Often we advise our clients to obtain an ISRC Code, but what exactly is a ISRC code, where can I get one and how do I apply to the tracks on the cd......
WHAT IS AN ISRC CODE?
The 'International Standard Recording Code' (or ISRC code) is a unique identification system for sound recordings and music video recordings. Each ISRC code identifies a specific unique recording and can be permanently encoded into a product as a kind of digital fingerprint. It can then used for sales tracking by the music download and streaming platforms. So whether your music is being played in Skegness or Sweden, it will be instantly recognised, all thanks to your ISRC code.
Is an ISRC code the same as a barcode?
No. ISRCs are for individual tracks/recordings. Barcodes are for the complete product (album/ep/single) that the tracks come together to make.
What does an ISRC code look like?
An ISRC Code follows a standard template and looks like this:
Let’s break that down:
IE is the country (US for United States / IE for Ireland / AU for Australia)
LFP is the unique letters assigned to your record label (at Ditto Music our code is LFP)
19 is the year
12345 is a unique number assigned by the label themselves. Most record labels assign them sequentially so their first recording of 2016 would be IE-LFP-19-12345
HOW DO I GET AN ISRC CODE?
You can get an ISRC code from the PPI Ireland or similar MCPS / IMRO organisation
And you should never pay for ISRCs. They are always free.
WHY DO I NEED AN ISRC CODE?
Thinking of skipping the ISRC code? Think again! Digital stores will NOT put any track on sale without an ISRC code – they need it for sales tracking.
Also remember, each individual track needs to have a different ISRC code. It’s the recording not the track that it’s attached to. Same applies to releasing music physically. So if you want to release a single online with a couple of remixes, a live version and a b-side, each track will need its own code.
WE WILL APPLY YOUR ISRC CODE FREE OF CHARGE TO ALL OF YOUR TRACKS - JUST ASK !!!
The Eco-Pak is the exceptional alternative to standard jewel case packaging. Made entirley from thick card, the packaging is shatterproof and allows great graphic display. Originally used for the album packaging of leading musicians, this packaging option are now priced reasonably enough to be used for any CD or DVD project. It can be made to accommodate a booklet either by placing in a die-cut slot or gluing onto one of the panels. In addition, the panels can be increased from 4 to 6, 8 or more.
Choose either a Gloss or Matt or Semi Matte / Semi Gloss finish as a finish on the Cardboard Case Album.
OK you spend all that money perfecting your next single release. Its time to get it out to the radio stations or upload to Spotify, but do you really want to send a compressed mp3 to the DJ. Surely it wasn't recorded in a compressed format, is it not best to send high quality wav on cd or FLAC.....
Here we explain the different audio formats and how you could be losing out.....
There are two types of audio quality: lossless and lossy. Lossless music keeps all the audio quality of the original source—in most cases, CD—intact, while lossy music compresses the files for space savings (though at slightly diminished quality). Lossless files include:
WAV and AIFF: Both WAV and AIFF are uncompressed formats, which means they are exact copies of the original source audio. The two formats are essentially the same quality; they just store the data a bit differently. AIFF is made by Apple, so you may see it a bit more often in Apple products, but WAV is pretty much universal. However, since they're uncompressed, they take up a lot of unnecessary space. Unless you're editing the audio, you don't need to store the audio in these formats.
FLAC: The (FLAC) is the most popular lossless format, making it a good choice if you want to store your music in lossless. Unlike WAV and AIFF, it's been compressed, so it takes up a lot less space. However, it's still a lossless format, which means the audio quality is still the same as the original source, so it's much better for listening than WAV and AIFF. It's also free and open source, which is handy if you're into that sort of thing.
Apple Lossless: Also known as ALAC, Apple Lossless is similar to FLAC. It's a compressed lossless file, although it's made by Apple. Its compression isn't quite as efficient as FLAC, so your files may be a bit bigger, but it's fully supported by iTunes and iOS (while FLAC is not). Thus, you'd want to use this if you use iTunes and iOS as your primary music listening software.
APE: APE is a very highly compressed lossless file, meaning you'll get the most space savings. Its audio quality is the same as FLAC, ALAC, and other lossless files, but it isn't compatible with nearly as many players. They also work your processor harder to decode, since they're so highly compressed. Generally, I wouldn't recommend using this unless you're very starved for space and have a player that supports it.
