If your song has a second or third name, use the spaces provided on your Song Page to list those. It is not necessary to have more than one title, though it is not uncommon for a song to have an alternate title. For instance, the title “I Love You” could also be “I Love You (feat. Another Artist)” or “Bushel and a Peck (I Love You).”
This Song Has Been Released in (Choose Country)
Artists are finding international markets more quickly than ever before. Use this block to list the countries you’ve targeted for marketing campaigns. You will list one country per instance of release as the dates of release, the formats released in, and which distributors and retailers can be different for each country.
This is where you simply list where you’re selling your Album or EP, or individual song. If you are selling direct-to-fan from your website, put in My Website. If you are selling through a distributor (physical albums), put their name in here. Put in however many individual methods your asset is available to the public.
This can get tricky as ASCAP and BMI and SESAC calculate 100% with different methods. But don’t worry about that here in My Digital Catalog. If you always start with the premise that the a song has two parts (writer and publisher, each part totaling 50%) tracked by the PROs, and those two parts will always equal a total of 100%, then you should be perfectly fine when it comes time to enter in those values in your performing rights organizations database. They will prompt you to fit into their method, whatever those are. Here is how to figure out your splits. These are only examples of ownership splits. The percentages can vary. But for now, let’s say there are two collaborators:
Collaborator 1 25% 50%
Collaborator 2 25% 0%
25% + 25% + 50%=100
Collaborator 1 45% 10%
Collaborator 2 5% 40%
45% + 5% + 10% + 40%=100
Collaborator 1 25% 25%
Collaborator 2 25% 25%
25% + 25% + 25% + 25%=100
The more people there are on the splits, the less negotiating room you have should the song get placed on another artist’s project.
ISRC, or International Standard Recording Code
This is a number you assign to each finished and mastered version of a song or audio video that is scheduled for release, no matter the carrier it is on (digital, physical LP, CD, tape). It is assigned only to individual songs and individual videos. The unique code is embedded at the mastering stage by the mastering engineer. It is an identifier of only one version of one song. Titles of songs can be the same, as can writers, owners, and artists. So these are not good methods to identify a particular sound or video recording. Versions can differ, and the pipeline needs to be able to differentiate between versions.
Do not use the same code for more than one song or video.
Contact to find out how to get your codes. You could be a registerant, as a rights holder, and get several thousand codes, or you could use a ISRC Manager and get your codes one at a time.
Click Here to get ISRC audio and video worksheets that will help you identify and keep track of which code goes with which recording type.
As an example of an ISRC assignment, let’s say that Song A has been mastered and/or placed in a video, in the following different versions:
Clean a capella
Clean, featuring (feat.)
Clean a capella, feat.
Explicit a capella
Explicit, featuring (feat.)
Explicit a capella, feat.
Video, Clean a capella
Video, Clean, featuring (feat.)
Video, Clean a capella, feat.
Video, Explicit a capella
Video, Explicit, featuring (feat.)
Video, Explicit a capella, feat.
Plus, when you add different recording and filming formats, and varying lengths.
Therefore, Song A could easily have 17 unique ISRCs that will produce a unique digital fingerprint.
Obviously producing one each of these versions can become a nightmare of tracking, therefore, recording the version best suited for your fan base or target audience will limit paperwork, save money and time, and allow you to focus on marketing and performance improvements.
ISWC, or International Standard Work Code
This is a code assigned by your performing rights organization (PRO)and used by them for their tracking purposes. You will need to register your song with each of your PROs, as well as upload the master with your embedded ISRC – and wait. Once the PRO processes your song, it assign an ISWC number. You can find that ISWC number on your performing rights organization’s website inside your member portal there. Simply copy from their site and paste into this field.
UPC, or Universal Product Code
A UPC is a number that uniquely identifies physical albums for tracking in the retail sales environment, that is, stores. Individual songs on an album will each have an ISRC, but the album itself will not have an ISRC assigned, and will only have one UPC code attached.
If you purchase a code from a UPC reseller, that code will stop you from selling your physical inventory through any store that uses UPC as a method to track their inventory.
UPCs are branded with the owner’s name. So, if Company A purchases a branded UPC identifier, and they resell some of their code slots and place them on another person’s inventory, when retail stores look up the information, they will see that Company A owns Person B’s album and they will say that Person B has no rights to sell that album nor collect any money for the sale of it.
Go here – – to find out how to purchase your own bank of branded UPC codes and assign these to your albums so that you can keep all your rights to selling this wherever you can.
COPYRIGHT REGISTRATION STATUS
Once your song is in final form (mastered), and it is ready to be released, you will want to register than song with Once they have completed the registration, a number will be assigned to that work. That number goes here. Just copy and paste it into this field.
PRODUCTION (MUSIC) LIBRARIES PLACED IN
As your song catalog grows, you might want to find other ways to monetize your assets. One way to do that is to place that master (including its unique embedded ISRC) with a music library that specializes in placing songs into movies, television shows, and other places that want to license music.
Production (Music) Libraries will want all documentation proving you have the right to license that song. Using MyDigitalCatalog.com allows you to see at-a-glance whether or not you have the necessary paperwork required by these libraries.
Without the proper paperwork, and the embedded ISRC, your unique work will not be able to be tracked accurately and thoroughly.
THIS SONG IS ALL ORIGINAL
There are people who watch for a song to blow up, then will have it analyzed to determine if any samples are used in it. If a sample is detected, these people will attempt to determine if that sample was licensed. If that sample was not licenced, these people will initiate lawsuits. Therefore, it is extremely important that each creator sign off that NO SAMPLES have been used and that this song is all original.
However, if a sample is used, confirming that the sample has received proper written permission for its use will avoid expensive lawsuits.
