Format) is an uncompressed audio format that preserves complete audio quality. It’s the most widely compatible format for professional audio.
Characteristics:
- Uncompressed (lossless)
- Maximum quality preservation
- Large file sizes (about 10 MB per minute at 44.1/16)
- Universal compatibility
Why WAV is preferred for distribution:
- No quality loss from compression
- Platforms can transcode to any format they need
- Industry standard for delivery
- No licensing issues (unlike some codecs)
For LabelGrid uploads:
- WAV is our preferred upload format
- 44.1 kHz or higher, 16-bit or 24-bit
- Stereo format
When to use other formats:
- FLAC: Smaller than WAV, still lossless, accepted by LabelGrid
- AIFF: Equivalent to WAV, common on Mac systems
- MP3: Never use for distribution uploads (lossy compression)
Distribution Process
Terms related to releasing and distributing music.
Explicit
Explicit content contains material not suitable for all audiences—profanity, sexual content, violence, or drug references. Releases must be correctly marked to ensure proper platform handling.
What counts as explicit:
- Profanity and strong language
- Explicit sexual content
- Graphic violence references
- Detailed drug use descriptions
Why correct marking matters:
- Platform compliance: Some stores have rules about explicit content
- Parental controls: Helps families filter appropriately
- Regional availability: Some territories restrict explicit content
- Legal requirements: Some regions require explicit labeling
Marking in LabelGrid:
- Set at the track level (each track can be different)
- “Explicit” = contains explicit content
- “Clean” = no explicit content OR an edited version
- “Not Applicable” = for instrumental or purely spoken word
Clean versions: If you release both explicit and clean versions, they should:
- Have the same ISRC? No—different versions need different ISRCs
- Be clearly labeled: “Song Title (Clean)” for the edited version
- Be submitted as separate releases or separate tracks
Lead Time
Lead time is the gap between when you submit your release for distribution and when it goes live on streaming platforms. Longer lead times give you more promotional opportunities.
Minimum lead times:
- Absolute minimum: 5-7 days (just to get on stores)
- Recommended minimum: 2 weeks (for Release Radar, pre-saves)
- Optimal: 3-4 weeks (for editorial consideration, marketing setup)
Why longer lead time matters:
For algorithms:
- Release Radar (Spotify): Requires 7+ days to include in followers’ Friday playlists
- New Music Friday (algorithmic): Needs advance notice to evaluate
For editorial playlists:
- Platform editors plan playlists weeks in advance
- 3-4 week lead time gives them time to listen and consider
- Some major playlists plan months ahead
For your marketing:
- Time to set up pre-save campaigns
- Time for press coverage and blog features
- Time for social media buildup
Best practice: Treat 4 weeks as your standard lead time. Rush releases should be the exception, not the norm.
Pitch
Pitching is submitting your unreleased music to streaming platform editors for playlist consideration. A successful pitch can land your song on editorial playlists with millions of followers.
How to pitch:
- Spotify: Through Spotify for Artists, minimum 7 days before release
- Apple Music: Through Apple Music for Artists
- Other platforms: Vary by platform; some accept pitches through distributor
What to include in a pitch:
- Genre and mood descriptions
- Story behind the song
- Target playlists you think fit
- Any notable press, achievements, or context
- Release date and marketing plans
What editors look for:
- Quality production and songwriting
- Artist development (growing fanbase, consistent releases)
- Clear genre fit for their playlists
- Compelling story or hook
Important timing:
- Must pitch BEFORE release date
- Spotify requires minimum 7 days; 2-4 weeks is better
- Too early isn’t a problem; too late means you can’t pitch
Reality check: Editorial playlist placement is competitive. Most releases aren’t selected. But pitching is free and the potential upside is significant—always worth doing.
Pre-save
Pre-save lets fans add your upcoming release to their library before it’s available. On release day, the music automatically appears—driving day-one streams and sending engagement signals to platform algorithms.
How it works:
- You create a pre-save link for your upcoming release
- Fans click the link and authorize adding it to their library
- On release day, the music automatically appears in their Spotify library, Apple Music library, etc.
