ARTISTTECH RECORDS
MUSIC PUBLISHING SERVICES
A Global Music, Entertainment & Rights Management Enterprise
ARTISTTECH RECORDS is a music publishing service. Servicing all music artist in the music industry. We publish new release music from artist and record all royalties and monetization for the music artist. We handle all local and global distribution of music artist songs, singles, albums. ARTISTTECH RECORDS registers all music artist for music identifiers, song tracking technologies, rights, copyrights, licensed, organizations, agencies, music membership, music marketing promotions, establishing a real music foundation ecosystem for the music artist career. Collaborating with the local and global communities and communication to the public broadcasting networks, business networking, music resources, to grow into the complete full market of global services and sales for the music artist. Registered for music publishing distribution partners or self-publishing music services. Contact ARTISTTECH RECORDS for music publishing services.
ARTISTTECH RECORDS
Global Music, Entertainment & Rights Management Enterprise
ARTISTTECH RECORDS is the music publishing and rights-management operating brand of ARTISTTECH GLOBAL ENTERTAINMENT, INC. We connect creators, artists, music, technology, publishing, rights administration, and global music-industry opportunities.
Our services are designed to support human creators, AI-assisted creators, and human/AI creative collaborations throughout the music creation, documentation, publishing, recording, distribution, licensing, and rights-management lifecycle.
Who We Serve
What Creators Create
Music Publishing Services
Services designed to assist with the administration and development of musical works created by human and AI-assisted creators.
- 01
COPYRIGHT ADMINISTRATION
- 02
SONG REGISTRATION
- 03
PUBLISHING ADMINISTRATION
- 04
PRO ADMINISTRATION
- 05
ROYALTY ADMINISTRATION
- 06
SONGWRITER & A&R SERVICES
- 07
SYNC & LICENSING
- 08
SPLIT & COLLABORATION
- 09
METADATA MANAGEMENT
Artist Services
AI & Human Creative Collaboration
Modern music creation can involve different combinations of human creativity and artificial intelligence. The documentation framework keeps them apart.
| Category | What it means | What gets documented |
|---|---|---|
| Human-created works | Music created entirely through human creative activity | Authorship, contributions, ownership, agreements |
| AI-assisted works | A human creator uses AI as a creative or production tool while contributing human creative direction, selection, arrangement, editing, lyrics, composition, performance or production | The human contribution, the AI tool used, and which elements it touched |
| Human/AI collaborations | Projects involving human creators and AI-generated or AI-assisted elements | Each contributor and each element, separately |
| AI-generated elements | Specific elements of a project generated or materially produced through an AI system | The system used, the disclosure, and the provenance record |
The applicable creative contributions, rights, ownership, contractual interests, and provenance should be documented separately for each project.
Music Creation → Rights → Commerce
CREATOR → MUSICAL WORK → SOUND RECORDING → RELEASE → DDEX / DELIVERY → DSPs → AUDIENCES → ROYALTIES / LICENSING → RIGHTS ADMINISTRATION
Music Rights & Metadata
Depending on the project, the record of a work and its recording may include:
- 01
ARTIST IDENTITY
- 02
CREATOR / RIGHTS
- 03
MUSICAL WORK
- 04
SOUND RECORDING
- 05
RELEASE
- 06
DIGITAL DELIVERY
- 07
AI PROVENANCE
Music Catalog Development
- 01
SONGS
- 02
RECORDINGS
- 03
RELEASES
- 04
PUBLISHING
- 05
ROYALTIES
- 06
LICENSING
Music Distribution
Music Licensing
Rights should be verified and documented before licensing a work or recording.
Music Copyright & Master Rights
Every recorded song carries two copyright layers, and they are owned separately.
- 01
© MUSICAL WORK
- 02
℗ SOUND RECORDING
The ownership of each layer should be recorded according to the applicable agreements, contributions, assignments, and governing law.
Royalty Administration
Company Record
- 01
ARTISTTECH GLOBAL ENTERTAINMENT, INC.
- 02
ARTISTTECH RECORDS
Tax and banking details are held off this page on purpose. They go to distribution agencies through their own onboarding forms.
Creator Submissions
Creators may submit music and related materials for applicable ARTISTTECH RECORDS services, review, administration, development, registration, or potential opportunities.
Submission does not by itself establish copyright ownership, publishing ownership, licensing rights, or contractual representation. Those rights should be established through appropriate documentation and agreements.
Connecting creativity with music publishing services, rights administration, technology, and the global music industry.
On this page: Music Identifiers · Music Publishing · Royalties
Musicology
Theoretical & Interdisciplinary Frameworks
Musicology is the academic study of music, distinct from performance or composition. It integrates methodologies from the humanities, social sciences and natural sciences to analyze musical phenomena, cultural traditions and cognitive processes.
Core Branches & Specialized Subdisciplines
| Branch / Field | Primary focus | Primary methods & tools |
|---|---|---|
| Historical Musicology | History of musical traditions, composer biographies, style evolution and historical reception, traditionally Western art music | Manuscript studies, paleography, textual criticism, style analysis and iconography |
| Ethnomusicology | Music within its cultural and social contexts, “people making music,” including non-Western, folk and global traditions | Ethnographic fieldwork, long-term participant observation and sociomusicology |
| Systematic Musicology | Scientific, theoretical and interdisciplinary dimensions of music | Acoustics, organology (instrument science), computing, philosophy and psychology |
| Music Theory & Analysis | Structural elements of music: harmony, counterpoint, melody, notation and compositional rules | Notational analysis, structural modeling and formal compositional theory |
| Music Psychology & Cognition | Psychological perception, cognitive processing and neurological responses to music creation and listening | Cognitive neuroscience, computational modeling and empirical behavioral testing |
| Performance Practice & Science | Historical reconstruction of past performance styles versus empirical study of live performance mechanics | Historical source synthesis, quantitative measurement and physiological analysis |
| New Musicology | How power, gender, politics and culture shape musical meaning | Critical theory, feminist and queer theory, postcolonialism and Adornian sociology |
| Popular Music Studies | Historical, social and economic analysis of mass-media and commercial music | Interdisciplinary cultural studies, media history and sociology |
Interdisciplinary Matrix
- 01
HUMANITIES & ARTS
- 02
SOCIAL SCIENCES
- 03
NATURAL & FORMAL SCIENCES
- 04
APPLIED FIELDS
Education & Academic Credentials
A Ph.D. in Musicology, typically preceded by a B.M., B.A. or M.A., is the baseline credential for tenure-track university positions. Most musicologists serve as college or conservatory faculty.
