Translate ISRC, ISWC, ISAN & EIDR IDs | Preserve Media Identity

To translate ISRC, ISWC, ISAN and EIDR identifiers accurately, a translator must separate recordings, musical works and audiovisual works from the titles and metadata used to describe them. Music-distribution feeds, publishing databases, cue sheets, royalty systems, film catalogues and streaming metadata can place track titles, work titles, recording codes, composition identifiers and audiovisual asset IDs in the same record. The human-language metadata may need translation; the identifiers normally must remain exact.

This guide explains how to translate music and audiovisual metadata without changing ISRC recording codes, ISWC musical-work identifiers, ISAN audiovisual numbers or EIDR IDs. It solves one distinct high-intent search problem: what does each identifier represent, which titles and credits may be localized, why a song recording is not the same thing as the musical work, how audiovisual work and version identity differ, and how multilingual entertainment metadata can remain attached to the same creative asset after translation.

The working rule is translate the descriptive metadata, preserve the governed identifier, keep the asset type visible, and verify every relationship after export. IFPI’s ISRC identifies sound recordings and music videos, not compositions; CISAC’s ISWC identifies musical works, not recordings; ISAN identifies audiovisual works and versions; EIDR provides persistent identifiers for audiovisual assets and their relationships. These systems answer different identity questions and must not be collapsed into one generic content code.

Recording and musical work are different layers

A song composition and a particular studio recording of that composition are separate creative objects. Using one identifier for both collapses publishing and master rights data. Keep work and recording identity distinct. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Before release, ask what the field identifies: recording, composition, audiovisual root work, episode, version, clip or proprietary platform asset. The target should make that scope visible instead of calling everything a content ID.

ISRC identifies sound recordings and music videos

IFPI describes ISRC as the international standard identifier for sound recordings and music videos. It does not identify the underlying composition. Preserve the ISRC exactly. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

ISRC is 12 alphanumeric characters

The code has a defined fixed-length structure. Adding spaces or translating letters changes the identifier. Keep all characters exact. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Printed ISRC can use a visible prefix

IFPI guidance shows ISRC preceding the code in printed form. The prefix is a label, not part of a title. Preserve the standard display convention. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

ISRC prefix code identifies the registrant context

The initial component comes from the allocated ISRC prefix structure. It should not be interpreted as a country code in modern practice. Preserve it as identifier data. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Year of reference is part of ISRC structure

Two digits indicate the year in which the ISRC was assigned. They do not necessarily equal the original recording date or release date. Do not harmonize dates by guesswork. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Designation code distinguishes recordings

The final five digits distinguish assignments within the registrant/year context. A one-digit error can point to another recording. Protect the whole code. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

ISRC stays with the recording

IFPI emphasizes that an ISRC remains a fixed reference for the same recording across services and territories. Re-release or translation of metadata does not justify a new code by itself. Preserve recording continuity. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

New recording can require a new ISRC

A materially different recording or new version can have its own identity under ISRC rules. Using the old ISRC for every remix or edit can misidentify the asset. Follow authoritative assignment rules. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Remaster versus new recording requires domain judgment

Some mastering changes may not create a new recording identity while other versions can. Translators should not decide identifier assignment. Use source metadata. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

ISRC is not catalogue number

Labels often assign catalogue numbers to releases. Catalogue number identifies commercial release context, not the recording itself. Keep namespaces separate. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

ISRC is not UPC or GTIN

A release product can have a UPC or GTIN while individual tracks carry ISRCs. Product and recording identity are different. Keep trade-item and recording keys separate. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

ISRC is not ISWC

One recording can embody one musical work but the identifiers serve different rights layers. Swapping them breaks royalty and metadata systems. Keep code type explicit. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Track title is human-readable metadata

Track titles can be translated, transliterated or localized according to platform policy. Changing the title does not change the ISRC. Use the code as the recording anchor. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Artist name is identity metadata

Performers may have official stage names or transliterations. Translating a stage name literally can create another identity. Use authoritative artist naming. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Featured artist roles matter

Metadata can distinguish primary, featured, remixer and producer roles. Flattening roles can affect credits and discovery. Translate role labels precisely. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Version title matters

Live, remix, radio edit and acoustic labels can distinguish recordings. Dropping the version phrase can make two ISRC-linked assets look identical. Preserve version meaning. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

ISWC identifies a musical work

CISAC defines ISWC as a unique permanent identifier for musical works. It does not identify recordings, broadcasts or sheet-music products. Preserve the ISWC. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

ISWC has a structured format

The written code contains T, nine digits and a numeric check digit. Dots and hyphens can be used for readability under the standard. Do not translate the code. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

ISWC prefix T is not a title abbreviation

The T belongs to the identifier structure. Replacing it with a local-language initial breaks the standard form. Preserve T. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

