Great music doesn’t just sound good; it tells a story, sparks emotion, and builds lasting connections. However you contribute to the music, the way it’s presented matters - it’s what helps it truly connect with listeners.
This guide provides best practices for formatting music, artwork, and metadata to ensure your releases are properly represented and easy to discover. By following these standards, you help create a consistent and compelling experience for audiences across all platforms.
These guidelines align with the standards and requirements shared by our digital service provider partners and are essential for ensuring smooth delivery and optimal presentation across all major platforms. All content is reviewed to make sure it meets the highest standards for quality and presentation, to help ensure everything looks and sounds its best before it goes live.
Style Standards and Guidelines
Content Guidelines Table of Contents
- Unacceptable Content & Practices
- Artwork Asset Requirements
- Audio Asset Requirements
- Metadata Requirements
1. Unacceptable Content & Practices
The following types of content or practices are considered unacceptable. Such content may be rejected from distribution. Repeated submission of unacceptable material may result in actions including, but not limited to, suspension of submission privileges, removal of existing catalog, or termination of the distribution agreement.
1.1 - SEO Terms Policy
Generic Terms as Names or Titles
Do not use generic names or SEO terms as artist names, album titles, or track titles. Product titles or versions that appear to be intended to mislead or confuse listeners or are designed solely to rank for search terms or algorithms are prohibited. This includes, but is not limited to:
Genres or descriptors such as: White Noise, Yoga, Music for Dogs, Lo-Fi, Speed Up, Workout, Meditation, Baby, Christmas, Top Hits, Chorus, Orchestra, Singer, Rock, Hip Hop, Smooth Jazz.
Search terms such as: Sleep Music, Music for Concentration, Chill, Chillout, Lullabies, Speed Music, Lo-Fi Beats, etc.
Specific, creative, or branded names that differentiate the product or artist are allowed.
Artist Name Examples:
❌ Incorrect: Workout
✅ Correct: Cardio Rhythm Project
❌ Incorrect: Music for Dogs
✅ Correct: Pet Care Therapy Players
❌ Incorrect: Baby Music
✅ Correct: Baby Lullaby Academy
Multiple Artists Used to Increase the Visibility of Products
Do not use multiple artist names on a single product solely to boost discoverability or visibility. Artist collaborations should be genuine and accurately credited.
Example:
❌ Incorrect: Primary Artists: Cardio Rhythm Project, Pet Care Therapy Players, Baby Lullaby Academy
✅ Correct: Primary Artists: Cardio Rhythm Project
No SEO-Driven Titles
Avoid using product titles or track versions that are designed solely to exploit common search engine keywords. These reduce content quality, confuse listeners, and clutter digital service provider platforms.
Examples:
❌ Incorrect:
- Sleep Music for Deep Rest
- Music for Concentration and Focus
- Chillout Vibes
- Best Baby Music
- Relaxing Meditation Sounds
- Lofi Hip Hop Beats to Relax/Study To
- Chill Sleep Playlist
- Workout Hits 2025
✅ Correct:
- Dream Echoes: Music for Nightfall
- Lucid Waves
- The Focus Suite, Vol. 1
- Calming Pulse
- Fireside Reverie
- Beneath Still Waters
1.2 - Duplicate, Repetitive, or Mislabeled Content
Content that is duplicated, mislabeled, or repackaged intentionally or otherwise is not permitted.
The following types of duplicated content are considered unacceptable:
- Content resubmitted using slightly altered artist names or titles each time it is submitted
- A collection or compilation of tracks repackaged as a new UPC where the same configuration of tracks (regardless of track order) has already been distributed as another album
- Unnecessary compilations: near-identical greatest hits albums, holiday albums with near-identical track lists
- The same track audio is reused multiple times on the same album
- Tracks submitted with false ISRCs (not using your own personal, or Symphonic assigned ISRCs, but a third party’s ISRCs without their permission)
- Resubmitting the same track multiple times using different ISRCs each time
1.3 - Unlicensed Third-Party Content
Content created by other artists requires proper licenses to use either their composition or their recording. If third-party samples or compositions are used, Symphonic may request sample clearance, cover licensing, or other derivative works licenses to verify permission to utilize these works. Submission of third-party content without permission is not accepted, and content may be rejected if documentation/permissions cannot be produced.
1.3a - Uncleared Samples
Taking small or large parts of another artist’s song recording and using them within a new recording without permission is not accepted. Gaining permission from the rights holder of that recording to use pieces of their work is a process known as ‘clearing’ a sample. Cleared samples are allowed, but the process of clearing a sample is not always straightforward, and the rights holder retains the right to reject any requests they do not wish to accept, so in many cases, it may not be possible to clear a sample. Sample clearance must be done before submission of sampled content to Symphonic.
1.3b - Unlicensed Remixes
Remixing or reworking another artist’s song without their permission is not accepted. As with sample clearance, the rights holder must permit a remix or rework of their song before it can be submitted.