Ethnomusicology
The multidisciplinary study of music as a social and cultural phenomenon: how people make, experience and contextualize music across all human societies.
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ANTHROPOLOGICAL APPROACH
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MUSICOLOGICAL APPROACH
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FIELDWORK & PARTICIPANT OBSERVATION
- 04
ANALYTICAL TECHNIQUES
Theoretical Debates & Ethics
| Debate | What it is about |
|---|---|
| Musical universals | Rejection of the 19th-century idea that music is a “universal language.” Modern consensus treats music as culturally specific and looks instead for near-universals or shared cognitive processing |
| Linguistics & semiotics | Treating music as a system of cultural symbols or grammars (Nattiez, Blacking). Critics such as Feld note that linguistic models do not map onto every tradition without losing context |
| Insider vs. outsider | Navigating researcher bias. Scholars such as Nettl and Rice advocate working with local experts and dismantling Orientalist binaries between Western researchers and non-Western subjects |
| Ethical responsibility | Informed consent from performers, respect for host community norms, and protection of orally transmitted traditions that fall outside standard Western copyright frameworks |
Sociomusicology
The sociology of music: the role of music within social structures, and how musical behaviors, interactions, production systems and listening practices are shaped by, and influence, society.
| Dimension | Sociomusicology | Ethnomusicology |
|---|---|---|
| Primary scope | Observable social interactions, institutions and industrial frameworks in contemporary, industrialized societies | Cultural context, ethnic and national identities, rituals and musical traditions globally |
| Methodology | Surveys, statistical economic data and structural analysis alongside qualitative observation | Ethnographic fieldwork, long-term residential immersion and participant observation |
| Core lens | Music as a social product embedded in institutional structures, economics and class dynamics | Music as an expression of human culture, belief systems and social identity |
- 01
THE SOCIAL PRODUCTION OF MUSIC
- 02
CO-CONSTRUCTED MEANING
- 03
INSTITUTIONAL & STRUCTURAL DYNAMICS
Algorithmic Streaming As A Socio-Technical System
Streaming algorithms are not neutral code. They act as cultural actors, reshaping how music is produced, distributed and consumed.
1. The Shift In Gatekeeping
Data-driven curation engines — collaborative filtering, natural language processing and audio feature analysis — have largely replaced radio DJs, music journalists and A&R executives as gatekeepers. Visibility follows engagement metrics rather than aesthetic or historical value, and recommendations concentrate traffic into platform-favored playlists.
2. Transformation Of Listener Behavior & Taste
| Consumer dimension | Traditional consumption | Algorithmic streaming |
|---|---|---|
| Primary unit | Albums, singles and self-selected discographies | Mood-, activity- or context-based playlists |
| Listening mode | “Lean-forward” active listening and intentional selection | “Lean-back” passive listening, music as background |
| Genre identity | Strong subcultural alignment: punk, metal, jazz, hip-hop | Fluid “omnivore” taste shaped by sonic texture over subculture |
| Taste discovery | Peer recommendations, subcultural scenes and physical spaces | Algorithmic prediction loops and autoplay |
3. Structural Modification Of Musical Production
- 01
THE 30-SECOND RULE
- 02
SHORTER SONGS
- 03
SONIC HOMOGENIZATION
4. Cultural Capital & Class Distinction
- 01
ACCESS VS. CURATION
- 02
ALGORITHMIC LABOR
Methodologies For Studying Streaming Platforms
On this page: Music Notation · Music Technology · Royalties · Distribution
Music Notation
Music notation is the visual system used to represent musical sound using symbols such as staffs, clefs, notes, rests, time signatures, and dynamics. It allows musicians to read, write, and communicate music accurately across time and cultures.
Music Notation Is
Core Elements
- 01
STAFF & CLEFS
- 02
NOTES & RESTS
- 03
RHYTHM & METER
- 04
PITCH & KEY
- 05
DYNAMICS & ARTICULATION
Notation Services
ARTISTTECH RECORDS offers music notation creation — turning a performance, a recording, a lyric or a poem into written symbols that can be read, published and registered.
What Gets Notated
Notation Products
The Language Of Music
Musical Structure
Rhythm / Groove
Sound / Texture
Bass / Low End
Poetic & Name-Like
Music notation remains the primary system for accurately communicating musical ideas across genres and generations.
On this page: Music Identifiers · Music Publishing
Audio Sound Editing
ARTISTTECH RECORDS music DAW software programs for audio sound editing of music by mixing multiple layers. A digital audio workstation is where separate takes, instruments and sounds are recorded, stacked, edited and balanced into one finished record.
The Session, Start To Finish
RECORD → LAYER → EDIT → ARRANGE → MIX → MASTER → EXPORT → DELIVER
What A DAW Does
- 01
RECORD
- 02
LAYER
- 03
EDIT
- 04
ARRANGE
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MIX
- 06
MASTER
- 07
EXPORT
- 08
DELIVER
Layers In A Mix
DAW Programs
Editing & Mixing Tools
What Comes Out Of The Session
Mixing and mastering decisions belong to whoever holds the master rights. Session files, stems and unreleased material are the label's and the artist's to control.
On this page: Masters / Recordings · Recorded Music · Distribution
Choreography
ARTISTTECH RECORDS choreography composition dancers for music: for a song, a music video, a stage show, a live set or a campaign. Movement is written to the record the same way notation is written to the melody.
Dance movement is the rhythmic, expressive action of the body in response to music, used to convey emotion, tell stories or create visual patterns. Dance moves are the building blocks of choreography: steps, gestures, turns, jumps, isolations and other actions dancers use to interpret music, communicate ideas and create style. Movement uses space, time and energy to create shapes, patterns and gestures, the steps, sequences and styles peculiar to a work, a group, a performance or an institution.