The Lossy Formats: MP3, AAC, OGG, and More
For regular listening, it's more likely that you'll be using a lossy format. They save a ton of space, leaving you with more room for songs on your portable player, and—if they're high enough bitrate—they'll be indistinguishable from the original source. Here are the formats you'll probably run into:
MP3: MPEG Audio Layer III, or MP3 for short, is the most common lossy format around. So much so that it's become synonymous with downloaded music. MP3 isn't the most efficient format of them all, but its definitely the most well-supported, making it our #1 choice for lossy audio. You really can't go wrong with MP3.
Most MP3 encoding software allows the user to select the bit rate when converting files into the MP3 format. The lower the bit rate, the more information the encoder will discard when compressing the file. Bit rates range from 96 to 320 kilobytes per second (Kbps). Using a bit rate of 128 Kbps usually results in a sound quality equivalent to what you'd hear on the radio. Many music sites and blogs urge people to use a bit rate of 160 Kbps or higher if they want the MP3 file to have the same sound quality as a CD.
Some audiophiles -- people who seek out the best ways to experience music -- look down on the MP3 format. They argue that even at the highest bit rate settings, MP3 files are inferior to CDs and vinyl records. But other people argue that it's impossible for the human ear to detect the difference between an uncompressed CD file and an MP3 encoded with a 320 Kbps bit rate.
AAC: Advanced Audio Coding, also known as AAC, is similar to MP3, although it's a bit more efficient. That means that you can have files that take up less space, but with the same sound quality as MP3. And, with Apple's iTunes making AAC so popular, it's almost as widely compatible with MP3. I've only ever had one device that couldn't play AACs properly, and that was a few years ago, so it's pretty hard to go wrong with AAC either.
Ogg Vorbis: The Vorbis format, often known as Ogg Vorbis due to its use of the Ogg container, is a free and open source alternative to MP3 and AAC. Its main draw is that it isn't restricted by patents, but that doesn't affect you as a user—in fact, despite its open nature and similar quality, it's much less popular than MP3 and AAC, meaning fewer players are going to support it. As such, we don't really recommend it unless you feel very strongly about open source.
WMA: Windows Media Audio is Microsoft's own proprietary format, similar to MP3 or AAC. It doesn't really offer any advantages over the other formats, and it's also not as well supported. There's very little reason to rip your CDs into this format.
Quality graphic design is expensive and can be time consuming. Thats why we at CD Duplication Ireland offer this service free of charge. In fact we are the only cd manufacturing company that design your album or single artwork free of charge.
In order for us to re-create your unique design we will require the following
1) Choose what you want designed.... Supply High resolution pictures and indicate what your cover picture should be etc
2) Write the design brief... any specific details - type of font to be used etc
3) Email us your track listing / credits and make sure spellings are correct
There is are quite a few good reasons as to buy your music on cd or vinyl, one in particular is quality but here is interesting article published just this week by cnet - which debates this issue...its definitely food for thought
The fact is, no one has to buy recorded music any more. Most of it is available when and where you want it on YouTube for free. You could also pay for a Spotify, Apple Music, Tidal, or whatever subscription. It's basically a rental, which is really convenient, but also has its downsides.
Based on my very unscientific polling on YouTube, Facebook and Twitter, the folks who buy and collect music are more likely to spend time listening without multitasking. That makes sense to me -- they loved the music enough to buy an LP, CD or download, so their interest was more than casual. They have a deeper connection with music.
Another reason to buy music on LP, CD, or Bandcamp is to support, financially, the bands you love. Many of the collectors who talked to me are adamant in their beliefs that subscription services are cheating artists.
Rock icon Peter Frampton, for example, isn't exactly cleaning up with streaming services. He tweeted this in August of this year: "For 55 million streams of, 'Baby I Love Your Way', I got $1,700. I went to Washington with ASCAP [American Society of Composers, Authors, and Publishers] last year to talk to law makers about this. Their jaws dropped and they asked me to repeat that for them." A lot of musicians and composers feel cheated by the subscription companies.
Another collector reinforced that point. "As a musician, it's a huge difference between what we make from the sale of a CD, or even a download, let alone vinyl, versus a subscription, which is streaming. The difference is an order of magnitude. If you want to support an artist, buy the physical media, or buy an actual download, preferably from their website or Bandcamp."
In 2018 bands still record music, but its prime function is to promote the band for live shows, which are generally more lucrative. If they're not famous, they probably have little or no expectation of making much income from recorded music. So they record less and less. The band's legacy isn't what it could be.