- They may also receive a notification that it’s available
Why pre-saves matter:
- Day-one streams: Fans listen immediately without needing to search
- Algorithm signals: Strong first-day engagement can trigger algorithmic playlists
- Release Radar: Spotify prioritizes tracks saved by followers
- Commitment: Fans who pre-save are more engaged overall
Creating pre-save campaigns:
- LabelGrid provides pre-save link generation
- Share links on social media, email lists, and website
- Run pre-save campaigns 2-4 weeks before release
Tip: Pair pre-saves with exclusive content or giveaways to maximize participation.
Takedown
A takedown is the removal of a release from streaming platforms. This can be voluntary (you want to remove your music) or required (due to legal issues).
Types of takedowns:
Voluntary:
- Removing outdated releases
- Contract disputes between artists and labels
- Rebranding (removing music under an old artist name)
- Quality issues (wanting to release a better version)
Required:
- Copyright infringement claims (unlicensed samples, covers)
- Content ID disputes
- Legal requirements
The takedown process:
- Request submitted through your distributor
- Distributor notifies all DSPs
- Platforms remove the content (usually within 24-48 hours)
- Complete removal from all stores may take up to 2 weeks
Important considerations:
- Takedowns may be permanent—think carefully before requesting
- You’ll lose accumulated play counts and playlist placements
- Re-uploading the same content may create a new entry (different ISRC)
Through LabelGrid: Takedown requests can be submitted through your dashboard. We handle communication with all platforms.
Platforms & Features
Streaming platform-specific features and tools.
Apple Music for Artists
Apple Music for Artists is Apple’s analytics dashboard for musicians with music on Apple Music. It provides streaming data, listener insights, and Shazam statistics.
What you can see:
- Plays, listeners, and song purchases
- Listener demographics (age, gender, location)
- How listeners discover your music
- Shazam data (how often your song is Shazamed)
- City-level geographic data
Shazam insights: Apple acquired Shazam, so you see:
- Shazam counts for your songs
- Where your music is being Shazamed
- Shazams often precede streams (leading indicator)
How to get access:
- Your music must be on Apple Music
- Claim your artist profile through Apple Music for Artists
- Verify your identity
- Access the web dashboard or iOS app
Useful features:
- Embed widget on your website showing Apple Music plays
- Compare performance across releases
- See which playlists feature your music
- Track performance over custom date ranges
Discovery Mode
Discovery Mode is a Spotify promotional tool where artists can accept a lower royalty rate in exchange for increased algorithmic promotion.
How it works:
- You select specific tracks for Discovery Mode
- Spotify prioritizes those tracks in algorithmic recommendations
- You receive a lower royalty rate on streams generated through the promotion
When to consider it:
- Promoting a song that’s gaining momentum
- Building streams on older catalog tracks
- Testing whether a track has viral potential
Considerations:
- Lower royalty rate per stream
- You’re essentially paying for promotion through reduced royalties
- Works best for tracks with existing engagement
- Results vary; not guaranteed success
How to access:
- Through Spotify for Artists dashboard
- Requires verified artist profile
- Available for tracks already on Spotify
Alternative perspective: Some argue the reduced royalty isn’t worth it. Others find it useful for strategic promotion. Consider your goals and test carefully.
Editorial Playlist
Editorial playlists are human-curated playlists created by streaming platform employees. Unlike algorithmic playlists, real people choose what goes on them—making placements competitive but potentially career-changing.
Examples of editorial playlists:
- Spotify: RapCaviar, Today’s Top Hits, New Music Friday, Indie Pop
- Apple Music: A-List Pop, New Music Daily, Breaking R&B
- Amazon: Brand New Music, Fresh Indie
Why editorial matters:
- Massive follower counts (RapCaviar has 15M+ followers)
- Stamp of approval from curators
- Can introduce you to entirely new audiences
- Often leads to more algorithmic playlist placements
How to get placed:
- Pitch through platform’s artist tools (Spotify for Artists, etc.)
- Submit 2-4+ weeks before release date
- Have strong production quality
- Write compelling pitch explaining your story
- Build momentum through your own marketing
Reality: Editorial playlists are highly competitive. Most releases aren’t selected. Focus on building your algorithmic performance and fanbase alongside editorial pitching.