Movement Vocabulary
Body In Motion
Performer Profile
Choreographers
Historical & Classical
Stage & Theatre
Athletic & Fitness
Commercial & Performance
Entertainment & Venue
Adult Performance (18+)
Adult-performance choreography is for professional adult performers, 18 and over. Payment processors, stores and social platforms each set their own rules on adult-oriented services, so check those before listing this work for sale.
Teaching & Training
Fitness, Style & Spectacle
Consented Signed Signature Contract Agreement
ORAL → WHISPER → VERBAL → VOICE → VOCAL → SPEAKING → SPEAK → SPEECH → SINGING → SONG → CONSENTED SIGNED SIGNATURE CONTRACT AGREEMENT → CHOREOGRAPHY → DANCE COMPOSITION → DANCE REHEARSALS → DANCE PERFORMANCE → RECORDING → RELEASE → GIFTS → DONATIONS → PAID COMMISSION → DANCE COMPOSITION ROYALTIES → SHARES → VIP ACCESS
Where The Movement Lands
Choreographical Musical Jobs
Contracts & Representation
An AI artist is not a legal person, so the contract runs to the human or company that holds the rights, and a named representative signs for it. Purely AI-generated material may not be protectable by copyright in the United States, so the human contribution behind each work should be documented.
Dancers often cross multiple categories, and many styles have moods, persona, genre, subgenres or hybrid forms, reflecting the diversity and evolution of dance worldwide.
On this page: Royalties · Audiovisual & Sync · Recorded Music
Cinematic Cinematography
Cinematography is the art and craft of capturing motion-picture images through choices in lighting, camera movement, framing, composition, lenses, and exposure, shaping the visual storytelling of film and video.
Core Elements
Key components that define cinematography include:
Cinematic Techniques
Cinematographers use a toolbox of camera moves, framing, and lighting styles to guide audience perception.
Role In Storytelling
Cinematography is not just about “pretty images” — it shapes how the audience experiences and emotionally connects with the story. Choices in light, movement, and composition can:
Music Identifier Identification ID #
Every royalty payment in the world runs on matching numbers. An identifier is the name a machine reads: it tells a streaming platform, a society, or a bank which person wrote the song, which recording just played, and which release it came from. A song with missing or mismatched identifiers still plays — it just doesn't get paid correctly.
What Each Identifier Names
- 01
WHO YOU ARE
- 02
WHAT YOU WROTE
- 03
WHAT YOU RECORDED
- 04
WHAT YOU RELEASED
- 05
HOW IT TRAVELS
- 06
HOW IT IS STORED
- 07
WHAT YOU OWN LEGALLY
- 08
WHO GETS PAID
Identifier Purpose Table
| Identifier | What it identifies | Where it comes from | Why it matters |
|---|---|---|---|
| ISNI | You — your public professional identity as an artist, writer, or label | ISNI International Agency | Keeps your name attached to your work across databases worldwide |
| IPI / CAE | You or your publisher inside rights-management systems | Your PRO when you register (BMI, ASCAP, SESAC, or a society abroad) | How societies know which writer share to pay |
| ISWC | Your musical composition — the song itself, apart from any recording | PROs and societies, through the work registration | Links every cover, remix, and live version back to one song |
| ISRC | Your specific sound recording / master | Assigned under an IFPI registrant code by you, your label, or your distributor | Counts every stream, radio spin, and download of that exact recording |
| UPC | Your release / product | GS1 (GS1 US for North America) | Identifies the release as a product for stores and DSPs |
| EAN | Your release / product, internationally | GS1 (13-digit international barcode) | The same job as a UPC outside North America |
| DDEX ERN | The delivery itself — metadata, cover art, and identifiers in one message | Your distributor, using the DDEX standard | The standard XML protocol that carries a release to global streaming platforms |
| SoundExchange account | Your masters and performances for digital performance royalties | SoundExchange registration | Collects neighboring and digital performance royalties tied to your ISRCs |
| Copyright registration # | Your registered copyright | U.S. Copyright Office | The public record of ownership, and the door to U.S. enforcement |
| Trademark filing | Your brand — name, logo, and marks | USPTO | Protects the label and artist name in commerce |
| EIN | Your business for U.S. tax purposes | Internal Revenue Service | How royalties, platforms, and banks identify the business |
| IPFS CID | A file, named by its own content | Generated when a file is added to IPFS | Decentralized storage and a fixed reference for digital assets |
| Wayback snapshot | A page as it existed on a date | Internet Archive | Timestamped evidence of what was published and when |
Eligibility, issuing bodies, fees, and legal effect vary by country and by the agreements in place. Registration is an administrative step, not proof of ownership on its own.
More Identifiers On The Record
| Identifier | What it identifies | Where it sits in the record |
|---|---|---|
| PIP ID | The artist's public identity profile, recorded beside the ISNI | Artist identity |
| MusicBrainz Artist ID | The artist's entry in the MusicBrainz open music database | Artist identity |
| © Year | The year copyright is claimed in the musical work | Musical work |
| © Copyright owner | Who owns the composition | Musical work |
| ℗ Year | The year copyright is claimed in the sound recording | Sound recording |
| ℗ Master copyright owner | Who owns the master | Sound recording |
| ERN version | Which DDEX ERN standard the delivery message is built to | Digital delivery |
| Message ID | The individual delivery message sent to a platform | Digital delivery |
| Release ID | The release carried inside that delivery message | Digital delivery |
| Commercial model | How the release may be sold or streamed in each territory | Digital delivery |
| AI provenance record | Which parts are human, which are AI, and which system was used | AI provenance |
PIP ID appears in the ARTISTTECH RECORDS profile under artist identity. Confirm which registry issues it before relying on it in a delivery.
