Metadata Checklist

Getting metadata right before distribution is one of those things that feels tedious until you see what happens when it goes wrong — misattributed royalties, failed DSP ingestion, disputed splits, ISRC collisions. This checklist is designed to be run on every asset before it leaves your system. Work through it top to bottom, check off each item, and you can distribute with confidence.

This checklist covers five areas: recording metadata, composition metadata, ownership and rights, distribution metadata, and technical quality. Each section includes a short explanation of why those fields matter and what to watch for.

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Recording metadata

Recording metadata describes the specific recorded performance — the actual audio file you're distributing. It's tied to the master recording, not the underlying composition.

A note on ISRCs: every unique recording needs its own ISRC, including remixes, edits, live versions, and alternate takes intended for distribution. "Alternate takes for internal use" don't need ISRCs, but anything that might ever leave your system does.

• [ ] ISRC assigned — 12-character code in standard format (CC-XXX-YY-NNNNN). No two recordings should share an ISRC.
• [ ] ISRC registered with your national ISRC agency (or via your distributor's registration service)
• [ ] Track title matches across all documents and the audio file metadata — watch for inconsistencies like "Feat." vs "ft." vs "(Featuring)"
• [ ] Version label specified if applicable — e.g., "Radio Edit," "Extended Mix," "Acoustic Version," "Remaster"
• [ ] Primary artist name spelled correctly and consistently with how it appears on other catalog entries
• [ ] Featured artists listed separately (don't embed them in the title field)
• [ ] Recording date documented (year is the minimum; full date is better)
• [ ] Studio or recording location noted in internal records
• [ ] Producer(s) credited and spelling confirmed
• [ ] Mixer credited
• [ ] Mastering engineer credited
• [ ] Label name (as it should appear on DSPs) confirmed correct
• [ ] Copyright year and holder documented (℗ YYYY Label Name)

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Composition metadata

Composition metadata covers the underlying musical work — the melody, harmony, and lyrics that exist independently of any specific recording. A single composition can have hundreds of recordings; they all share the same ISWC.

If you're handling both the master and publishing side, this section is as important as the recording section. If you're purely on the masters side, you still need to document what you know so you can match against PRO data accurately.

• [ ] ISWC assigned if known — format T-XXXXXXXXX-C. If not yet assigned, note "pending" so you remember to add it later
• [ ] Work title documented — this may differ from the recording title (e.g., "Amazing Grace" is the work title; "Amazing Grace (Live at the Apollo)" is a recording title)
• [ ] All songwriters listed by full legal name — not stage names, not initials
• [ ] Songwriter IPI numbers recorded for each writer (issued by their PRO upon registration)
• [ ] Publisher(s) listed with their IPI/CAE numbers
• [ ] PRO affiliations confirmed for each writer and publisher (ASCAP, BMI, SESAC, SOCAN, PRS, GEMA, etc.)
• [ ] Composition copyright year and holder documented (© YYYY Publisher Name)
• [ ] Co-writer splits on the composition sum to 100% (separate from master ownership splits)
• [ ] Work registered with all relevant PROs and CMOs if required by your publishing agreements

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Ownership & rights

This section is where distribution disputes are won or lost. Splits must be airtight before anything goes out the door. Vague or approximate splits are not acceptable — every percentage point must be accounted for and agreed upon in writing.

• [ ] All master ownership parties listed with their legal entity names (not trading names or abbreviations)
• [ ] Ownership splits sum to exactly 100% — not 99.9%, not 100.001%
• [ ] Split percentages confirmed by all parties — verbal agreements are not sufficient; written sign-off (email is acceptable, countersigned agreement is better) should exist for each split
• [ ] Agreements or licenses attached to the asset record where applicable (co-ownership agreements, work-for-hire contracts, sample clearances)
• [ ] Sample clearances documented — if any portion of the recording or composition incorporates a sample, clearance paperwork must be attached and the sampled work identified
• [ ] Territory restrictions documented — if the asset cannot be distributed in certain countries, list those territories explicitly (ISO 3166-1 codes preferred)
• [ ] Exclusive vs. non-exclusive distribution rights confirmed and documented
• [ ] Term of distribution rights noted — does your distribution agreement have an end date?
• [ ] Neighboring rights — if the recording is registered for neighboring rights collection (e.g., with SoundExchange, PPL, ABRAMUS), note the registering entity
• [ ] No outstanding rights disputes — confirm no known claims or challenges to ownership are active

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Distribution metadata

Distribution metadata is what DSPs, sync libraries, and licensees use to find, categorize, and deliver your music to listeners. Inaccurate or missing distribution metadata directly affects discoverability and royalty matching.

• [ ] Primary genre confirmed against your distributor's or platform's approved genre taxonomy
• [ ] Secondary genre included where relevant
• [ ] Mood tags added (at least 2–3 for maximum sync and playlist eligibility)
• [ ] Language of lyrics specified (use ISO 639-1 codes: en, es, de, fr, etc.)
• [ ] Explicit content flag set correctly — true if the track contains explicit language or content, false otherwise. When in doubt, flag it
• [ ] Release date confirmed — both the original release date (if a back-catalog item) and the intended distribution date
• [ ] Pre-save / pre-release date set if applicable
• [ ] UPC/EAN assigned for the release-level product (album, EP, single) containing this track
• [ ] Track number and disc number correct within its release
• [ ] Album/release title confirmed, including correct use of subtitle formatting
• [ ] Cover art attached at the asset or release level (see quality checks below for specs)

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Quality checks

Technical quality issues are the most common reason for DSP rejection. Check these before uploading, not after.

Audio file

• [ ] File format is WAV (preferred), FLAC, or AIFF — not MP3 for master delivery
• [ ] Sample rate is 44.1 kHz or 48 kHz
• [ ] Bit depth is 16-bit minimum; 24-bit preferred for masters
• [ ] Channels confirmed — stereo unless mono delivery is intentional and documented
• [ ] No clipping — peak level should not exceed 0 dBFS. Recommended ceiling: -0.3 dBFS
• [ ] Loudness target appropriate for intended platform (typically -14 LUFS integrated for streaming)
• [ ] File is not corrupted — playback tested from start to finish
• [ ] No unintentional silence at the start or end beyond 0.5 seconds
• [ ] Duration in file matches declared duration in metadata (within 1 second)
• [ ] Embedded ID3/metadata tags match the catalog record (artist, title, ISRC)

Filename

• [ ] Filename follows naming convention — recommended: ISRC_ArtistName_TrackTitle.wav
• [ ] No special characters in filename that could cause cross-platform issues (/ \ : * ? " < > |)
• [ ] No leading or trailing spaces in the filename

Cover art

• [ ] Minimum resolution: 3000 × 3000 pixels
• [ ] Square aspect ratio (1:1)
• [ ] Format: JPEG or PNG
• [ ] File size under 10 MB
• [ ] No embedded text that replicates the title if your distributor prohibits text overlays
• [ ] No DSP logos, URLs, or pricing information in the artwork
• [ ] RGB color space (not CMYK)
• [ ] Artwork is cleared for use — if it incorporates photography or illustration, licensing is documented

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Annual audit reminder: This checklist covers what to verify before initial distribution. But catalogs change — splits get renegotiated, territory restrictions expire or expand, PRO registrations get updated. Set a calendar reminder to audit your active catalog at least once per year. Pay particular attention to: assets where split agreements are informal, back-catalog items with pre-digital metadata that may never have been fully verified, and anything registered in only one territory's PRO system that has since been distributed worldwide. A yearly sweep catches the slow drift before it becomes a dispute.