1.3c - Unlicensed DJ Mixes
Similar to remixes, a DJ mix is a collection of songs remixed together. DJ mixes require permission from all rights holders of all content used to use them in a mix and to distribute them.
1.3d - Unlicensed Derivative Works
Other miscellaneous derivative works that cannot be accepted without the publisher-rightsholder’s permission consist of the following:
- Cover songs that change the melody of the song.
- Cover songs that change the lyrics of the song.
- Samples of other artists’ cover songs
- Karaoke versions of third-party content aren’t allowed unless you control the rights to the original recording as well.
You can use the following databases to view publisher information:
ASCAP, BMI, SESAC, US Copyright Office, Mechanical Licensing Collective
1.3e - Re-releasing Unowned Content
Taking another artist’s songs/albums and submitting them is not permitted. Attempts to do this with the original artist names/titles or altered names/titles or any other minor alterations will result in termination of the distribution agreement.
1.3f - Unlicensed Remastering
Remasters, as with remixes, must be done with permission from the original rights holder. Remastering other artists’ works and attempting to submit them is not allowed.
1.3g - Bootlegs
A bootleg is an unlicensed recording of a musical performance. Bootlegs are typically recordings of an artist’s live performance taken by a third party (such as a concert attendee), and as these recordings are not sanctioned by the performers/rights holders, they are not allowed. Sometimes bootlegs come directly from the studio but were never authorized by the artist or rights holder, such as demos or outtakes. Other examples of bootlegs include:
- Unlicensed Radio Broadcasts
- Live Albums
- Rare/Early Recordings
- Leaked Recordings
- Interviews
1.3h - Advertisement Tracks
Songs that include full or partial advertisements - such as spoken messages promoting the album, other tracks, or unrelated content - are not permitted. All audio within a track must be part of the artistic work itself, not promotional material.
1.3i - Exceptions & Licensed Content
Some third-party content may be acceptably used without a license or agreement in rare cases, such as public domain content, although some digital service providers may not accept public domain content. Public domain typically includes works published before 1923, but works created after this date may vary as to when they enter the public domain. This includes:
- Public Domain Compositions - This is common in classical music, for example, where an older composition within the public domain can be used and performed by an artist without a license.
- Public Domain Audio - Submitting an unedited original public domain recording as your own work is not permitted. Sampling parts of a public domain recording for use in a new song may be accepted. Public domain audio samples may make your content ineligible as a reference sample for UGC platforms.
- Properly Licensed Content - When proper licensing/permission has been gained from the rights holder, or for covers where the compulsory mechanical license is used and properly followed, submissions of third-party derivative content may be accepted.
1.3h - Non-Exclusive Content
Non-exclusive content refers to music that is distributed or licensed to multiple parties without a single exclusive owner. While this type of content may be permissible in some cases, it presents significant challenges on digital platforms that use automated content recognition, fingerprinting, or rights-claiming systems. When multiple parties distribute recordings that contain identical non-exclusive elements (such as the same leased instrumental or sample), it often leads to conflicts and disputes between distributors, artists, or labels, all of whom may not hold exclusive rights to the work.
Symphonic reserves the right to remove certain services from any content we determine to be non-exclusive. This ensures compliance with platform policies and helps protect the catalog from disputes, de-monetization, or takedowns.
1.4 - Impersonation or Mimicry
Content that seeks to emulate the audio recordings, names, titles, images, or likeness of popular artists or other major popular culture, such as movies, books, TV shows, titles or characters, isn’t allowed.
1.4a - Soundalikes
Sound-alikes, cover versions, or tribute songs that sound very similar or identical to the original aren't accepted.
1.4b - Unauthorized AI-Generated Content
AI-generated sound recordings that use or depict the recognizable or synthetic voice of an artist without their consent are not permitted. Similarly, recordings that use an artist’s name, image, or likeness in a manner that imitates, suggests association, or implies authorization, without the artist’s consent, are prohibited. This includes any content that may mislead listeners into believing the recording was created by, endorsed by, or officially connected to the artist.
1.5 - Artificial Streaming
Content or activity that unfairly attempts to increase royalty share is not accepted. This includes plays, creations, or views generated by automated means as well as metadata or asset practices that alter the content in some way to attempt to increase interaction artificially rather than organically.
1.6 - Unlawful or Objectionable Content
Content submitted must not violate any laws, contribute to or encourage infringing or otherwise unlawful conduct, or otherwise be obscene, objectionable, or in poor taste.
1.6a - Cultural Sensitivities
Topics such as conflicts or wars, local religions/practices, or historical events, for example, may be sensitive subjects in certain regions or across the world. Some countries may censor or prohibit content for religious, political, or moral reasons. Content must be legal and appropriate for the region, country, or territory where it is submitted, and local cultural sensitivities should be considered and respected when submitting content.
1.6b - Nazi Symbols & Propaganda
Content must not include Nazi symbology as restricted by the Strafgesetzbuch section 86a. References to Nazis and major Nazi figures are generally not allowed, regardless of context. Nazi propaganda in varying forms is prohibited.