Company & Delivery Identifiers
| Identifier | What it is | What it does |
|---|---|---|
| UUID | A unique 128-bit code generated for a single record | Keeps every row in a catalog distinct, even across systems that share names |
| DDEX Party Identifier (DPID) | Your company's identifier inside the DDEX standard | Names the label, distributor or publisher as a party in every delivery |
| ERN | DDEX Electronic Release Notification | The message that carries a release, its metadata, artwork and identifiers to a platform |
| DSP | Digital service provider | The streaming or download platform receiving the release |
| IP metadata | The fields describing who owns what in a work and a recording | What societies and platforms read to decide who gets paid |
| © copyright notice | The claim on the musical work | © year and owner, stated on the composition |
| ℗ phonogram notice | The claim on the sound recording | ℗ year and owner, stated on the master — a separate layer from the © |
| Corporate ID number | The charter number the state issues a company | Proves the company exists as a registered entity |
| DBA number | The registered doing-business-as filing | Ties a trading name to the legal entity behind it |
| Trademark serial number | The USPTO filing number for a mark | Tracks the application and registration of the brand name |
| EIN | The IRS employer identification number | The business tax ID used on W-9s, royalty payments and bank accounts |
An EIN, a bank account and a charter number belong on your W-9 and your distributor's own secure forms, not on a public page.
Music-Rights Identification System
Identifiers name the work and the person behind it. For a self-publisher that means the holder, owner, author, creator or artist of the poem, the poetry, the songwriting, the songbook, the lyrics and the lyricbook — and the musical compositions they become.
Writer, Poetry & Book Identifiers
| Identifier | What it identifies | Why it matters |
|---|---|---|
| ISNI | You, globally, as a writer or creator | Built to distinguish creators — writers, artists, performers, publishers — and to connect works published under different versions of your name or a pen name |
| ORCID | You as a professional author or contributor | A persistent identifier you control yourself and can connect to other identifiers, including ISNI. Useful for research, nonfiction, academic material, and publishers that support it |
| ISBN | One published title, in one edition, in one format | A paperback ISBN identifies the paperback edition and nothing else — each edition and format carries its own |
| ITIN | An individual rights holder for U.S. tax purposes | The IRS individual taxpayer identification number, for a person who needs a U.S. tax ID but is not eligible for a Social Security number |
| CMO membership / account | Your relationship with a collective management organization | The account a performing-rights or collective-rights system collects and pays through |
| Product / supply-chain identifier | The book or release as a product on a shelf | ISBN for books, UPC or EAN for releases and merchandise — what retailers, wholesalers and libraries scan |
One Work, Many Editions
Each edition and each format needs its own ISBN. The paperback, the hardcover, the e-book and the audiobook of the same poetry collection are four separate ISBNs.
Identity & Rights Record
What a payer needs before a rights holder can be identified and paid:
Tax, payment and banking details belong in the rights holder's private file and in each agency's own secure onboarding form — never on a public page.
Collective Rights Systems
A CMO membership or account is your standing relationship with a performing-rights body.
From Poem To Licensed Music
Poems are licensed for songs, recordings, films and advertising, and the identifiers follow them the whole way.
POEM → POETRY BOOK (ISBN) → LYRICS → MELODY → SONG → MUSICAL COMPOSITION (ISWC) → RECORDING (ISRC) → RELEASE (UPC / EAN) → LICENSING → ROYALTIES
The poem carries the words. A melody turns those words into a song, and the song becomes the musical composition the identifiers follow from there.
Protection & Registration
U.S. copyright regulations for music-rights reporting specifically reference ISNI, IPI, ISWC and ISRC information.
Register As A Poet / Writer
Master List Of Official Identifiers
The official identifiers used to register, identify and track individuals, businesses, creative works and intellectual property at every jurisdictional level — from a local city permit to a global standard.
1. City & Municipal — Local Jurisdiction
| Identifier | What it is | Issued by |
|---|---|---|
| Local Business Tax Certificate / BTRC | The municipal account number required to conduct business inside city limits | City revenue department |
| County / City DBA file number | Registration of a local trade name or fictitious business name | County clerk |
| Municipal zoning & occupancy permit ID | Verifies a physical location is authorized for commercial or residential operation | City planning department |
| Certificate of Occupancy number | Confirms a building may be legally occupied for its stated use | City building department |
| Local health & safety permit IDs | Licence numbers for venues, studios, performance spaces and public events | City or county health and safety |
| Fire permit number | Occupancy, pyrotechnics and special effects at events | Fire department |
| Film / special event permit number | Shooting a video or holding an event on public property | City film or events office |
| Street vending permit | Selling merchandise on public property | City licensing |
| City vendor / supplier ID | Contractors and creators registered to work with city agencies or cultural grants | City procurement |
| Assessor's parcel number (APN) | Identifies the property a studio or office sits on | County assessor |
2. State & Provincial — Sub-National Jurisdiction
| Identifier | What it is | Issued by |
|---|---|---|
| State entity / SOS charter number | The primary legal registration number of an LLC, corporation or partnership | Secretary of State |
| State Tax Identification Number (STIN) | State income tax, withholding tax and unemployment filings | State revenue department |
| State sales & use tax licence / reseller permit | The right to collect sales tax and buy goods wholesale tax-free | State revenue department |
| State trade name / trademark registration ID | Protection for a business name or logo inside state borders | Secretary of State |
| State professional licence number | State-regulated roles such as talent agents, promoters and real estate professionals | State licensing board |
| Unemployment insurance account number | State unemployment contributions for employees | State labor department |
| Workers' compensation policy number | Coverage for staff and session workers | State fund or private insurer |
| UCC-1 filing number | Records a security interest in assets, including a music catalog | Secretary of State |
| State charity registration number | Required in many states before soliciting donations | State charity bureau |
3. Federal & National — Country Level
| Identifier | What it is | Issued by |
|---|---|---|
