International Standard Recording Code

ISRC codes are only necessary for the final version of the recording – if the recording is purely for personal use, a rough mix or a rehearsal recording then you won’t need an ISRC code at that stage.

ISRC which stands for International Standard Recording Codes is an international system which allocates a unique code which is encoded into any music recording – unique ISRCs identify any music recordings for payment.

ISRCs consist of 4 parts:
·         Country Code: 2 letters which represent the country in which the registrant is based, for example, UK for United Kingdom.
·         Registrant Code: 2 alpha-numerical digits, which, when used with the Country Code is unique to the registrant.
·         Year of Reference: the last 2 digits of the year in which an ISRC code is allocated.
·         Designation Code: 5 digits which are unique to each track.

ISRCs for CDs – the ISRCs are encoded during the disc mastering process. ISRCs must be encoded for each track in the pre-master stage. Remember, ISRCs are important as they enable payments to be made for any music recordings or music videos.
The ISRC code for any music recording/music video stays the same no matter how many albums the track is on. A new ISRC is only required if there are any changes to the original recording for example, the track is re-mixed or the track length is change.
ISRC codes and Bar Codes are different – ISRC codes identifies individual tracks and the Bar Code  or Universal Product Code (UPC) identifies the complete album.
To find out more information please visit:  isrc.ifpi.org

We can supply both ISRCs and Bar codes so give us a call if you need these.

A wide range of CD packaging can seem confusing – so much choice! We thought it would be useful to briefly explain the different types of packaging.

Please have a quick look at the information below or visit CD Packaging & Quote to view the wide range of CD packaging options.

Jewel Case – A jewel case is, for many, considered to be a standard CD package. It has a hard clear plastic body with a plastic tray card to hold the CD. Jewel cases can hold a single insert printed both sides or booklets that can range from anything from 4 to 32 pages. The inlay, which sits in the rear of the case (underneath the plastic tray) can be printed on one side, or both sides if you would like a design / image to show through a clear tray. The outer side of the inlay (which is the back of the jewel case) usually includes details of the track titles and timings, the barcode and copyright details.

Digipak – A digipak is mainly a card package, although it does incorporate a plastic CD tray. The most common digipak has 4 panels with the CD tray attached to the inside right panel. Most of our clients prefer a clear tray as this then allows for the use of an image / design underneath the tray. Booklets (usually from 4 – 32 pages, although larger booklets are possible) can be included and can sit either in a sleeve or in a slot in the inside left page. Standard digipaks can be supplied with 4, 6 or 8 panels, making it possible to hold up 4 CDs plus booklets.

Digfiles and digisleeves are environmentally-friendly plastic-free packaging options.

Digifiles – The most common digifile we are asked to supply has 4 panels with a slit on the inside right panel for the CD to slot into leaving half of the disc visible. If you have a lot of information to include and require a separate booklet, the inside left page can be made to include a slit to house a booklet (4 -32 pages or more if needed), or a second disc slit for double-disc packages. Most digifiles have 4, 6 or 8 panels, can be supplied with or without booklets, and can hold anything from 1 to 4 discs.

Digisleeves – A digisleeve is a bit like a scaled-down version of a double vinyl sleeve where the CD slots into a sleeve, usually from the outer edge* of the right hand side – we consider this to be our standard digisleeve. A 4 panel digisleeve can include a second sleeve on the left hand panel where a booklet (usually 4 – 32 pages), or a second disc, can slot in from the outer edge* on the left hand side. Like digipaks and digifiles, digisleeves can be produced as a 4, 6 or 8 panel version, with or without booklets, and can hold up to 4 discs.
*there is also a version of the digisleeve where the sleeve openings are at either side of the inner spine rather than at the outer edges.

The digipak, digifile and digisleeve are all very popular packaging options these days. Choosing the right packaging for your project will depend on how
much information and images you would like to include. With the digipak and digifile, one of the panels needs to be used for either the plastic tray (digipak) or a slit (digifile) to hold a CD. We find that the digisleeve is increasingly popular because it allows for information /images to be printed on all 4, 6 or 8 panels.

A very basic, but extremely popular, packaging option is the Card Wallet, a single wallet printed front and back with an opening either at the side or the top where a disc can slip in and out. These are often used for EPs, demos and for CDs distributed along with newspapers or magazines.

Have a look at our CD packaging page to view a small sample of the available options. Please give us a call (01350 727158) to discuss anything, we’re always happy to help.

Birnam CD: Pressing Matters

Martin was invited to contribute a guest article for the Traditional Music Forum blog. In the article he discussed what we at Birnam have found over recent years – that many musicians are choosing to release music themselves. With so many artists opting to release music independently, we wanted to share the article here to highlight that Birnam are ready to help them (you) every step of the way.