Another friend tweeted, "I still own the first CDs I bought back in 1992. With streaming, your favorite recording might be deleted overnight. CDs allow you to decide exactly how to build up your library. With streaming you must wait for the service to make a deal with a label, which might never happen."
Someone else said, "...it really comes down to a sense of physical permanency, a footprint of my musical history. That being said my listening now encompasses digital download and streaming as well as CD/vinyl."
When you stop paying for your music subscription, you have nothing. Buying a worthwhile music collection has intrinsic, lasting value. Many of my LPs and CDs are worth many times more than I paid for them. Think about it, a $10-a-month subscription adds up to a $120 a year, in five years that's $600! You could have bought a lot of music with $600.
No doubt subscriptions make sense for a lot of people, but if you really love music enough to see it as something you want to have a long term relationship with, consider buying it. You also get the added benefit of supporting the bands you love by buying a piece of their recorded legacy
1. Don’t print lyrics unless you have sufficient space
Are you thinking of cramming the lyrics to 12 songs onto a four-panel digipack? Where are you going to put the album credits, copyright info, and crowdfunding thank-yous? Who’s going to be able to read that tiny font anyway? Lyrics in the album packaging are great – if you can read them.
2. Don't include social media URLs
Remember when everyone put their MySpace addresses in their album art? How 2005! Social media sites come and go. Even Facebook may soon be yesterday's news. So, consider not putting your social media URLs in your album art. It'll date you. Instead, you absolutely should put your own website's URL in the album art. That will never go out of style; your web address is eternal.
3. Envision your album cover as a thumbnail
The majority of people who encounter your album will do so online. They’ll see a smaller version on digital music platforms like iTunes, Spotify, and Amazon, or on review sites and blogs. Often it will appear as small as a thumbnail. Before you commit to an album cover design, shrink it way down. Does it still capture your attention? If so, you’ve got a winner. If not, try a different approach for your album cover.
4. You might not need your artist name or album title on the cover
Conversely, because most people will see the album online (where retail stores, blogs, and review sites will display your artist name and album title next to the cover), it's less important that your band name and album title appear in bold on the cover art – though that approach worked wonders for The Black Keys. In fact, you might not need them there at all, especially if your CD or vinyl package comes with a sticker on the shrinkwrap that does have your artist and album name. You can let the internet (and that sticker on the packaging) do the magic of conveying the facts, and then use that extra visual space for some great design.
5. Design in CMYK and not RGB
A big no no is design your artwork in RGB. CMYK is the print format that should be applied to all cd / vinyl artwork - we have more on this on our blog.
6. Get your fans to interact with you online
Putting your website address in your CD booklet is fine (and you totally should do that, of course), but if you can offer a little something extra, you'll increase the chances that someone who bought your album will go online and check out your site. Make sure the text in your album art mentions that visitors to your website will get access to an exclusive download, essay, PDF, etc. – in exchange for an email address.
7. Album covers with faces get more attention
We don’t really have any hard data to back up this claim (though it'd be interesting to look into), but for many of us at CD Baby who see hundreds of new album submissions every day, it seems like album covers that feature actual human faces draw more attention to themselves than ones that have... something else. Maybe it's just that feeling of personal connection which comes from seeing someone's eyes, or that you can get an instantaneous sense of the artist's musical style and aesthetic based on his or her fashion, posture, the setting of the photo, etc. But something about those covers (when done well) seem more immediate and engaging.
8. If you’re not going to feature a human face, make sure your design is striking and original
Your album design shouldn't just look cool. It should convey something about your musical style and even your personal beliefs. For a great example of a record that breaks the rules and sends a message with its album art, check out Aphex Twin’s Syro, where the cover shows an itemized list of every expense that went into creating and marketing the record (instrument costs, promotional meet-and-greets, advertising, etc.).
9. Minimalism is in
This is probably related to number three and number four above, but the starker the image, the more it seems to capture our attention. Maybe the modern sensibility is, "Things'll get shrunk, so things should stay simple." After all, it'd be really difficult to make out all the faces on the cover of Sgt. Pepper’s when reduced to a thumbnail.
10. Print your artist and album name clearly on the spine
Imagine your CD is sitting on the shelves of a radio station library. Can you find the disc among all those other albums? Many DJs are still heavily reliant on CDs, and they need to be able to pull your disc off the shelves quickly. It's for this very reason that many stations don’t even accept albums sent to them in thin sleeve packaging. So if you’re serious about a radio promotion campaign, you should consider packaging your CDs in digipacks or jewel cases, and then be sure that the writing on the spine is big, bold, and highly legible.