1.6c - Hate Speech
Content that includes offensive, discriminatory, or pejorative discourse targeting a group or an individual based on inherent characteristics such as race, religion, or gender is not allowed.
1.6d - Calls to Real World Violence or Harm
Content that incites, promotes, or glorifies real-world violence or harm is not permitted. This includes any material that encourages physical injury or harm directed at individuals, groups, or the public, such as terrorism or hate crimes.
1.6e - Sexual Violence
Content that depicts, describes, promotes, or trivializes sexual violence is not permitted. This includes any material that references non-consensual sexual acts, assault, coercion, or exploitation, whether explicit or implied.
1.6f - Pornographic Content
Pornographic content is not permitted. This includes explicit material with descriptions or imagery of sexual acts presented in an overtly explicit or gratuitous manner, or content that focuses primarily on sexual stimulation rather than artistic, narrative, or educational context.
2 - Artwork Asset Requirements
The following rules are to ensure the quality of album artwork meets the standards of our digital service provider partners.
2.1 - Cover Art Quality
Cover art must not be low quality, pixelated, misaligned, rotated, or have other quality issues. Common artwork issues that should be avoided include:
- Pixelated Artwork - When the pixels of the artwork are clearly visible to the detriment of the image.
- Compression Artifacts - Unwanted distortions of the image caused by file compression, which is often expressed by a noticeable blurry “bleed” effect in the image or an image “noise” where halos or other haziness is seen on the edges of objects in the image.
- Misaligned Image - When part of the image is clipped or cropped, such as text only partially visible in the image, while some of it goes beyond the border of the image.
- Rotated - When an image is erroneously rotated, such as the whole image rotated 90 degrees.
- Stretched Image - Typically, when the image is designed for a non-square format and the artist stretches the image to meet the square requirement. This causes visible warping and gives the image an unprofessional appearance.
For an exhaustive list of cover art quality issues, please see our Album Art Specifications.
2.2 - Cover Art Accuracy
Inconsistencies between the artwork and the release metadata - such as mismatched artist names, album titles, or track references - are not permitted. Any text displayed on album artwork that refers to information about the release, such as the artist names, titles, and any other identifying information, must correspond exactly to the metadata information provided on that release.
2.3 - Use of Third-Party Images
Use of third-party imagery in album artwork is not permitted without documented permission from the rights holder of that artwork. This includes any content that may infringe on intellectual property rights. Prohibited material includes, but is not limited to:
- Logos, character designs, or imagery from films, television shows, books, podcasts, theatrical productions, or other well-known brands, including music industry services and distributors
- References to or visuals from social media personalities, brands, or platforms
- Titles, names, or likenesses associated with existing entertainment franchises or studios
All artwork must be original or properly licensed, and must not mislead or imply affiliation with any third-party entity.
2.4 - Restricted Terms & Feature References
Release artwork must not include certain terms or marketing phrases that either misrepresent the product or duplicate digital service provider features already displayed through platform-specific badges or metadata.
The following types of terms are not permitted in cover art:
Availability-based phrases, including but not limited to:
- Exclusive
- Limited Edition
Ringtone References such as:
- Tone
- Alert Tone
- Text Tone
- Ringtone
- Ringtone Version
Digital or Physical Content References such as:
- Digital
- E-Release
- Digital Only
- Digital Download
- Digital Single
- E-Album
- CD
- 2 CD Set
- Casette
- DVD
- Vinyl
- VHS
Audio quality or format descriptors, including:
- Dolby Atmos
- Atmos
- Lossless
- High-Resolution Audio
- High Resolution
- HD Audio
- Spatial Audio
- 24-bit
- 192 kHz
- 128 kHz
- 96 kHz
- 8D Audio
Platform-specific references to features that are already indicated by platform badges or metadata, such as:
- Clean Version
- Explicit Version
- Apple Digital Masters
- Dolby Atmos
- Lossless
Such terms must be excluded from both the release metadata and visual artwork to maintain consistency with platform display standards and to avoid redundant or misleading labeling.
2.5 - References to Pricing
References to pricing in artwork are not allowed. Don’t include price tags or other references that refer to the price or even the free nature of the album/tracks. Don’t include phrases such as:
- Reduced Price
- Low Price
- Available for $9.99
- Available for Free on Streaming
- Free Music
- For Promo Use
2.6 - References to Rights or Ownership
Releases must not include references to terms such as “royalty-free”, “copyright-free”, “public domain”, or similar phrases in any part of the title, artist name, artwork, or metadata. These terms can be misleading and may create confusion regarding the ownership, licensing, or usage rights of the content. Inclusion of such language is not permitted, regardless of the actual licensing status of the material.