| EIN / FEIN | The 9-digit federal tax identifier for businesses, trusts and self-employed creators | IRS |
| SSN / ITIN | Personal tax identity used for sole proprietorships and tax withholding | SSA / IRS |
| Copyright registration numbers (TX, SR, PA, VA) | Federal registration of literary works, sound recordings, performing arts and visual art | U.S. Copyright Office |
| Copyright recordation document number | Records transfers, assignments and security interests in a copyright | U.S. Copyright Office |
| Trademark serial & registration number | Federal protection for brand names, logos and slogans across all 50 states | USPTO |
| Patent number / application serial number | Federal identification of inventions, processes and design patents | USPTO |
| UEI (Unique Entity Identifier) | The 12-character ID required to receive federal grants, funding or contracts | SAM.gov |
| CAGE / NCAGE code | Commercial and Government Entity code for procurement and contracting | U.S. Department of Defense / NATO |
| GIIN | 19-character code for financial reporting compliance under FATCA | IRS |
| FCC Registration Number (FRN) | Identifies a party in any FCC filing or broadcast licence | Federal Communications Commission |
4. Regional & Territorial — Cross-State & Economic Blocs
| Identifier | What it is | Issued by |
|---|---|---|
| VAT number | Regional and national tax code for cross-border commerce and invoicing | National or EU tax authorities |
| EORI number | Customs clearing, importing and exporting within the European Union | EU customs authorities |
| FIPS / GEOID codes | Location codes identifying counties, metropolitan regions and territories for economic data | NIST and the U.S. Census Bureau |
| NUTS code | Hierarchical European region code used to track regional statistics and trade | Eurostat |
| ISO 3166-1 country codes | Two-letter, three-letter and numeric codes for every country | ISO |
| ISO 3166-2 subdivision codes | States, provinces and territories inside a country | ISO |
| UN/LOCODE | Identifies cities, ports and transport locations worldwide | UNECE |
| GS1 Global Location Number (GLN) | Identifies a physical location or legal entity in a supply chain | GS1 |
| TIS territory codes | The territory codes music societies use to define where rights apply and where money is collected | CISAC |
5. International & Global — Works & Publishing
| Identifier | What it is | Issued by |
|---|---|---|
| ISBN | 13-digit global code for a published book, poetry collection, e-book or audiobook | National ISBN agencies |
| ISMN | 13-digit global code for printed sheet music and score books | ISMN agencies |
| ISSN | 8-digit code for periodicals, magazines and recurring journals | ISSN centres |
| ISWC | The musical composition itself | CISAC societies |
| ISRC | One specific sound recording | Assigned under an IFPI registrant code |
| GRid | Global Release Identifier for a digital release | IFPI |
| ISAN | Audiovisual works, including music videos | ISAN registration agencies |
| DOI | A persistent identifier for a digital object or document | DOI registration agencies |
| GTIN / UPC / EAN | The release or product as an item in retail and supply chains | GS1 |
| ISO 639 language codes | The language of lyrics, titles and metadata | ISO |
6. International & Global — Business & Financial
| Identifier | What it is | Issued by |
|---|---|---|
| LEI (ISO 17442) | 20-character global code identifying a legal entity in financial markets and banking | GLEIF and its local operating units |
| DUNS number | 9-digit global business credit and identity code | Dun & Bradstreet |
| ISIN (ISO 6166) | 12-character code identifying stocks, bonds and securities | National numbering agencies |
| SWIFT / BIC code | Routes wire payments between financial institutions worldwide | SWIFT |
| IBAN | The international format of a bank account number | National banking bodies |
| ISO 4217 currency codes | Identifies the currency of a statement, contract or payment | ISO |
Tax and banking identifiers — SSN, ITIN, EIN, IBAN, SWIFT and account numbers — are recorded in the private company file and handed to payers through their own secure forms. They are never published on a page like this one.
The Identifier Chain
ISNI → IPI / CAE → ISWC → ISRC → UPC / EAN → DDEX ERN → Platforms → Plays → Matching → Royalty statements → Payment
Where To Get Each One
IP Intellectual Property
Organizing one-by-one original IP intellectual property into a digital archive artifact asset document, with 100+ global identifiers tracked per document, recorded into the local and global database directories for the identification of intellectual property — sealed in time, for history, as a historic database of digital archive artifact asset documents.
One Work, One Document
CREATE → IDENTIFY → DOCUMENT → REGISTER → TIMESTAMP → ARCHIVE → DIRECTORY → HISTORY
The 100+ Identifiers Tracked Per Document
101 identifiers across seven families. Not every document carries all of them — each one carries the ones its work, its rights and its jurisdiction call for.
1. Music, Rights & Creative Work
2. Legal, Copyright & Intellectual Property
3. Business, Tax & Financial
4. Municipal, Local & Regulatory
5. Technical, Digital Delivery & Provenance
6. Geographic, Language & Standardization
7. Document, Asset & Internal Metadata
The tax and banking identifiers above are field names in the private record. The numbers themselves stay in the company file and go to payers through their own secure forms.
From Party To Platform
The DDEX Party Identifier (DPID) travels inside an XML payload sent directly to DSPs (Digital Service Providers), carrying the release and its identifiers with it.
DPID → DDEX ERN → XML PAYLOAD → MESSAGE ID → RELEASE ID → DSP DELIVERY → PLATFORM CATALOG
What The Document Holds
- 01
THE WORK
- 02
THE RECORDING
- 03
THE RELEASE
- 04
THE RIGHTS
- 05
THE PROVENANCE
- 06
THE DELIVERY
- 07
THE CUSTODY
- 08
THE FILES
Local & Global Directories
Where each document's identifiers are recorded so the work can be found by machines and by people:
Sealed In Time
What fixes a date to a document, so the record of when it existed survives:
A timestamp, a hash or a snapshot records that a file existed on a date. It is evidence, not ownership on its own — ownership comes from authorship, the agreements in place, and registration under the applicable law.
Why One-By-One
On this page: Music Identifiers · Royalties · Music Law · Catalog
Services
ARTISTTECH RECORDS for music publishing services to assist for assistance for administration for both artificial intelligence/human songwriters and musician artists, connecting creativity with music publishing services. Music artist scout discovery, music artist registration, music artist development, original music composition recording, sign a music contract agreement, music creation, music lessons, music sessions, music songwriter, artist singers, audio sound master recordings, music publishing, music distribution, music licensing, music metadata, music merchandise, music copyright, music master rights, music royalties, music catalog development and audiences. Commercialization of music publishing services and music distribution into the entire local and global music industry. Music lessons and sessions.