MP3 is a file format. It is a digital object which contains data. That data can be read by a program and interpreted as music, speech, or other sound. Fun! There are many different files which can store sound, each with its own respective parameters, strengths, and weaknesses. MP3 is among the most common because it is compatible with many different programs, it compromises fidelity and quality for speed and size-efficiency, and it is a generalized tool rather than a specific one (meaning it is useful in more places for more people and thus proliferates). MP3s, like many other audio formats, can be put on a CD, whether for storage or playback.
CD is a physical format. It is a physical medium (an optical disc, to be more detailed) that stores digital data which can be read by a device and interpreted as all sorts of things. This commonly means programs (games, antivirus suites, graphic design utilities, music or video, etc), but nearly any sort of file can be written to a CD—text documents, pictures, proprietary work project files, business card information, and so forth. In some ways, it is like a tiny portable hard drive, unlike MP3 which is a way of organizing information in a self-contained way on something like a hard drive.
Audio CD is a CD (physical medium) which is designed for audio, or is pressed or burned with audio data. Formally released audio CDs will generally meet particular industry standards, ones which surpass your run-of-the-mill blank CDs. Those blank CDs can also be burned with audio data and play similarly to CDs which were pressed by a factory, but most burning processes will not follow the same exacting standards of professionally created audio CDs. The term “audio CD” is often useful in situations where multiple kinds of discs or disc content are included in a product or it is not clear what form certain content will be taking.
So, digital files and physical formats are different because they are different kinds of technologies serving different purposes. They are related insofar as they can work together for us to meet particular goals, like playing some music while driving, but they are independent tools and different types of objects.
Audio CDs are a particular kind or use of CDs. Sometimes it means that the disc is a special kind of disc which is designed for or mostly limited to burning audio, other times it simply indicates that a disc contains audio (as opposed to video, a program, or other data).
One final thing to mention is that audio CDs should contain lossless audio sources (usually burned as WAV files)—putting MP3s on a CD means you are losing out on quality and versatility. If MP3s are all you have, you can still put them on a CD, whether for archiving or to make a playable disc, but it is better to get the original files or highest quality copies desired when putting audio on a CD. This is particularly true if you are wanting to play something through a speaker system, sell a product, or share audio files with someone who will be using them for something more than just listening (such as composing music or doing forensic analysis).
The compact disc is a miracle of modern technology. Here are some facts:
They are made principally of injection-moulded polycarbonate.
The diameter is 120mm.
They are 1.2mm thick.
They contain up to 680 megabytes of data. This is the equivalent of 250,000 double-sided leaves (500,000 pages) of A4 text (which would be 83 feet high and need 8 trees to make).
The music on a CD is imprinted in the form of pits of varying length on a spiral track 3.52 miles (5.66 kilometres) long.
There are approximately 16,000,000,000 pits 0.11 micro-metres deep.
The largest pit dimension is 3.054 microns; the smallest is 0.833 microns.
The width of the pits is half a micron -- which is the distance a human hair grows in two minutes and a fingernail in seven minutes. It is 700 times smaller than a pinprick.
The space between tracks is 1.6 micro-metres.
Read by a red-light laser beam, the CD plays from the centre to the edge, rotating at a speed varying from 400 times a minute at the beginning to 250 times a minute at the end. This is equivalent to flying round the earth one inch above the surface, up to 400 times a minute, counting every blade of grass on the way.
Your CD is read by the laser beam and makes over 44,000 arithmetical calculations every second in at least two dimensions. It is adding up columns of numbers ('digits'). But many of the numbers are missing because there are thousands of errors on the average CD. Therefore the numbers are added up laterally as well as vertically, enabling the CD-player to fill in the missing numbers by cross-checking them. This is all quite normal and is called 'error correction'.