2.7 - Visual Links
Album artwork must not contain visual link elements such as QR codes, barcodes, or similar symbols. This includes, but is not limited to:
- Scannable QR codes
- UPC or EAN-style barcodes
- Fake or decorative versions of codes that resemble scannable formats like QR codes or barcodes
- Visual prompts implying interactivity (e.g., “scan here,” “click here”)
3 - Audio Asset Requirements
Digital service providers often have minimum standards for multiple aspects of audio files. Below is a list of requirements and best practices laid out by our partners. Please see our audio file specifications for more information on allowed file types and other requirements and recommendations.
3.1 - Audio Quality
Audio quality is essential to delivering a professional and enjoyable listening experience. High-quality audio preserves the full detail, depth, and dynamic range of a recording, ensuring that the music is heard as intended by the artist or producer.
3.2 - Low Quality Audio Issues
Audio files should be free of all defects. Common issues to avoid are:
- Static or Hissing - Unintended background noise or audio interference
- Clicking or Popping Noises - Often caused by poor editing, clipping, or recording artifacts.
- Extremely High or Low Volume - Audio that exceeds the sensible bounds of high or low volume can cause issues such as clipping, or audio that is too quiet or too loud to conform to digital service providers’ loudness norms. Loudness recommendations can be found here.
3.3 - Extended Silence at Beginning or End of Track
Silence at the beginning or end of a track must not exceed 10 consecutive seconds. Silent gaps in the middle of tracks are acceptable. Extended silence at the beginning or end of a track generally adds no creative value to the track and creates a poor listening experience as listeners begin or end the track.
3.4 - Audio Duplicated with Another Track on the Release
The same audio file must not be used repeatedly on the same album. Attempts to resubmit the same audio by slightly modifying or cropping the audio may result in suspension of submissions and a review of the current distribution agreement.
3.5 - Audio Ending Abruptly or Starting Mid-Track
Incomplete audio that begins or ends abruptly is considered defective and is not accepted. Please ensure audio files are intact prior to submissions.
3.6 - Silent Tracks
Silent, hidden, and ghost tracks must be clearly labeled as such in the track title, for example: Title: Nothing (Silent Track)
3.7 - UPC & ISRC Codes
Each audio release, as well as each audio file, requires a UPC and an ISRC code, respectively. Symphonic can either assign a code, or one can be provided by the artist/label. Codes entered must be owned by the user and cannot be 3rd party codes or codes already in use on different products.
For products that are being transferred to Symphonic, you may use the original UPC or ISRC codes from the previously distributed versions of the same songs or albums.
4 - Metadata Requirements
Digital service providers have specific metadata requirements that must be followed. Fields such as artist name, title, genre, and other identifiers may be subject to platform-specific formatting rules, naming conventions, or content restrictions. All metadata must comply with these standards; failure to comply with metadata requirements may result in corrective action, including forced modifications to the release's metadata or even removal of the content by the platform. Accurate and correct metadata is essential to ensure proper delivery, discoverability, and acceptance by digital service providers.
4.1 - Title Accuracy
Titles must be accurate and properly formatted. Don’t use generic or placeholder titles such as Track 1, Track 2, or Instrumental unless they are the actual, intended name of the track.
4.1a - Additional Information
The title field must not include additional non-title information such as artist names, versions, release dates, track numbers, search terms, or references to partner features like Hi-Definition Audio, Dolby Atmos, etc. Information that is already clearly designated by tags such as the parental advisory tag for “explicit” or “clean” content should likewise not be included in title fields.
4.1b - Product Type
Don’t include product types such as “single” or “album” in titles; partners that wish to display this type of product information will have this information inserted automatically by Symphonic. EP designations can be included in titles if provided in a specific format: the title must be formatted as “Title Name EP” such as “Ethereal EP”.
4.1c - Volume & Part
The terms Volume and Part, when referring to a series, must be abbreviated with 'Pt.' and 'Vol.' Titles should be formatted as 'Title, Vol. x' and 'Title, Pt. x', where 'x' is a number; both Arabic and Roman numerals are acceptable. Don't use this information in version fields. For example:
Album Title:
Dead Presidents, Vol. 1
Track Title:
The Payback, Pt. 1
4.1d - Language Specific Requirements
Certain languages may have certain special formatting requirements.
Sentence Casing
Swedish, French, Italian, Danish, Norwegian, Icelandic, and Finnish languages all must follow sentence casing as opposed to standard title casing. Sentence casing is a capitalization style where only the first word of a sentence, title, or heading is capitalized, along with any proper nouns.
Sentence Case Examples:
Album Titles
Histoire de Melody Nelson - The first letter of the title and the first letter of the proper noun name are capitalized
Fånga mig när jag faller - The first letter capitalized, no proper nouns present
German Casing
German titles should use sentence case, and the first letter of every noun should be capitalized.
German Casing Examples:
Album Titles
Dicke Mädchen haben schöne Namen - The first letter of all nouns is capitalized
Was ihr wollt - Sentence casing, no nouns present
Cyrillic Languages
Languages that use the Cyrillic alphabet, such as Ukrainian, Belarusian, and Russian, must use Cyrillic when these languages are selected. Latin alphabet titles submitted using these languages are not accepted. Translations to English, for example, should use the English translation field.