Release Radar
Release Radar is Spotify’s personalized playlist that delivers new music to listeners every Friday. It features new releases from artists they follow and similar artists the algorithm thinks they’ll enjoy.
How to get on Release Radar:
- Your fans must follow you on Spotify
- Release must be distributed with 7+ days lead time
- Music appears in their Release Radar on the Friday of or after your release
Why it matters:
- Guaranteed exposure to your most engaged fans
- Algorithmic playlist = automatic, no pitching required
- Builds streaming momentum for new releases
- Strong Release Radar performance can trigger other algorithmic playlists
Maximizing Release Radar:
- Build your Spotify follower count (link from social media, website)
- Always use 7+ day lead times
- Release consistently to stay present in fans’ Release Radars
- Strong fan engagement signals boost your algorithmic presence
Important: Release Radar is personalized per user—you won’t see “Release Radar” as a playlist in your analytics. You’ll see streams come from “Algorithmic Playlists.”
Spotify for Artists
Spotify for Artists is Spotify’s official dashboard for musicians. It’s essential for understanding your Spotify performance, managing your presence, and pitching to playlists.
Key features:
Analytics:
- Real-time and historical streaming data
- Listener demographics and locations
- Playlist performance tracking
- How listeners discover your music
Profile management:
- Artist photos and bio
- “Artist’s Pick” (featured content on your profile)
- Playlist showcasing
- Concert listings
Playlist pitching:
- Submit upcoming releases for editorial consideration
- Describe your music and story to editors
- Track pitch status
Promotional tools:
- Marquee (paid promotional feature)
- Discovery Mode
- Canvas (video loops for tracks)
- Promo cards for social sharing
Getting access:
- Your music must be on Spotify
- Go to artists.spotify.com
- Claim your profile (verify your identity)
- Get verified checkmark
Tip: Claim your Spotify for Artists access BEFORE your first release goes live, so you can pitch from day one.
Verified Artist
A verified artist profile has been claimed and confirmed by the actual artist or their team. It’s indicated by a checkmark on platforms like Spotify and unlocks important features.
What verification unlocks:
- Spotify: Analytics, playlist pitching, profile customization, Canvas, Discovery Mode
- Apple Music: Analytics, profile customization, pre-add setup
- Amazon Music: Analytics, profile management
- YouTube Music: Community posts, analytics, Official Artist Channel features
How to get verified:
- Have music distributed to the platform
- Go to the platform’s artist tools (Spotify for Artists, etc.)
- Claim your profile
- Verify your identity (usually through social media links or email)
- Get approved (usually quick, sometimes days)
Why it matters:
- Access to essential promotional tools
- The checkmark builds fan trust
- Required for playlist pitching
- Better artist profile appearance
Timing tip: Apply for verification BEFORE your release goes live, so you can pitch your first release to playlists and track your analytics from day one.
Content Types
Different types of musical content and releases.
Cover Song
A cover song is your own recording of a song written by someone else. You’re performing and recording the song, but you didn’t write it.
Legal requirements: You MUST obtain a mechanical license before distributing a cover song. This gives you legal permission to reproduce and distribute the composition.
How to get a license:
- Harry Fox Agency (HFA): Major licensing organization
- Easy Song Licensing: User-friendly service
- Songfile: Online licensing platform
- Direct from publisher: For custom arrangements or negotiations
What the license covers:
- Digital distribution (streaming, downloads)
- Physical manufacturing (CDs, vinyl)
- Does NOT cover sync uses or video
Costs:
- Statutory rate in US: Currently around 9.1¢ per unit or 1.75¢ per minute
- Usually paid per download/stream/copy
Important distinctions:
- Cover song: New recording of existing song (needs mechanical license)
- Remix: New version using original recording (needs master license + mechanical)
- Interpolation: Using parts of a melody/lyric (needs composition license)
Best practice: Get your license BEFORE submitting for distribution. Releasing unlicensed covers can result in takedowns and legal issues.
EP
An EP (Extended Play) is a release format between a single and a full album. The definition varies slightly by platform, but general rules apply.