When a disc is inserted into a CD player, the disc’s track is scanned by a low-intensity infrared laser with a 1-micrometre-diameter focal point. In order for the laser to maintain a constant scanning rate, the disc’s rotation rate decreases from 500 to 200 revolutions per minute as the light beam spirals out from the disc’s centre. (Some CD players use two additional lasers to help control the disc’s rotation and the scanning laser’s focus.) When the light beam strikes a land, it is reflected back to a photodiode, and an electrical pulse is generated. When the light beam strikes a pit, however, no electrical pulse is generated. This is because light reflected from the pit, which has a depth of approximately one-quarter the wavelength of the scanning infrared beam (0.78 micrometre), is out of phase with light reflected from the adjacent separation track, and thus the reflected light is reduced below the level necessary to activate the photodiode. Each “dark” pit on the track is interpreted (based on its length) as a sequence of 0s in binary logic, and each “bright” land is interpreted (again based on its length) as a sequence of 1s. A device known as a digital-to-analog convertor is necessary to translate—and correct for data misread because of minor surface blemishes on the disc or imperfect laser alignment—this binary information into audio signals for playback (see alsodigital-to-analog conversion). The standard CD will hold more than one hour of music.
The laser scanning method employed in compact disc playersAn infrared laser is focused onto the metallic reflective layer of the disc, where a spiral track of “pits” and “lands” represents the zeros and ones of digital signals. The return signal is converted by a photodiode sensor into a digital electric signal, which is converted to analog form for reproduction of the original recorded sound. Optical recording, introduced by Sony Corporation and Philips Electronics N.V. in 1982, allows accurate reproduction of sound over virtually the entire range of human hearing.E
One of the most common questions we get asked at CD Duplication Ireland is, how come the names of the tunes dont appear on my CD .... here lies the answer
It's important to do the following:
Upload Your CD Metadata to Gracenote
Gracenote is a free service that maintains and licenses an Internet database of album content and information. It is through Gracenote that services like iTunes and Windows Media Player have your album info and share it with millions of users. Below is a step-by-step guide on how to upload your finished project using iTunes to the Gracenote database.
To upload, you will need a physical copy of your album (ideally a final pressing), iTunes, and a reliable Internet connection.
UPLOADING VIA ITUNES (v10):
Place your CD into your computer’s disk drive.
When iTunes opens up, DO NOT import the CD into your library. Simply click “No” in the dialog box.
Select your first track then right click and select “Get Info”.
Fill in all the information in the “Get Info” tab, then click “Next” and continue the process until all the tracks have information.
Now, within iTunes, select the “Advanced” tab and click “Submit CD Track Names”.
Wait 2-3 days. Gracenote has many servers around the world, and sometimes it can take a little while to make it to all of them. Then, place the CD back in your drive. Now go to “Advanced” and select “Get CD Track Names”.
The album information is now coming from the Gracenote servers.
The steps are similar if you are using earlier versions of iTunes. For example, If you are using v1, follow the guide below:
Gracenote may think that your album information has already been uploaded. If this is the case, simply hit “Cancel” on the dialog box and continue with steps 1 and 2 from above.
Go to “Options” and select “Submit CD Track Names”.
A new “CD Info” box will pop up. Fill that with the applicable information and then hit “OK”.
An “Accessing Gracenote” scroll bar then dialog box informing you that your information has been uploaded to Gracenote.
Wait 2-3 days. Place the CD back in your drive and go to “Options” then select “Get CD Track Names”.
The album information is now coming from the Gracenote servers.
If there are any issues with your upload, please contact Gracenote support to diagnose your specific issue.
Below is a link that provides a similar step-by-step guide and answers to general FAQs that you may come across.
1. CDs sound way better than a digital file (usually). So many people are obsessed with these super-compressed file formats, but sometimes music just needs to breathe. Don’t believe me? Find a quiet place, grab a pair of really good headphones and listen to a downloaded version of a song then listen to the CD version. I’m talking over the ear studio-style headphones here, not those in-ear buds. Any person who considers themselves an audiophile should be able to tell the difference immediately. Sure, not every release by every band is available on CD but if you have the option then a CD should be a no brainer.
2. Digital files have no resale value in the market place. Even when you “buy songs” on iTunes, you don’t own the files but are merely just paying to license them for personal use. CDs can still be sold to a third party, legally. If you are caught selling digital music files, even if they are ones that you ripped directly from a CD you purchased, you are subjecting yourself to legal action as a “copyright infringer” or “pirate”, at least that’s how it is here in good ole ‘Murica. You can’t sell a digital music collection on eBay, but you CAN sell your CD collection (if you wanted to). Granted, the average market price for used CDs has gone down a bit since the digital revolution, but they’re still worth more than MP3s.
3. It’s technically two-for-one when you get a CD. The reason for this is because you already get a digital copy of the album when you purchase it. Not only can you “rip” it to your computer as digital files, but a lot of music retailers such as Amazon and Bandcamp are now including a free digital version of the album when you purchase a CD.