- Music publishing
- Copyright administration
- Licensing
- Royalty administration
Music Publishing Services May Include
Recorded Music Services
Recorded Music
ARTISTTECH RECORDS masters recorded-music ecosystem responsible for discovering, developing, recording, marketing, distributing, and commercializing artists and sound recordings. The division manages the master recording side of the business and may operate through specialized labels, imprints, or artist-specific ventures.
A&R & Production Administration
Master Rights Management
Marketing & Artist Services
Music Publishing
ARTISTTECH RECORDS music publishing services operates separately from the recorded-music division to administer musical compositions and songwriter rights. The publishing division represents the underlying song — including lyrics, melody, and musical composition — not merely the particular recording.
Copyright & PRO Administration
Creative Publishing & Songwriter A&R
Publishing Royalty Administration
Two Rights In Every Song
- 01
THE COMPOSITION (THE SONG)
- 02
THE MASTER (THE RECORDING)
Where Each Royalty Comes From
| Royalty | Triggered by | Usually collected by | Paid to |
|---|---|---|---|
| Mechanical | Copying the song: streams, downloads, physical | Mechanical societies and administrators | Songwriters and publishers |
| Performance | Public performance: radio, TV, venues, streaming | Performing rights organizations | Songwriters and publishers |
| Synchronization | Music paired with picture | Direct licence negotiation | Publisher for the song, master owner for the recording |
| Master / recording | Streams, downloads, physical sales | Distributor or DSP | Master owner, artist, producer points |
| Neighboring rights | Broadcast and public performance of the recording | Neighboring rights societies | Featured and non-featured performers, master owner |
| Sheet music, songbooks, lyricbooks | Print licensee | Songwriters and publishers |
A general picture of how the money moves. The societies, rates, and shares that apply to any one song depend on the territory, the agreements in place, and applicable law.
Registration Chain
Song written → Split sheet → Copyright registration → Writer + publisher registration → PRO / society registration → ISWC issued → Metadata delivered → Royalties matched → Statements → Payment
Submit A Song For Publishing
Masters / Recordings
ARTISTTECH RECORDS can manage the administrative lifecycle of masters, including:
Master Recording Formats & Versions
Distribution
ARTISTTECH RECORDS distribution & music publishing services provides distribution and infrastructure services for self-releasing artists, independent labels, producers, managers, and other eligible rights holders — without necessarily requiring a traditional frontline recording agreement.
Digital Distribution
Physical Distribution
DSP Logistics & Operations
Independent Label Services
Distribution destinations may include major streaming, download, social, and digital music platforms, subject to applicable platform agreements and eligibility requirements.
Catalog
ARTISTTECH RECORDS music catalog genre categories focuses on the preservation, administration, acquisition, development, licensing, and monetization of music catalogs. The division may manage both master recordings and musical compositions.
Catalog Management
Catalog Acquisition
Catalog Monetization
Audiovisual & Sync
ARTISTTECH RECORDS audiovisual, sync & music productions connects music with:
Composition Side
Master Side
One-Stop Clearance
Where ARTISTTECH RECORDS controls or represents both the composition and master rights required for a use, the company can facilitate a streamlined one-stop clearance process.
Production Music & Library Administration
Audiovisual Production
Music Technology
ARTISTTECH RECORDS technology strategy may support:
Data & Analytics
Rights Technology
Workflow Automation
AI & Innovation
Any AI-related exploitation of music, voice, likeness, compositions, or recordings must be subject to the applicable rights, agreements, permissions, laws, platform policies, and creator protections. Technology is designed to augment human expertise — not replace creative, business, or legal judgment.
Music IP Asset Registry
Each song can carry a structured record that turns an audio file into an intellectual-property asset:
The Catalog Engine
Song → Release → Catalog → Rights → Licenses → Royalties → Analytics
Musician Artist Royalties
Musician artist intellectual property assets:
- Songwriter Royalties
- Lyricbook Royalties
- Songbook Royalties
- Masters Recordings Royalties
- Song Copyrights
- Licensing Royalties
- Publishing Royalties
- Performer Royalties
- Mechanical Royalties
- Performance Royalties
- Synchronization Royalties
- Digital Streaming Royalties
- Choreography Performing Arts Royalties
- Merch & Brand Royalties
- Print Royalties
- Neighboring Rights Royalties
- Music Royalty Tokenization
These are separate rights and revenue concepts, and not every work or creator qualifies for every royalty category. Music royalty tokenization can involve securities, investment-contract, copyright, contract, tax, money-transmission, and consumer-protection questions depending on structure and jurisdiction, and should be developed with qualified counsel.
Global Royalty Accounting
ARTISTTECH RECORDS can track and reconcile applicable income from:
Royalty Accounting Responsibilities
Neighboring & Related Rights
Contract Administration
Contract Tracking
Rights Enforcement
Legal advice, legal representation, and formal legal services are provided by or through appropriately licensed legal professionals where required.
Music Law & Regulations
Running a record label with in-house publishing means answering to five layers of law at once. There is no single global copyright law: international treaties oblige member nations to respect each other's copyrights, national law decides what happens in each territory, U.S. federal law sets ownership and royalty mechanics, state law governs the contracts and the artist's name and likeness, and city by-laws govern the building the studio sits in.
A structural guide to the legal framework, not formal legal counsel. Codes are amended, rates are reset, and the law that applies to any deal depends on where it was signed, where the music is consumed, and the agreements in place. Confirm anything you intend to rely on with a licensed entertainment attorney.