What qualifies as an EP:
- 4-6 tracks with total runtime under 30 minutes
- OR 1-3 tracks where at least one track is 10+ minutes
What’s NOT an EP:
- 1-3 short tracks = Single
- 7+ tracks = Album
- 4-6 tracks over 30 minutes = Album
Why release an EP:
- More content than a single without album commitment
- Test new directions before a full album
- Maintain release momentum between albums
- Give fans a cohesive body of work
Platform categorization: Platforms automatically categorize based on track count and runtime. The rules above are guidelines—exact categorization may vary slightly.
Strategy tip: EPs can be great for building momentum. Consider releasing an EP of your best tracks before committing to a full album, or use EPs to explore different sides of your artistry.
Functional Audio
Functional audio refers to content designed for utility rather than artistic listening—sleep sounds, white noise, meditation music, study beats, nature sounds, and similar ambient content.
Platform rules (vary by DSP):
- Minimum track lengths (some require 1+ minute)
- Naming conventions (can’t include certain terms)
- Reduced royalty rates on some platforms
- May be excluded from certain promotional features
Spotify’s approach:
- Functional audio gets lower per-stream rates
- Must be properly tagged/categorized
- May not appear in all algorithmic playlists
Best practices for functional audio:
- Follow each platform’s specific guidelines
- Use appropriate categorization and genre tags
- Don’t try to game the system with misleading metadata
- Be aware of lower royalty rates when planning releases
Important: Uploading functional audio under false pretenses (like tagging white noise as “pop”) can result in content removal. Be honest in your metadata.
Remix
A remix is an alternate version of a song, usually created by rearranging, restructuring, or adding new elements to an existing recording.
Types of remixes:
- Official remix: Authorized by original rights holders, using original stems
- Bootleg/unofficial remix: Made without authorization (not distributable through official channels)
- Radio edit: Shortened/modified version for radio play
- Extended mix: Longer version, often for clubs
What permissions you need:
- Master license: Permission from recording owner (usually the label)
- Mechanical license: Permission to use the composition
- Without both, you cannot legally distribute the remix
Getting remix permissions:
- Contact the original artist’s label or management
- Negotiate terms (often includes upfront fee and/or royalty share)
- Get written agreement before creating/releasing
- Some artists proactively offer remix stems through contests or official channels
What you CAN do without permission:
- Create remixes for personal use or live performance
- Upload to platforms that have licensing agreements (like SoundCloud’s paid tier)
- Make DJ-style mixes in certain contexts
What you CAN’T do without permission:
- Distribute through DSPs like Spotify, Apple Music
- Sell the remix
- Claim ownership of the recording
Various Artists
“Various Artists” is a special artist designation used for compilation releases featuring multiple primary artists. It’s not a real artist—it’s a category marker.
When to use Various Artists:
- Compilation albums (label compilations, “Best of Genre” etc.)
- Releases with more than 4 different primary artists
- Soundtracks with songs by different artists
When NOT to use Various Artists:
- Collaborations between 2-4 artists (list them all)
- Remix albums (original artist is primary)
- DJ mixes (DJ is primary artist, others are features)
How it works:
- “Various Artists” becomes the release-level artist
- Each track lists its actual artist(s)
- Tracks appear on each artist’s individual profile
Important considerations:
- Using Various Artists incorrectly can hurt discoverability
- Each featured artist should still be properly credited on their tracks
- The release won’t appear on any single artist’s main discography
Best practice: Only use Various Artists when truly appropriate—for genuine compilations with many different primary artists.
Quick Reference: Identifiers
| Code | What It Identifies | Format |
|---|---|---|
| EAN | Release (European) | 13 digits |
| IPI | Writer/publisher | 9-11 digits |
| ISNI | Person/organization | 16 characters |
| ISRC | Individual recording/track | 12 characters (CC-XXX-YY-NNNNN) |
| ISWC | Musical composition | 11 characters (T-NNNNNNNNN-C) |
| UPC | Release (album/EP/single) | 12 digits |
Need Help?
If you encounter a term not listed here or need clarification, contact our support team.