4. There is a sense of satisfaction with a large CD collection. One thing I definitely miss having is a huge CD collection. Regretfully, it was sold off in chunks over the years for reasons I’d rather not get into. However, there was a sense of pride with my CD collection, a vast library of multi-genre audible escape forged by nobody but myself. I was proud to show it off to friends and acquaintances. You don’t really get that with a hard drive full of music. Saying “I have a collection of over 1000 CDs” means something….it’s an accomplishment. But saying “I have over 20,000 songs in my iTunes” is just lacking in the wow department. These days, you don’t even know who purchased their music and who pirated it. So, to applaud someone with a large digital music library just seems unnatural to me.
5. Liner notes, pictures, and lyrics….oh my! This is cool if you really like the band and want to know who wrote each song and see exclusive photos and artwork. Sometimes you get the lyrics too; which is great for fans of Metal bands whose vocal deliveries may not be that comprehensible, as awesome as those bands may be it’s nice to actually know what they’re saying. Sure, you can probably just look up the lyrics online and sometimes you get additional content with an album download that has all the stuff in the CD booklet, but it’s just not the same. It’s so much easier to read a CD booklet on the shitter than it is to try and poop with a computer on your lap. I guess a tablet on the toilet wouldn’t be too bad, but not everyone has those. There is always the phone, but you put that up to your ear and near your mouth….do you really want to be touching that while you’re pooping? I sure don’t.
6. You can hold it! On the surface this may not seem like a big deal, but for some reason there is a greater sense of satisfaction when you can hold a CD and its packaging in your hands after you buy it. At least for me, there isn’t really anything you can see for your money after downloading an album other than the tracks being listed in your media library. You can’t hold a bunch of digital coding in your hands. Well I guess you technically are doing that with an iPod, but one iPod isn’t as impressive as 500 CDs when it comes to having a “collection.
To Replicate or Duplicate? What is more cost effective:
When bringing a project to the final stages of completion, the decision to replicate or duplicate must be made and there are many factors that can affect that decision.
Some of the factors influencing that decision are:
1. Quantity of the project.
2. Number of project masters.
3. How often will project code change.
In General, with the recent downturn in replication prices, if a project is the same master and requires more than 1000 pieces, it is probably most cost effective to have the project replicated. The added advantage of replication is it also includes quality silk screening to each piece giving it a store bought appearance. However, each project is different and in some cases duplicating the project is the better solution.
If you have a project that requires less than 1000 pieces or has many different masters, then the most cost effective method is to have the project duplicated. With duplication, you can dupe as few of each master as needed. With the recent advances in blank media surfaces and media printers, it is now possible to print quality graphics onto the surface of the blank media. You can also have the blank media silk screen or digitally printed prior to duplication.
If you have a project that will require code changes after so many copies are released, then duplication is they way to go because you can control the exact quantity that you produce. With replication, typical runs are a minimum of a 1000 pieces.
Give our Dublin, Kildare office a call on 014433116 or our Galway, Mayo office on 0949027722 or fill our our form and let our experienced staff help you decide on which method is the best way for you to produce your project.
If its replication or duplication is the answer to successfully completing your project, we have the equipment and experience to get the job done.
What is the minimum order I can place ?
Depending on your package selection, the minimum order can be as low as 10. Please note however this varies on printed inlay and cardboard parts but please contact us for more details.
How do I pay for my order ?
We accept Credit Card, Bank Draft, Bank Transfer, Personal Cheque & Paypal.
Do I send you the Master CD/ DVD ?
Master CD/DVD's should be sent to us via registered post - always create a backup disc and hold on to this. You may also send us Data files if you are creating a Data CD via email: firstname.lastname@example.org
Graphics & Art Work FAQ ?
We will Design your On Body Print Free of Charge. If you have photos text requirements etc that you would like on your CD - we would recommend you sending the files etc to us via email email@example.com- jpeg format for photos. Please contact us if you have any special requirements. Once our designers have finished your design we will email you a proof for your approval.
How much music can I put on a disc ?
The discs we use have a maximum capacity of 700MB or about 80 minutes of music. Some of this space is used up with space between audio tracks on audio discs or indexing information on data discs. To add up the total time of your audio tracks, add the time of all the individual tacks together and then add 2 seconds at the beginning of the disc and 2 seconds between each track to your total. For data disks, a general rule of thumb is to allow about 10 to 15 MB of space for indexing. So the maximum total size for files on our data discs is about 685 MB. In the event that the source files you submit to us do not fit on a disc, we will contact you.