The Five Levels
- 01
LEVEL 1 — INTERNATIONAL
- 02
LEVEL 2 — FOREIGN TERRITORIES
- 03
LEVEL 3 — U.S. FEDERAL
- 04
LEVEL 4 — 50 STATES
- 05
LEVEL 5 — CITY & LOCAL
Level 1 — International Laws & Treaties
Global copyright standardization. These govern how an artist's publishing rights are protected and monetized outside their home country.
| Code | What it is | What it means for the label and publisher |
|---|---|---|
| Berne Convention, Art. 5 | The rule of national treatment | A U.S. artist played on French radio must be treated by France exactly as it treats a French citizen's copyright |
| Berne Convention, Art. 9 | The exclusive right of reproduction | The foundation for mechanical royalties worldwide |
| Rome Convention 1961, Art. 12 | Equitable remuneration | Governs payment for broadcasting and communication to the public of recordings |
| TRIPS Agreement, Art. 14 | Trade-Related Aspects of Intellectual Property Rights | Ties copyright enforcement to international trade penalties through the WTO |
| WIPO Copyright Treaty, Art. 8 | The right of communication to the public | Updates the treaties for digital streaming and on-demand publishing royalties |
On this page: Music Publishing · Royalties · Catalog
Level 2 — National Laws (Foreign Territories)
Administering publishing globally means complying with the national framework of every country where the music is consumed, not only U.S. law.
| Code | What it is | What it means for the label and publisher |
|---|---|---|
| UK CDPA 1988 § 16 | Exclusive rights of the copyright owner in the UK | Dictates how the label collects through PRS and MCPS |
| UK CDPA 1988 §§ 77 & 80 | Moral rights | The right to be identified as author and to object to derogatory treatment; enforced far more strictly than in the U.S. |
| UK CDPA 1988 § 17 | Infringement by copying | Reproducing a recording or composition without permission |
| UK CDPA 1988 § 18 | Issuing copies to the public | Commercial distribution rights |
| UK CDPA 1988 § 20 | Communication to the public | Broadcast and streaming; the basis of PRS for Music collections |
| UK CDPA 1988 §§ 182–184 | Performers' rights | Protection against bootlegging and unauthorized fixation of live shows |
| EU Directive 2019/790, Art. 17 | The Copyright Directive | Obliges platforms such as YouTube to license from publishers rather than rely purely on safe harbour |
| EU Directive 2019/790, Art. 15 | Press publisher rights | Protections regarding digital platform indexing |
| EU Directive 2001/29/EC, Arts. 2 & 3 | The InfoSoc Directive | Harmonised reproduction and communication-to-the-public rights across member states |
| EU Directive 2011/77/EU | Term extension | Protection for recordings and performers' rights extended from 50 to 70 years |
| Canada Copyright Act § 3 | Scope of copyright | What copyright covers in literary and musical works |
| Canada Copyright Act § 13 | Ownership and assignment | Initial ownership rules; Canadian assignments must be in writing |
| Canada Copyright Act § 19 | Equitable remuneration | Payment to performers and recording makers through the Re:Sound, CMRRA and SOCAN framework |
| Canada Copyright Act § 38.1 | Statutory damages | Limits for commercial and non-commercial infringement |
| Japan Copyright Act, Art. 21 | The right of reproduction | Copying under Japanese law |
| Japan Copyright Act, Art. 22-2 | The right of public transmission | Governs JASRAC and digital delivery platforms |
| Japan Copyright Act, Arts. 89–100 | Neighbouring rights | Protects producers of recordings and performers, administered with RIAJ |
On this page: Distribution · Royalties · Audiovisual & Sync
Level 3 — U.S. Copyright & Royalty Mechanics
The core operational framework for a U.S. label and publisher: ownership, royalty rates, and federal protection.
| Code | What it is | What it means for the label and publisher |
|---|---|---|
| 17 U.S.C. § 101 | Definitions | Legally separates the sound recording (the label's master) from the musical work (the publisher's composition) |
| 17 U.S.C. § 106 | The six exclusive rights | The sole right to reproduce, distribute, perform, display, and adapt the artist's music |
| 17 U.S.C. § 115 (Music Modernization Act) | Compulsory mechanical licences | Created the Mechanical Licensing Collective and sets how digital services pay publishing mechanicals |
| 17 U.S.C. § 203 | Termination of transfers — the 35-year rule | Creators can reclaim publishing and master rights 35 years after the grant, on notice, whatever the contract says |
| 17 U.S.C. § 501 | Infringement of copyright | The statutory basis for suing anyone using a composition without a sync licence |
| 15 U.S.C. § 1051 (Lanham Act) | Federal trademark registration | Registers the label name, the publishing division name, and artist stage names for merchandising and branding |
On this page: Music Publishing · Masters / Recordings · Music Identifiers
Level 3 — Criminal, Tax, Broadcast & Antitrust
| Code | What it is | What it means for the label and publisher |
|---|---|---|
| 18 U.S.C. § 2318 | Counterfeit labels and packaging | Prohibits trafficking in counterfeit labels, packaging and documentation for phonorecords and audiovisual works |
| 18 U.S.C. § 2319 | Criminal copyright infringement | Felony penalties for willful infringement, by quantity and retail value |
| 18 U.S.C. § 2319A | The anti-bootlegging statute | Criminalises unauthorized fixation, reproduction or distribution of live musical performances |
| 18 U.S.C. §§ 1831 & 1832 (DTSA) | Trade secrets | Protects unreleased masters, stems, strategy and royalty formulas from espionage or employee theft |
| 26 U.S.C. §§ 167 & 168 | Depreciation and amortization | How acquired intangible assets, including catalog rights, are written down |
| 26 U.S.C. § 197 | 15-year amortization of intangibles | Applies to music catalog acquisitions and publisher goodwill |
| 26 U.S.C. § 1221(b)(3) | Capital asset election for songwriters and publishers | Lets creators elect capital gains treatment on the sale of compositions instead of ordinary income |
| 26 U.S.C. §§ 1441 & 1442 | Withholding on foreign payments | Mandatory federal withholding on foreign-source income and non-resident royalty payments |
| 47 U.S.C. § 317 | Sponsorship identification | Payment or valuable consideration for airplay must be announced on air |
| 47 U.S.C. § 508 | Payola and plugola | Criminal prohibition on undisclosed payments to station staff in exchange for airplay |
| 47 U.S.C. § 230 | Platform safe harbour | Defines platform liability boundaries for user-uploaded music |
| 15 U.S.C. § 1 (Sherman Act) | Antitrust | The basis of the consent decrees governing ASCAP and BMI blanket licensing rates |
| 15 U.S.C. § 45 (FTC Act § 5) | Unfair or deceptive practices | Endorsement and influencer disclosure rules, and enforcement against stream manipulation |
On this page: Music Technology
Level 3 — 37 CFR: Copyright Office & Royalty Board
| Code | What it is | What it means for the label and publisher |
|---|---|---|
| 37 CFR § 201.4 | Recordation | Formal requirements for recording transfers, publishing assignments and security interests with the Copyright Office |
| 37 CFR § 201.18 | Notices of Intention | Obtaining compulsory licences for physical phonorecords and downloads |
| 37 CFR § 201.38 | DMCA agent designation | Registering the agent who receives notifications of claimed infringement |
| 37 CFR Part 380 | Non-interactive rates | Statutory rates for webcasters and satellite radio, distributed through SoundExchange |
| 37 CFR Part 385, Subpart A | Physical and download rates | Statutory mechanical rates for phonorecords and permanent digital downloads |
| 37 CFR Part 385, Subpart B | Interactive streaming rates | The formulas behind what Spotify and Apple Music pay the MLC |
| 37 CFR Part 385, Subparts C & D | Other configurations | Limited downloads, ringtones, bundles and locker services |
On this page: Royalties · Distribution
Level 4 — State Law: Contracts, Employment & Image
Copyright is federal, but contracts and personality rights follow the state where the deal is signed or the artist lives.