ISWC remains with the work

The identifier persists regardless of copyright status or changes in agreements. A new publisher or royalty split does not create a new musical work identity. Keep the ISWC stable. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

ISWC does not encode rights shares

CISAC states that the code does not indicate ownership shares. A target should not imply that the number identifies a particular publisher share. Keep rights metadata separate. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

ISWC does not identify recordings

A composition can have many recordings with different ISRCs. Using the ISWC for a track master collapses work and recording layers. Preserve both when supplied. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Work title can change or have aliases

Musical works may have alternate titles across territories. The ISWC anchors work identity through title variation. Translate titles while preserving the work code. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Creators are part of ISWC metadata

Composer, author and arranger information supports work identification. Changing role labels can alter perceived authorship. Translate roles accurately. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Creator IPI numbers add another identity layer

Music-rights metadata can include IPI identifiers for interested parties. Those identify creators or publishers, not works. Keep person/entity and work IDs separate. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Arrangements can have distinct work identity

ISWC rules allow identifiers for arrangements or adaptations where appropriate. A translation of lyrics can itself be treated as a work version under relevant registration processes. Do not infer new ISWC assignment from translation alone. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Lyrics-only text is not automatically an ISWC work

ISWC eligibility concerns musical works composed of sounds with or without text. Text alone falls outside the ordinary musical-work definition. Use source registration data. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Preferred and archived ISWCs can exist after merges

The modernized ISWC system can mark preferred versus merged identifiers. Historical data can therefore contain an archived code. Preserve source-period code and current preferred cross-reference separately. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Duplicate-looking work titles need creator context

Many songs share the same or similar title. Title translation can increase collisions. Use ISWC and creator metadata together. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

ISAN identifies audiovisual works

ISAN is an ISO-standard identifier for audiovisual works and versions. It is not a music recording or musical-work code. Keep ISAN namespace explicit. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

ISAN is a 24-digit hexadecimal number

The core identifier uses hexadecimal structure. Letters A-F are data, not abbreviations. Preserve case and characters. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

ISAN has root, episode and version components

The structure separates the root work, episodic component and version component. Removing sections can change what asset is identified. Keep the full identifier as required. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

ISAN check characters support transcription validation

Printed forms include check characters to help detect errors. Dropping them for neatness weakens validation. Preserve official display form. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

ISAN prefix is a display label

Printed ISANs use the ISAN label before the number. Translate surrounding explanation, not the core identifier. Keep standard presentation. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Root identifies the core audiovisual work

A film or series root can anchor related episodes and versions. The root alone is not always enough to identify a specific version. Keep component scope visible. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Episode component distinguishes episodic content

Episodes under one root can receive different episode components. Using the series root for every episode loses episode identity. Preserve episode data. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Version component distinguishes edits or language versions

ISAN supports different audiovisual versions such as edits or language-related versions. A dubbed or subtitled version can require version-level identity. Do not collapse version and root work. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Title translation does not replace ISAN

Film and episode titles often vary by market. The persistent audiovisual identifier anchors the same work across languages. Translate title metadata separately. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

ISAN does not identify rights holders

The number identifies the audiovisual work, not ownership. A target should not treat the code as a rights-party identifier. Keep rights metadata separate. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

EIDR identifies audiovisual assets

EIDR provides globally unique identifiers for audiovisual works and related assets. It can represent movies, television, games, radio programs and other asset types within its registry model. Preserve EIDR IDs. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

EIDR supports complex asset relationships

The registry can represent edits, dubs, clips and other related audiovisual assets. A single title can therefore correspond to multiple distinct EIDR records. Keep relationship type visible. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

EIDR is interoperable with other identifiers

EIDR records can carry alternate identifiers such as ISAN or other database IDs. Alternate-ID mapping does not make the namespaces interchangeable. Preserve both. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

EIDR resolution uses DOI infrastructure

EIDR IDs can be resolved through DOI-related infrastructure. The resolver link is not the same thing as the title. Keep URL and asset identity separate. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Audiovisual title is human-readable metadata

Film and episode names can be translated or localized. The EIDR or ISAN identifier remains the asset anchor. Separate title and ID. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Release title can differ from underlying work title

Theatrical, streaming and regional editions can use different release names. A title mismatch does not automatically mean a different work. Verify through persistent identifiers. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Dubs and subtitles can create version distinctions

Language versions can be distinct audiovisual assets or versions depending on the identifier system. Translation teams should not assign IDs themselves. Use registry metadata. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Clips and promos are not full works

EIDR can model short related assets. Using the parent film identifier for a promotional clip can misidentify the object. Keep asset type explicit. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Series, season and episode relationships matter

Television metadata contains hierarchical levels. Flattening every item to the series identifier breaks episode-level distribution. Preserve hierarchy. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Music videos can have both ISRC and audiovisual identifiers