What Copyright issues are involved with CD DVD Duplication ?
Duplication Ireland only duplicate your cds/dvds when you own a license to reproduce the information on the cd/dvd disc. We do not and will not duplicate any material that is copyrighted or is not your work.
How do I contact CD DVD Duplication Ireland ?
From Ireland: Tel: 094 90 2 77 22 - 087 68 77 501 Text: 087 6877 501 email: firstname.lastname@example.org International: Tel: (00353) 94 90 2 77 22 - (00353) 87 68 77 501 Text: 00 353 87 6877 501 email: email@example.com Text us your details and we will telephone you back
How would you like your very own Music Award... CD Duplication Ireland are delighted to reproduce Replica Music Awards. Be it your favourite artist, your own music group or a present for a loved one, we can design to your requirements.
Difference between RGB and CMYK in designing for print
One of the biggest mistakes you can make when designing for print is to assume it will look the same on paper as it looks on your computer screen. While it’s easy to see how this mistake can be made, it’s important to understand why you need to know the difference between RGB and CMYK colours when it comes to print.
RGB colour mode:
RGB is the colour scheme that is often associated with electronic display screens such as cameras, TV’s and computer monitors (like the one you are currently looking at). RGB stands for three colours:
R = Red
G = Green
B = Blue
These three colours are mixed together on a screen to create every other colour you see. RGB is an additive colour model. This means that the 3 main colours are mixed together to create the various range of colours that you can see on electronic platforms.
CMYK colour mode:
CMYK is the colour scheme that is used by printers to create the many colours that end up on your page. It is made up of four colours:
C = Cyan
M = Magenta
Y = Yellow
K = Black
The CMYK colour model is a subtractive model because it subtracts the brightness from white. The colours from CMYK also come from the RGB colours being mixed whereby cyan (C) is a mix of green (G) and blue (B), magenta (M) is a mix of red (R) and blue (B) and yellow (Y) is a mix of red (R) and green (G). Black is added to the CMYK model as the 3 RGB colours cannot be mixed to create the colour black.
What is the difference between RGB and CMYK?
Well, the main thing to remember is that RGB is used for electronic prints (cameras, monitors, TV’s) and CMYK is used for printing. Therefore, when you are designing something for print, you will be using the colours of RGB. However, when it comes to actually printing the end product, it will be printed in CMYK and not RGB.
This means when you are ready to print you must ensure your file is saved in CMYK format. Saving a file as RGB for print can sometimes impact on the way certain colours are printed meaning you won’t get the finish you are after. Most printers will convert your RGB file to CMYK but it can result in some colours appearing washed out so it is best to have your file saved as CMYK beforehand. You can save your artwork in CMYK format when you are first saving it. This way you will be able to get a good understanding of how your final piece of artwork will look should you decide to print a copy in house for review.
According to the Recording Industry Association of America (RIAA), there were at least two hundred and eleven million CDs sold in the United States as from 2013 to 2016. You might wonder, two hundred million? Really? Well, Yes. And do you know why? Because fans love physical products. It’s a pretty simple answer. In most cases fans like to have a physical reminder.
Secondly, CDs provide a great emotional connection with fans. Having a physical way to reach your fans, i.e. a CD, allows you to have a more personal style and therefore it lets you interact with them. A CD allows fans to showcase their taste in music, as well as give them a feeling of ownership. For example, after a concert, when a fan comes to you for an autograph, which of the following is the best? An autograph on a paper or on your own CD? The fan will be most thankful for an autographed CD, of course. Even if the world is moving to digital content, physical content still give the highest level of connection with fans. As an independent musician producing music, CDs are still important to your fans as it is their way of interacting with you. Also, technology made it cheap and easy to produce your CDs.
It is a source of income for musicians, bands and labels
In addition to this, CDs are a way to create revenue. As stated earlier, America had two hundred million CDs sold. This gives a rough estimate of, let’s say, 55% of the total album sales that year. This proves that people still love compact discs and that it is still the most popular disc format. So for any artist or band out there that are considering marketing techniques, CD revenue should also be included in their plans. It is still a great way to create revenue for your music career.
Music sounds better on CD
Most homes have surround speakers used for music and movies generally. If the quality of a music file is bad, the music will not be enjoyable at all. Compact discs have a good recording bitrate as compared to some digital music. They offer high fidelity files which do not lose audio quality. For those people who would want to listen to high-quality music, this is way better as compared to some digital music.
