Release a rerecording: separate the new performance from the old master

Define what was actually created

• Unchanged master in a new release package: the recording itself may be the same.
• Remaster of existing audio: describe the processing and creative changes rather than relying on the label alone.
• Remix or edit of existing material: identify the source recordings and the actual changes.
• New performance recorded again: treat it as a separate recording project, even if the song and artist name are unchanged.

Review the agreements before recording or delivery

Check ownership, exclusive licences, any rerecording restrictions and the composition permissions relevant to the project. Writing the song does not automatically cancel an agreement concerning its earlier master. The rights in the song and the recording are separate questions. Obtain suitable advice on unclear restrictions; this guide does not decide a contract dispute or promise that a new session avoids every existing obligation.

Prepare a new recording record

• Project name and the exact new performance or session reference.
• Approved final audio, credits and relevant performer and producer permissions.
• Song title and writers, kept separate from the new master’s identity.
• Appropriate identifiers and truthful version information.
• Rights scope, territory and the person authorised to approve delivery.
• How this new release will be described alongside the earlier catalogue.

Apply identifiers to the recording

IFPI requires distinct identification for new or materially changed recordings and says an unchanged recording keeps its existing ISRC when ownership changes. A routine remaster can remain fundamentally the same recording; significant creative change needs a different assessment. Check the ISRC decision worksheet rather than treating every new export as a new performance or reusing an old code for a new take.

An original decision example

An artist records a new acoustic performance of a previously released song. The team keeps the studio recording and its code in the old catalogue record, prepares the new session’s permissions and identifier, and reviews suitable version information. It does not describe the operation as a transfer of the studio master. This example illustrates the records to keep; it does not resolve the artist’s contract or guarantee how stores present the two versions.

Coordinate the release and any promotion

Use the release plan for the new project. Keep titles, artwork, credits and public descriptions accurate so listeners understand which performance they are hearing. If you reuse an old stem, sample or licensed beat, review that source permission as well. A new session date alone does not establish that all borrowed material is clear.

Keep the old catalogue question separate

Decide what happens to the earlier recording under its actual agreements. A rerecording does not automatically withdraw the old delivery, move its royalties or combine historical streams and playlists. For an authorised catalogue move use the transfer guide; for a deliberate withdrawal use the scoped takedown guide. Confirm the specific DistroBolt delivery requirements before submission.