A music video may be identified as a recording under ISRC and as an audiovisual asset under another system. The same content can therefore carry multiple valid identifiers. Keep namespace and purpose visible. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Soundtrack recording is not film work

An audio recording from a film can have ISRC while the audiovisual film has ISAN/EIDR. Using the film ID for the recording breaks rights metadata. Separate media layers. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Composition in a film has its own ISWC

A musical work appearing in an audiovisual production can have its own work identifier. Cue-sheet translation should preserve work and recording IDs. Do not collapse music into film identity. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Cue sheets combine many identifier systems

One cue sheet can contain work title, ISWC, recording ISRC, composer IDs and audiovisual identifiers. Row shifts can attach the right code to the wrong cue. Use role-aware structured QA. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Metadata language can vary by territory

Streaming services can display localized titles and descriptions. A persistent identifier provides continuity across locales. Use it as the stable key. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Character normalization can damage IDs

Dashes, spaces and punctuation can be normalized by publishing tools. Structured codes may no longer match registry search. Protect raw identifiers. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Leading zeros matter

ISRC, ISWC and audiovisual identifiers can contain zero-filled segments. Spreadsheet conversion can remove them. Store all media identifiers as text. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Hexadecimal letters matter in ISAN

A-F characters are part of the numeric representation. Lowercasing or translating them is unnecessary. Preserve official form. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Spreadsheets can corrupt media codes

Long identifiers can be interpreted as numbers or dates. Formatting damage can happen before translation. Import as strings. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

CSV needs explicit namespaces

A generic identifier column can contain ISRC, ISWC, ISAN, EIDR, UPC or internal asset IDs. Without a type column, records can be mislabeled. Store namespace and asset type. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

OCR can misread music and film codes

Scanned contracts and cue sheets can confuse letters and digits. A one-character error can point to another asset or fail lookup. Verify against official registries. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Machine translation should lock IDs

MT can add spaces or translate prefixes. A fluent target can become unusable for rights systems. Protect identifiers before translation. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Translation memory can carry another track’s IDs

Album metadata and episodic catalogues are repetitive. High TM matches can reuse stale identifiers. Populate codes from current source records. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Search-and-replace can damage many assets

Bulk punctuation or capitalization changes can alter entire catalogues. One editorial command can break thousands of identifiers. Restrict edits to translatable fields. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Worked example: one song and one recording

A fictional musical work has one ISWC while a studio recording has one ISRC. The target translates title metadata but preserves both codes. Explain composition versus master recording. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Worked example: film and version

A fictional film has an ISAN root and a dubbed version identifier. The target localizes title and language metadata while preserving work/version identity. Keep version scope visible. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Worked example: EIDR alternate identifier

A fictional EIDR record contains an ISAN as an alternate identifier. Both can refer to related audiovisual identity through different systems. Do not overwrite one namespace with the other. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Error clinic

Common failures include ISRC/ISWC swaps, leading-zero loss, title-based merging, ISAN version truncation, and assigning parent IDs to clips or episodes. These errors can survive fluent entertainment metadata. Run dedicated media-identifier QA. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Release checklist

Asset type, identifier namespace, title, version, creator/performer roles, episode hierarchy and registry relationship all need verification. Checking only translated titles is insufficient. Validate tokens and asset relationships. A strong reviewer checks both directions: start from the target title and credits and confirm the identifier, then start from the identifier and confirm the same asset type, creators, recording/version information and hierarchy.

Frequently asked questions

ISRC, ISWC, ISAN and EIDR IDs should not be translated. Users often ask whether a song and its recording share one code. Explain work, recording and audiovisual asset identity separately. Treat titles, descriptions and role labels as translatable, the media identifier as protected, and the asset relationship as something to verify after export. This prevents a correct code from being attached to the wrong recording, work, episode or version.

Connection to eduKateSG architecture

This specialist owner protects media identifiers rather than broad music distribution or audiovisual translation. Existing music-industry pages already own rights and distribution systems. Use this page for identifier integrity. The practical test is registry traceability. A reviewer using only the target should be able to resolve the same recording, musical work or audiovisual asset without guessing from a translated title.

Authoritative sources

IFPI ISRC, CISAC ISWC, ISAN International and EIDR maintain the systems discussed here. Platform metadata can include proprietary IDs alongside standards. Verify the governing registry before changing any identifier. For catalogues and feeds, store identifiers as text with explicit namespace and asset-type fields. Exclude them from locale formatting, spelling correction and generative rewriting while allowing descriptive metadata to be translated normally.

Reference verification route

For recordings, use the official IFPI ISRC resources. For musical works, use the official ISWC service. For audiovisual work identity, use ISAN International and EIDR. These standards identify different creative objects, so production translation should preserve the identifier and clearly state the asset type it belongs to.

Translate | ISRC, ISWC, ISAN and EIDR IDs — Preserve Music and Audiovisual Work Identity Across Languages