There are still many other benefits of CDs, but the main point is that they haven’t gone extinct yet, nor are they scarce. Therefore, musicians and bands should still consider them as a way of music distribution. We all know that digital marketing has its own benefits and that the world is evolving technologically. But CDs are here to stay thanks to their unique format.
Understanding the differences is important in determining which process is best for your project. A duplicated CD/DVD is not only created using a different process than a replicated CD/DVD, but the actual final product is also different.
There are two ways to make a copy of a CD or DVD. Information can be burned on to a blank CD/DVD-R; this method is called duplication. Information can also added during the CD/DVD manufacturing process; this method is referred to as replication.
Understanding the differences is important in determining which process is best for your project. A duplicated CD/DVD is not only created using a different process than a replicated CD/DVD, but the actual final product is also different. After the duplication process is complete, the final product is a CD-R or a DVD-R. Replication stampers for CDs produce CD-ROMs. (ROM means Read Only Memory). The final product in the DVD replication process is a DVD-5, DVD-9, DVD-10, or DVD-18.
CD duplication is similar to burning a CD/DVD on your personal computer. A CD/DVD duplicator extracts data from the master disc and writes it to a blank disc. The difference between burning multiple CD/DVD-Rs at a duplication facility and burning one on your computer desktop is that the duplication facility burns hundreds at a time on towers that are linked together. Each tower contains several CD/DVD trays so that many copies can be created simultaneously. After all the data has been written unto the blank CD/DVD-R, the information is verified with the master, and the process is complete.
CD/DVD replicates, on the other hand, are created during the manufacturing process. In other words, media like a CD/DVD-R does not exist before the process starts. Before the replication process gets underway, the client master is painstakingly evaluated for data corruption. Then, a glass master containing relevant data from client supplied master is created. Replication begins when a flawless glass master is assured. The glass master is used to develop a stamper. The stamper, in turn, is loaded into an Injection Molding machine that creates CD/DVD replicates. The quality of CD replication hinges upon the quality of the glass master's data. Through each successive step, quality and accuracy is consistently monitored to insure each disc is an exact replica or clone of the original. A layer of micro-thin aluminum is applied to the polycarbonate disc. It is then lacquered for additional protection and printed before packaging.
The client supplied master for CD-R and DVD-R duplication is the same, a CD/DVD-R. CD-ROM replication also requires a CD-R master. While a DVD-R is acceptable for DVD replication, most facilities prefer to work from a client supplied DLT or Digital Linear Tape.
Advantages of CD/DVD Duplication
The standard turn-time is 8-9 business days, even for runs up to 5,000 units.
Digital full color printing is available with no prepress charges.
Disadvantages of CD/DVD Duplication
The cost per unit for duplication is higher than replication.
DVDs can have up to 2 layers of information on each side of the media. DVD-R duplicates can have 1 layer of information on the entire DVD.
Most duplication facilities are small and are commonly limited to hand assembly of the media into packaging as a result of their low volume runs
Advantages of CD/DVD Replication
The unit costs are lower than duplicated discs.
Both offset printing and screen printing is available for replicated discs.
Replicated DVDs can contain 1 layer (DVD-5) of information, 2 layers on one side (DVD-9), 1 layer on each side (DVD-10) or 2 layers on each side (DVD-18). Many replication facilities are not yet set up for DVD-18 replication.
Most replication facilities, as a result of their high volume run capability, can auto assemble discs into jewel cases, paper/tyvek sleeves, amaray cases, or cardboard sleeves.
Disadvantages of CD/DVD Replication
The standard turn-time is 10-12 business days, longer for runs exceeding 100,000 units. Standard duplication turn times are approx 8 business days.
Most facilities have a minimum order requirement of 1,000 units.
Are There Noticeable Differences?
Both CD duplication and CD replication extract data from the original in the same way. In terms of manufacturing, however, this is where the similarities end. The finished product of either process performs in the same manner, although there will be difference to the eye depending upon the whether the discs are digitally, screened, or offset printed.
An ISRC (International Standard Recording Code) is an international means of identification of sound-recordings and music-video. THe ISRC code is unique to every record company/rights holder and can be used to identify royality payments.
In order to obtain an ISRC code we would suggest in Ireland to contact PPI tel: 01 2805977 or email firstname.lastname@example.org
Once an ISRC code is obtained we will happily include the code onto your cd audio tracks