Cyrillic Example:
Ukrainian Album Title
Зеленi очi
English Translated Title
Green Eyes
Arabic
Arabic content must be submitted using Arabic script. Transliterations may use the English translation field.
Arabic Example:
Arabic Album Title
خاتيا
English Transliterated Title
Khatia
4.2 - Versions
The version field should be used to differentiate the release or track from the original song or album, or to add information to identify the content.
4.2a - Original Versions
Original versions of albums or tracks must not use the version field. These versions must leave the version field blank to indicate it is an original version. For example, titles/versions must NOT include:
- Album Version
- Original Version
- Main Mix
- Previously Unreleased
- Reissue
- Original
- Official Audio
- Official Version
There is one exception to this rule: Original Mixes.
Original Mix - For certain digital service providers like our electronic partners, Original Mix information may be accepted. To have content appear with this version designation, use the exact phrase “Original Mix” in the version field. This information will not display at certain partners that do not use such terms.
4.2b - Album Versions
Album versions should be used for alternate album versions that differ from the original album. Common examples of acceptable album versions are:
- Live Version - For live albums, you must include “Live” in either the release title or in the release version. Live content in Spanish must use “En Vivo”, and live content in Portuguese must use “Ao Vivo”.
- Deluxe Version - A deluxe version of an album must contain additional new tracks that were not present in the original version.
4.2c - Track Versions
Track Versions should be used for alternate versions of a track that differ from the original track. For one-track releases, the album version and the track version are required to match. Common acceptable track versions are:
- Live Version - For live versions, you must include “Live” in the mix version. Live content in Spanish must use “En Vivo”, and live content in Portuguese must use “Ao Vivo”.
- Instrumental - A non-vocal version of the original track.
- Radio Version - Typically, a shorter version of the original track meant for radio play, these versions are also sometimes clean if the original was explicit. In this case, it is acceptable to call the clean version of a track the radio version as long as it is also marked as clean with the parental advisory checkbox.
- Extended Version - A longer version of the original track. An extended version should not be shorter than the original track in duration.
- Acoustic - Used for acoustic instrument versions.
- Unplugged - Another way to refer to an acoustic version.
- Cover Version - Do not include original artist/band information or other additional information in the version field for covers. “Cover Version” or “Punk Version” are acceptable examples.
- Remastered Versions - Remastered versions must indicate the year of the remaster. For example, a version could be “Remastered 2017”.
- Remixes - When remix versions are used, the remixer must be credited with the remixer role, and the original artist of the original song being remixed must be credited as primary. Do not credit the remixer with the primary role. You may indicate the remixer’s name in the mix version, such as “Nero Remix”.
4.3 - Names & Credits
All artist names and contributor credits must be complete, accurate, and properly categorized at the time of delivery. Credits should be assigned across all applicable roles, including performance, production, engineering, composition, and lyric writing.
4.3a - Main Artists
Main artists are the primary creators, contributors, and performers of a release, and are the artists who will be most prominently displayed on partner platforms. They should be credited accordingly to reflect their leading role in the work. Main artists generally consist of primary artists, and to a lesser extent, featuring and remixing artists. When crediting a group, ensemble, or collective as a main artist, do not credit the individual members of that group as Main Artists alongside the group itself.
Primary - Primary artists at the release level are considered the main artists on the release, while primary artists on a track are considered the main artists for just that specific track. If the same Primary artist is listed on every track, that Primary artist must be listed at the release level as Primary. Main performing Primary artists that are listed on the majority of tracks on a release should generally also be listed at the release level as Primary as well.
Featuring - Special guests or supporting artists should be credited using the Featuring role, as appropriate. Artists assigned a Featuring role must not be designated as Primary. In cases where the Primary artist is a collective or group, individual members should not be separately credited as featured artists.
Remixer - For remix tracks, the original artist must be credited as the Primary artist, while the individual responsible for the remix must be credited with the Remixer role.
4.3b - Writer Credits
Credits related to the underlying composition or lyrical content must be accurately assigned at the track level.
When contribution details are known, use the Composer role to credit the creator of the musical composition, and the Lyricist role to credit those who authored the lyrics. If a contributor was involved in both, or if the specific nature of their contribution is unclear, the Songwriter role should be used.
For works of unknown authorship - such as folk songs, traditional hymns, or Gregorian chants - the composer should be credited as Anonymous or Traditional. Use of these roles without proper justification may result in the content being rejected.
4.3c - Production Credits
Credits such as Producer, Recording Engineer, and Graphic Designer must be assigned to the appropriate individuals involved in the creation of the release. If these roles apply consistently across all tracks, they must also be credited at the album level.
Credits should be assigned to the actual personnel responsible for production or engineering tasks, not to studios, production companies, or collective entities. These contributors must not be designated as Primary artists at either the album or track level unless they have a separate non-production performing role that is defined by a contributor credit.