Birnam CD offers a comprehensive support service for musicians from CD pressing to digital delivery to PR and design.  Managing Director Martin Hadden tells us more.

I found the title of an article in last month’s newsletter depressingly downbeat – ‘Ian Green and the Legacy of the Folk Label’. For me, the word ‘legacy’ suggests something which belongs in the past or, at the very least, something with not much of a future ahead of it.

Ian describes the impact on Greentrax Recordings of the recent downturn in CD sales in straightforward, honest terms. I would expect no less from a man whose reputation for honesty and integrity is second to none in the Scottish music scene. However, though I could certainly empathise with many of Ian’s comments, I also found some of his observations to be at odds with our own current experiences here at Birnam CD.

You see, as the record labels have been forced to cut back on the number of albums they release, an increasing number of artists have turned to releasing their albums independently. The vast majority of the artists we work for do this.

It’s an ill wind that blows nobody any good.

Whether they have previously been with a label or not, most are taking on the task for the first time and it is a steep learning curve. There’s an awful lot to be done once the recording is finished – designing the packaging, getting the albums pressed, registering the tracks to ensure payment is received for any airplay, securing the airplay in the first place, getting reviews, making sure that the albums are easy for folks to find and buy both physically and digitally.

The list is extensive and consists of all the things that any record label worth its salt would do for an artist to support a new album release.

In response to this, we have added to the range of what we can do for artists beyond designing, pressing and delivering the finished CDs. We’ve been doing that for a couple of decades now, but for the past few years we have also been offering media promotion, downloads and streaming, online sales via Amazon etc., physical distribution and any sort of promotional materials we are asked to produce.

The difference between us and a record company is that we ask for no rights to the recordings or to the music itself. All of those rights remain the property of the artists.

And as more folks have turned to us to help to make their music more widely available, our buying power with the CD pressing plants has increased. This, in turn, has allowed us to buck recent trends and significantly lower our prices for pressing CDs – which attracts more artists to come to us to get their albums pressed and to take us up on the other services we offer. For us, it’s proving to be a productive treadmill.

Here’s just one current example to illustrate how this trend is impacting on the scene:
The ‘long list’ of nominations for the 2015 ‘Album of the Year’ award at this year’s Trad Music Awards has just been announced. We produced nine of the twenty albums listed, and eight of these are independently released by the artists themselves. Being signed to a label is clearly no longer the perceived necessity it once was in order for creative musicians to succeed and to be recognised for their work.

I wonder if things are drifting back towards how they were a few decades ago. Getting a record deal is not so easy any more. Record labels, particularly the ‘specialist music’ labels, have to be a lot more careful these days about which albums they choose to release. The current habits of the music-buying public dictate that they can’t afford to take a chance on a new, upcoming artist as the investment required in doing so could take years to recoup – in fact, may never be recouped at all. It may be that artists will soon find themselves signing a record deal only when their music sales reach a point at which it becomes unmanageable for them to handle their recorded output on their own. Having reached that point, they are likely to find that they need the support of an established and experienced label to take on the administration and to handle the tasks required to keep on top of things.

In that sense, the act of securing a record deal may soon regain some of its former prestige and value as artists won’t be offered a contract unless, or until, they have clearly established a profile significant enough to offer the realistic prospect of selling an awful lot of albums across a range of different formats.

When I joined Silly Wizard in 1976, the band was already in the throes of disentangling itself from an existing record deal. In the following 12 years, until we split in 1988, we signed deals with 4 more labels in England and the USA. We were young, we were ill-advised and we made some poor decisions. People often contact me to ask how they can get hold of our earlier albums. Although I am now in the perfect position to make them available, there is little that I, or the rest of the band, can do about it as neither the albums, nor the music we created and committed to them, belong to us in any physical sense. We’re the Bay City Rollers of the folk scene.

If we had known then what we know now…Or if Ian Green had founded Greentrax about 5 or 6 years earlier than he did, we would have signed with Ian in a second and would never have regretted doing so.  Of that, I am certain.

Wishful thinking aside, I think it is important that the current issues affecting the record labels should not be misinterpreted as necessarily being trouble for the music itself in the wider sense.  People always have, and always will, make music – great music. The current Scottish music scene is in rude health. It’s bursting at the seams with some of the most skilful and innovative young performers and composers I have ever heard. In my opinion, having been involved in it for forty plus years now, the scene itself is more exciting, vibrant, inclusive and uplifting than ever before.

And, however it is released, the music is being more widely heard than ever before.

As with so many matters these days, being independent seems to be the sensible way forward.