WORK-FOR-HIRE TRACKERS (Also used for Live Performance Tracking)
Session Singer. Session Musician. Producer. Engineer.
On recordings in the studio or during Live Performances.
Anyone who is not on the split sheet but that provides vocals, instrumentation, production or engineering services, should be entered here. In-studio recordings should be backed up by Session Singer or Session Musician contracts. Here is an overview of these types of contracts:
A contract should be between you (as the producer) and each session musician, producer, engineer, and/or session singer not on the split sheet. To protect your intellectual property rights, you must have a contract for each person. Many items in a good contract include, but are not limited to, spelling out the following:
● Limits their future royalty claims to a zero sum.
● States they are being hired to perform, produce, or engineer using their talents for the betterment of a work/song.
● Defines the scope of the use of the recorded materials (you can use in any way you want with no added compensation or royalties to accrue to the person hired).
● The work(s) belongs to you who is hiring the work to be done, and you can sell it, perform it, and use it in any way you see fit.
● That you can use their name and likeness in marketing and promotional materials – this point is completely negotiable, of course, and depends on what you will be doing with the work/song.
● They agree to perform said duties for $X.
● Lists the song or songs to be performed.
● They admit for all time they have no claim to future royalties no matter which planet or solar system the work/song is played in or which transmission method is used, whether now known or to be discovered.
● Lists the date(s) of work performed;
● Names the location of the recording session.
● States that payment will be given via a trackable method (i.e. check or money order, but not cash) after work is performed to your satisfaction.
● Has your signature and date .
● Has their signature and date.
These are the important components of any contract that must be included, but an attorney should be consulted to create contracts (including work-for- hire and other uses) that meet your own business situation as well as state and federal laws. Therefore, work with an attorney to produce a work-for-hire contract that protects your company’s best interests while being fair to those hired.
Why do I have to list my legal name?
Your artist name is not on your driver's license, social security card, or bank account. It is also not how your Performing Rights Organization, Agent, Attorney, and others have you sign legal contracts. Checks are not written to or cashed by stage names.
Why are you asking for my address?
We are putting in place methods to save time in sharing your information. Lots of folks and agencies you do business with need your real address. Here you will have one accurate version of your address ready to append to any song or share with any collaborator or agency you choose.
I've already listed my songs with my Performing Rights Organization(s) (PROs). Why do I have to put this information in My Digital Catalog? Isn't that just typing it all over again? I thought you were saving me time?
Good for you that you've been diligent in putting your information into the proper slots in your account with the PROs. That is awesome. However, you may have missed the announcements from all of the PROs that says they cannot be held responsible for messing up your information. So, what we are helping you do, by our friendly walk-through methodology, is to get ALL copyright information information in ONE PLACE and under your control, so that YOU ALWAYS have a correct version of your Intellectual Property Data.
The PROs and others only need certain information for tracking purposes. However, if anyone approaches them and wants to license your song, they will be getting in touch with your for the rest of the paperwork. We walk you through the collection and maintenance of all those bits and pieces that seem so pesky now, but can make or break a licensing or placement deal later.
I sent an invitation to share information with a collaborator. How will I know when they have responded?
No worries there at all. When your collaborator responds, you will get an email saying that they have responded to your invitation. Also, you will see they are listed in the My Referrals section on your Dashboard. You can check that list to see if they have responded as well to your initial invitation.
What happens if my collaborator does not respond?
The MyDigitalCatalog.com system will continue to send reminders at decent intervals to your collaborator for one month. Each time we send a reminder to your collaborator, we will send you an email letting you know that we sent it and have some other information to share at that time. However, at any time, you can click on the song, and resend a reminder from yourself that the song's information is awaiting validation. We track all these communications for you so that if you should need to know who, what, and when, we can send you that information.
I'm very prolific and don't have time to list all my songs myself. Can I have my manager or attorney access my account on MDC and list my songs for me?
Technically, yes. But we discourage this. Here's why. You can give them your sign-in credentials (password and login name) and they can then input, update, or manipulate your data on your behalf. But in our Terms and Conditions, which we're sure you've read, it states very clearly that you are 100% responsible for the accuracy of the data listed in your account. My Digital Catalog has no way of knowing who is using your credentials, so we strongly urge you never to give those to anyone. Not your publisher, not your agent, not your attorney, not your spouse, not your girlfriend or boyfriend or best friend that goes all the way back to childhood. But, if you do, that is your business decision.
You, the creator or co-creator of a work, must be certain of your information at all times. Besides, publishing deals end, agents and attorneys change, and spouses and friends have falling outs. If anyone is mad at you, or wants to take advantage of you in any way, and you give them your sign-in information, then you are not protecting and defending your intellectual property rights. Which means you cannot monetize your creation. Which means you're working for free. Do you want to work for free?
My attorney wants to share my records, but...
Excellent that you have an attorney. That means you are paying attention to the details. In My Digital Catalog, attorneys and anyone else you share your information with that is not a co-owner of a song will not have permission to alter the information. They will have permission to view it so they can check on your accuracy of your information, or move a deal along that you are working on. These people can join as a FREE member, and you can share that record with them for viewing purposes only.
My agent wants to share my records, but...
Same thing as the attorney. Viewing privileges only.
Does mydigitalcatalog.com track royalties?
No. We do not track royalties of any kind. We do, however, help you make sure that what information royalty tracking services need FROM YOU is accurate and up-to-date before you give it to them. This is a very important thing to do, and we help you do it well.
Hey, how safe is my IP business data anyway?
Of course, the data is only as good as what you put in. So, we are constantly reminding you and your collaborators to review and approve the data you enter. No point inputing wrong information, right? However, once it is in, My Digital Catalog provides redundant backups to the Cloud using encryption and other security techniques.
SAQs... or Should Ask Questions
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