4.3d - Specific Performer Contribution Credits
A specific performer is any artist, group, or instrumentalist who can be audibly identified on a track or album. Each performer must be credited with the appropriate role that reflects their contribution, such as vocals, guitar, drums, or keyboard, at the track level to ensure clarity and accuracy. Only contributors who appear audibly on the recording should be assigned performer roles.
When individual members of a group or band are credited as performers, there is no need to also credit the band as a performer.
Roles such as Producer, Composer, or Lyricist are considered non-performing roles. Artists credited solely in these categories and not as specific performers should not be assigned Main Artist status.
4.3e - Various Artists
When five or more different Primary artists are credited across the tracks of an album, the album-level Primary artist must be set to Various Artists by using the Various Artists checkbox in the Release Details. This will credit Various Artists as the only Primary artist at the album level as required by our partners. Do not manually enter Various Artists or variations of this phrase, such as V/A, V.A., Various, Various Artist, or Varios, etc., into any artist field. Combinations such as “Various Artists and John Smith” are similarly not permitted.
For one-track singles, do not use Various Artists - all Primary artists must be listed at both the album and track level on these products.
For scores and musicals from stage, film, or television, Various Artists must not be used. In these cases, the album-level Primary artists should be the composer and lyricist. Principal performers may also be credited as Primary artists at the album level where appropriate.
4.3f - Compound Artist Names
Each artist field must only contain one artist name. A compound artist is when multiple artists have been erroneously entered into a single artist name field; compound artist names are not allowed. For example, the name “Ariana Grande & Nicki Minaj” would be considered a compound artist. The names entered separately, such as Artist 1: “Ariana Grande” and Artist 2: “Nicki Minaj” would be correct.
Reverse Compound Artist Names
In some cases, there are artists that are generally always listed together as a band, and not as separate artists; these are considered reverse compound artist names and are acceptable.
Examples include:
- Simon & Garfunkel
- Anderson Bruford Wakeman Howe
- Brooks & Dunn
- Katrina & The Waves
- Dizzy Gillespie & His Fab Five
Artists that are merely collaborators and not a formal group or band should not be considered Reverse Compound Artists and should be listed separately.
4.3g - Curated Artists
Our Digital Service Provider Partners may, at times, curate an artist page. This means that any content delivered to this page may require additional clearance in order for the content to be delivered and go live. Symphonic may, at times, request additional information regarding the nature of the content you are submitting and any relevant release or rights information to ensure you are the owner or licensor of that content.
4.4 - Metadata Language
The metadata language is essentially the language in which the release is displayed. If a language such as English is chosen, then the titles and versions of the release should be provided in English.
Language Alphabets
Using another alphabet, for example, Korean Hangul, instead of English, when English was chosen, is not allowed. In general, listeners should be able to read the titles of the content being provided. If the wrong metadata language is chosen, or the titles are provided in other language alphabets, then listeners may not be able to search for albums or read their titles. Don’t use multiple locales or alphabets within the same title, artist name, version, or other fields.
For example, don’t use names or titles such as: Red Wood 木
Side-by-side Translations
Side-by-side translations are not allowed. Side-by-side Translations are titles where the title is provided multiple times in different languages, such as:
Side-by-side Translation: Fire 火
The proper way to present the title would be either “Fire” or “火”, depending on whether English or Japanese metadata languages were selected.
Emojis
Emojis are not allowed in the title, version, name, lyric fields, or other metadata.
4.5 - Audio Language
Each track must be designated as vocal or non-vocal. For vocal tracks, an audio language must be provided. This audio language should match the main language used in the vocals on the track.
For tracks with multiple languages, use the main language sung or spoken. In cases where multiple languages are evenly sung or spoken, you may use either language.
4.6 - Explicit Content & Parental Advisories
Explicit content refers to audio, visual, or textual material that contains strong language, graphic descriptions, or references to violence, sex, drug use, or other subject matter that may be considered offensive, inappropriate, or unsuitable for younger audiences.
Common examples of explicit content include:
- Profanity or vulgar language (spoken, sung, or written)
- References to sexual acts
- Drug or alcohol use (including slang terms and brand mentions)
- Violent language
Each track must be tagged with an appropriate parental advisory. There are three options for parental advisories:
- Non-Explicit - This means that the content is natively not explicit and that no version of this track has explicit content.
- Explicit - This version of this track contains explicit content.
- Clean - This version of this track does not contain explicit content, but another version does.
Do not include the words explicit, clean, or non-explicit in any metadata fields such as track titles, versions, or album titles. The explicit content checkbox is the only method for indicating whether a track contains explicit material. When content is correctly tagged with this checkbox, the release will appear with correct parental advisory tags on partner platforms.
When submitting both clean and explicit versions of a track, virtually all metadata should remain identical except for the explicit content designation. This ensures consistency and proper grouping across platforms.
4.7 - Genre Requirements
Certain genres have special formatting and metadata standards due to long-standing industry conventions and platform-specific guidelines. These genres require additional attention to ensure accurate classification, discoverability, and presentation across Digital Service Providers (DSPs).