| Code | What it is | What it means for the label and publisher |
|---|---|---|
| California Labor Code § 2855 | The seven-year rule | Personal service contracts, including exclusive publishing deals, cannot bind an artist beyond seven years in California |
| California Family Code § 6750 (Coogan Law) | Minors' earnings | Contracts with minor artists require 15% of gross earnings placed in a blocked trust account |
| New York Gen. Oblig. Law § 5-701 | The statute of frauds | Publishing assignments and long-term exclusive administration deals must be in writing to be enforceable |
| California Bus. & Prof. Code § 16600 | Non-competes | Statutory prohibition on non-compete clauses in employment and talent contracts |
| New York Labor Law § 191 | Pay frequency | Payment timing rules for in-house engineers, technicians and label staff |
| California Civil Code § 3344 | The right of publicity | How the publishing division may use a name, voice, signature, photograph or likeness to sell sheet music or promote a placement |
| New York Civil Rights Law §§ 50 & 51 | Name and picture | Advertising or trade use of an artist's name or picture requires written consent |
On this page: Recorded Music
Level 4 — State Law: Competition, Privacy & Incentives
| Code | What it is | What it means for the label and publisher |
|---|---|---|
| California Bus. & Prof. Code § 17200 | Unfair Competition Law | Protects artists and competitors against fraudulent business practices and payola |
| California Civil Code §§ 980–989 | Pre-1972 recordings and fine art | State protection for older recordings and original artwork |
| California Civil Code § 1798.100 et seq. (CCPA) | Consumer privacy | Regulates fan data collection, e-commerce and direct-to-consumer mailing lists |
| New York Gen. Bus. Law § 349 | Deceptive acts and practices | Applied to ticketing, merchandise sales and deceptive stream marketing |
| New York Arts & Cult. Aff. Law § 25.01 | Live ticketing | Rules for concert ticketing and authorized resellers |
| Georgia Code § 10-1-450 | Deceptive trade practices | Regulates label branding, merch distribution and unauthorized artist impersonation |
| Georgia Code § 33-1-25 | Entertainment Industry Investment Act | Tax credit qualification for music production and recording inside the state |
On this page: Music Technology
Level 5 — City Laws & Local By-laws
City ordinances do not deal with copyright. They govern the physical operation of the studio, the publishing office, and local events.
| Code | What it is | What it means for the label and publisher |
|---|---|---|
| LAMC § 21.00 | Business tax | Requires a Business Tax Registration Certificate and tax on gross receipts inside city limits |
| LAMC § 12.00 | Zoning | Where an in-house recording studio can physically be built, and commercial noise in residential zones |
| LAMC § 42.00 | Street vending | Prohibits unauthorized vending and bootleg merchandise beside venues and stadiums |
| LAMC § 57.105 | Fire permits | Permits for indoor pyrotechnics, haze machines and special effects at showcase events |
| NYC Admin. Code § 24-218 | General noise penalty | Sound leakage from studios or label showcases into adjacent properties |
| NYC Admin. Code § 24-220 | Sound isolation | Noise mitigation compliance for building commercial soundproofed facilities |
| NYC Admin. Code § 20-202 | Street marketing permits | Licensing for outdoor promotion, pop-up stores and physical media sales |
| Nashville Metro Code § 17.16.070 | Home occupation zoning | Noise and client visitation limits for home recording studios |
| Nashville Metro Code Ch. 6.80 | Commercial facilities | Facility and parking rules for studios in the Music Row overlay districts |
| California Fire Code, Title 24 (2022) | Occupancy | Maximum occupancy for offices and showcase venues during signings and publishing camps |
On this page: Contact Form
Compliance Instructions
The order the paperwork should happen in.
- 01
PAPER FIRST
- 02
REGISTER THE WORK
- 03
RECORD THE TRANSFERS
- 04
SET THE IDENTIFIERS
- 05
WATCH THE CLOCK
- 06
PAY CORRECTLY
- 07
PROMOTE HONESTLY
- 08
KEEP THE PREMISES LEGAL
On this page: Music Identifiers · Music Publishing · Royalties
Nothing here creates a lawyer-client relationship or substitutes for advice on a specific agreement, territory, or dispute. Legal advice, representation, and formal legal services are provided by or through appropriately licensed legal professionals.
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NFT Marketplaces
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Digital-asset sales can involve securities, tax, consumer-protection, and platform rules that vary by jurisdiction. Rights to the underlying music stay with whoever holds them under the applicable agreements.
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Donation terms, tax treatment, and applicable restrictions depend on the legal structure of the receiving organization and applicable law.
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Rights Reserved
ARTISTTECH RECORDS is a business company of a corporation business of ARTISTTECH GLOBAL ENTERTAINMENT, INC. All music rights, copyrights and licensed music media content is reserved and protected under city, state, federal, national, international, region, countries, territories, incorporated and unincorporated zip codes, codes of local and global legal laws, legal by-laws, legal jurisdictions, legal regulations, and all legal-forms of registration.