4.7a - Classical
Use the Classical genre for all releases that fall within the Western classical music tradition. This includes music composed from approximately A.D. 800 to the present day, encompassing styles from the Medieval, Renaissance, Baroque, Classical, Romantic, and Modern eras.
Classical content requires a variety of additional information, such as work numbers, movements, titles, keys, tempo markings, etc. For public domain works, most classical works can be found on the International Music Score Library Project website.
Classical Composers
Composer names must be properly credited and distinguished from performers. Do not tag composers who did not also perform on the track as primary. For example, Mozart should not be credited as a primary artist, as he lived prior to audio recording and cannot possibly be a performer on any recording.
Classical Album - Performing Artists
Classical performers must be credited with the primary role; the featuring role is not used in this genre. For the following types of content, ensure proper credits are provided:
- If the same orchestra and conductor perform the entire recording, credit both as Primary.
- If the same conductor performs with different orchestras, credit only the conductor as Primary.
- If the recording features multiple orchestras and multiple conductors, credit Various Artists as Primary.
- For concertos with the same orchestra and conductor but different soloists, credit the orchestra and conductor as Primary.
- For collections with multiple performers (e.g., songs performed by different singers and accompanists), credit Various Artists.
- For a complete opera, credit the conductor, orchestra, and all principal vocal soloists listed on the cover as Primary.
Classical Tracks - Performing Artists
All performers who contribute significantly to a track must be marked as Primary Artists. Do not use “Various Artists” at the track level.
Use the following rules to assign Primary Artist credits:
- For a violin sonata with piano, credit both the violinist and the pianist as Primary.
- For a concerto, credit the soloist(s), orchestra, and conductor as Primary.
- If a track features an orchestra with a prominent soloist, credit the orchestra, soloist(s), and conductor as Primary.
- For a choir with instrumental accompaniment, credit the choir, accompanist(s) or orchestra, and conductor as Primary.
- If the full artist details are unknown (e.g., vintage recordings), include as much accurate performer information as possible.
- For an ensemble, credit the ensemble name only — do not list individual members as Primary.
Classical Album Titles
The album title must include the composers, followed by a colon, followed by the work titles, catalog numbers, or type of works, such as Sonatas or Preludes.
If an album is composed and performed entirely by the same artist, the composer does not need to be included in the album title.
If an album has an exact release title, such as The Most Beloved Classical Masterworks, that title may be used.
Examples:
- Monteverdi: Vespro della Beata Vergine, SV 206
- J. S. Bach: Jesu, meine Freude, BWV 227 – Vivaldi: Gloria in D Major, RV 589
- Haydn: Complete Symphonies, Vol. 1
- W. A. Mozart: Requiem in D Minor, K. 626
- Beethoven: Violin Concerto in D Major, Op. 61 – Brahms: Symphony No. 1, Op. 68
- Schubert & R. Schumann: Piano Sonatas
- Chopin: Preludes & Nocturnes
- Tchaikovsky: The Nutcracker & Swan Lake (Highlights)
- Stravinsky: Le sacre du printemps
- Britten: Choral Works
-
The Most Beloved Classical Masterworks
Classical Track Titles
Track titles must be complete, correctly formatted, and consistent with classical naming conventions. Classical works often have multiple elements to identify them, which must be listed in a specific format and order. In general, for works that consist of movements, use the following format:
Name of Work in Key, Catalogue Number or Opus: Movement Number. Movement Title
For example:
Cello Suite No. 1 in G Major, BWV 1007: I. Prelude
Cello Suite No. 1 (Name of Work) in G Major, (Key) BWV 1007: (Catalogue Number or Opus) I. (Movement Number) Prelude (Movement Title)
Key, Catalogue number, and Opus number are not required in the case that they do not exist in context for a composition. In such a case, you may use the format of:
Name of Work: Movement Number. Movement Title.
For example:
The Carnival of the Animals: XIII. The Swan
In some cases, an alias may be used in place of the full title, such as:
Alias: Gymnopédie No. 1: Lent Et Douloureux
Full title: Trois Gymnopédies in D Major, IES 26: I. Lent et douloureux
Classical Crossover Genre
Use the Classical Crossover genre for music that blends classical elements with nonclassical styles, audiences, or marketing. This genre is appropriate for releases that do not strictly follow the conventions of the Western classical repertoire, but still exhibit classical aesthetics or involve classical performers.
Classical Crossover applies to the following types of music:
- Popular music performed in a classical style (e.g., orchestral arrangements of pop songs)
- Classical works reinterpreted or performed in a popular or contemporary style.
- Music outside the standard classical repertoire, performed by an artist whose primary genre or public recognition is rooted in classical music.
- Music that follows classical aesthetics (e.g., structure, instrumentation, tone) but is created or performed by artists primarily known for nonclassical genres.
- Music with classical characteristics that is intended for a nonclassical audience or marketed as such.
- Music that does not clearly fall within the historical lineage or compositional tradition of Western classical music.
- Compilation albums that mix classical and nonclassical tracks and are marketed primarily to nonclassical listeners.
Important:
Do not use the Classical or Classical Crossover genre for albums that fall outside of the Western art music tradition, such as new age, soundtrack, folk, meditation, or similar genres. These should be classified more accurately based on their primary musical style and intent.
4.7b - Soundtrack
The soundtrack genre should only be used for actual Original Soundtracks. Do not select this genre for soundtrack covers or music that sounds like it could be in a soundtrack.
Soundtrack Albums
Soundtrack albums should indicate that it is an original soundtrack in the title, with media information about the type of soundtrack it is. Here are some examples of various common soundtrack information:
- Original Motion Picture Soundtrack - Interstellar (Original Motion Picture Soundtrack)
- Original Score - Guardians of the Galaxy (Original Score)
- Music Inspired By the Film - Dazed & Confused (Music Inspired by the Film)
- Original Off-Broadway Cast - The Threepenny Opera (Original Off-Broadway Cast)
- Original Game Soundtrack - Dragon Age Inquisition (Original Game Soundtrack)
- Music from the Original TV Series - Cosmos: A Spacetime Odyssey (Music from the Original TV Series), Vol. 1
Single Tracks from a Soundtrack or Selections from a Soundtrack/Compilations
Single track releases that come from a soundtrack should indicate in the title field the name of the soundtrack they originate from.
Format:
Title (From “Name of Film”)
Example:
Luke and Leia (From "Return of the Jedi”)
Soundtrack Covers
Soundtrack covers or other versions must not include the movie or media information title if the track isn't from the original soundtrack. Use only the original title of the track.
Ex.
Luke and Leia
4.7c - Opera
Titles for operatic works must follow structured formatting to ensure clarity and consistency across all releases. Track titles must begin with the name of the opera, followed by relevant act and scene details (when applicable), and then the title of the specific selection. Formatting should be consistent and match one of the formats below:
Opera Selections
Opera Title, Catalog Number: Selection Title
Example:
Don Giovanni, K. 527: Il mio tesoro
Opera Selections with Nicknames
Opera Title: First Line of Aria or Libretto Text (Nickname or Common Title)
Example:
La traviata: Libiamo, libiamo… (“Brindisi”)
Complete Opera Recordings with Act and Scene
Opera Title, Act [Roman Numeral] Scene [Arabic Numeral]: Selection Title
Example:
Falstaff, Act III Scene 2: Tutto nel mondo è burla
Opera Selections with Character Names
Opera Title [Catalog Number, if applicable], Act [Number]: Selection Title (Character[s])
Examples:
La bohème, Act II: Quando m'en vo (Musetta)
A Midsummer Night’s Dream, Op. 64: Now until the Break of Day (Oberon, Tytania, Puck, Fairies)
If character information is provided on one track in a release, it must be included for all other operatic selections to maintain consistency.
4.7d - Musical
A musical can be any performance where the actors sing in character. A musical can be a stage show (Hamilton), a motion picture (The Greatest Showman), a television show (High School Musical), or all of the above (The Rocky Horror Picture Show). Musical genre is found under Soundtracks but the genre has additional partner rules.
Musical Albums
For Musicals, the composer and lyricist (or Music Director) must be listed with the Primary artist role at the album level as the first listed artist.
Musical Tracks
The composer and lyricist must be credited with the composer and lyricist roles at the track level. Vocalists must be credited as Primary Artists at the track level.
Musical Example:
In this example, for the musical Frozen, Robert Lopez and Kristen Anderson-Lopez are composer and lyricist, respectively.
Album Title
Frozen (Original Motion Picture Soundtrack)
Album Primary Artists
Robert Lopez (Primary 1)
Kristen Anderson-Lopez (Primary 2)
Christophe Beck (Primary 3)
Idina Menzel (Primary 4)
Kristen Bell (Primary 5)
Track Title
For the First Time in Forever
Track Artists
Kristen Bell (Primary 1)
Idina Menzel (Primary 2)
Track Contributors & Writers
Kristen Bell (Vocals)
Idina Menzel (Vocals)
Robert Lopez (Composer)
Kristen Anderson-Lopez (Lyricist)
4.7e - Karaoke
Karaoke versions of original content are allowed as long as rights to the original recording are owned. In general, this means that only Karaoke of your own content or content you have licensed is allowed.
Karaoke Artist Names
For Karaoke, the name of the original artist must not be displayed in any artist field on the track level or the album level. The Karaoke track must have a different artist listed than the original; this helps prevent customer confusion by separating Karaoke works onto their own separate artist pages.
Karaoke must not be used as the artist name unless it is part of the legal entity name, such as The Karaoke Kangaroos or All Star Karaoke.
Karaoke Versions
Karaoke songs must indicate that they are an instrumental or karaoke version. For example, the version should be either “Karaoke Version” or “Instrumental Version”.
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