# How to Prepare Materials for an Independent Release > Get the audio, credits, ISRC, cover art, and schedule organized for your next independent release before you send it to distribution. Author: Roye URL: https://wuse.works/en/blog/prepare-independent-music-release-materials/ ## What You Need Before Sending Your Release To prepare the materials for an independent release, first gather an approved final master, cover art ready for distribution, and one sheet with all the release details. Then review those three pieces as one delivery: if the audio says one thing, the cover says another, and the credits say something else, the problem shows up when you are already up against the deadline. Don’t start uploading files to your distributor only to find out later that a name is missing, the cover has incorrect text, or you still haven’t decided which mix version is going out. I recommend setting a release date only once your audio, artwork, and metadata decisions are locked. That way, the release stops feeling like a last-minute race. Think of it like preparing a bounce for an important delivery: it is not enough for it to sound good in your session. It needs to arrive with the right name, the right version, and the information that identifies it. - Approved master for every track - Final cover art with clear usage rights - Master metadata and credits sheet - Release date with enough time for delivery ## Lock the Audio Before Opening Your Distribution Platform The file you upload should be the master you genuinely want to release. Don’t use a bounce called “final_final_now_for_real” if you are still waiting for approval, a lyric correction, or a comparison between two limiters. Keep your source master and export a lossless file in a format your distributor accepts. There is no single specification that applies to every distributor. Some accept several audio formats, and their requirements can change, so it is worth checking the guide for the service you chose right before uploading. If you work in WAV, a 16-bit, 44.1 kHz delivery is common in certain workflows, but don’t treat it as a universal rule for every situation. Also prepare a quality-control listen. Listen to the exported file outside your DAW, confirm that it does not start late, has no accidental silence at the end, and matches the approved version. If it is an EP or album, listen through the full sequence: a transition that works inside the session can feel different when you hear the tracks back to back. Example: for a single called “Luz de madrugada,” keep the mix project, the approved master, and an easy-to-identify listening file. The distributor upload comes from the approved master; the other files stay as a record of your process, not as improvised substitutes. - Confirm which version is being released - Export a lossless format accepted by your distributor - Listen to the exported file outside the DAW - Check the beginning, ending, and duration before uploading ## Build a Master Metadata and Credits Sheet The master sheet keeps you from entering details from memory into every form. It can be a simple document, but it should become your one source of truth for the release. Write names exactly as they should appear: capitalization, accents, spaces, abbreviations, and punctuation. A small variation can split credits or connect a release to the wrong profile. Include the release title, track titles, sequence, primary artist, featured artists, and version title where applicable, such as “Acoustic Version” or “Remix.” Also add the release date, genre, availability territories, and explicit-content designation where relevant. Credits are not decoration to sort out at the end. Define each person’s roles at both release and track level: primary artists, featured artists, composers, lyricists, producers, and remixers where applicable. Check the spelling of each collaborator’s name with them before delivery. Correcting metadata later usually means the label or distributor has to submit an update. Include a column for the ISRC for each recording. An ISRC identifies a specific recording, not the composition or the whole album. Alongside it, save the primary artist, title, version, duration, content type, and first-release date. Do not reuse the code for a different recording; if you distribute the same recording across different territories or formats, keep its identification. If you still have questions about who did what, resolve them before uploading. To make the creative and administrative agreements around a song clear, [what to include in a music production brief for a collaborator](/en/blog/music-production-brief/) may help. - Copy artist names from one single sheet - Keep track title, artist, and version title separate - Review roles and credits with collaborators - Record the ISRC and its reference details ## Prepare Cover Art That Holds Up in Distribution Treat the release cover art and artist images as separate materials. The cover art identifies the song, single, or album; the artist photo is for profiles, press, and communication. Reusing the cover as a profile photo usually limits what you can do later. Start from a large square original. Apple Music requires a square image of at least 4000 × 4000 pixels and accepts JPG, PNG, or GIF. It also restricts elements such as URLs, barcodes, prices, branding, ads, and unauthorized visual material. Even if your distributor accepts a smaller image, working from a large original gives you room for other platforms. Before exporting, look at the cover reduced to thumbnail size. If the text is barely readable, don’t add more text to compensate: simplify it. Confirm that the artist name and title, if included, match your metadata sheet letter for letter. Also check that you are not using photos, logos, typefaces, or illustrations without permission. Example: if your cover uses a photo taken by a friend, it is not enough that they sent it to you in a chat. Make sure the usage for that release is clear, and save the editable file or original. That keeps you from having to rebuild the artwork later if you need a press version or an approved change. - Export a square original of at least 4000 × 4000 px - Check that the text and metadata match - Avoid URLs, prices, barcodes, and advertising - Save the original and an upload-ready version ## Make the Schedule Work for the Release Deliver the music with real lead time. Spotify recommends delivering an unreleased song at least seven days before its release date if you want to pitch it through Spotify for Artists; delivering it with that lead time puts the song in your followers’ Release Radar, but it does not guarantee editorial placement. That detail changes how you plan: a pitch is a chance to introduce the track, not a promise. Don’t leave your artist profile until release day. Once the music has been delivered, check that it appears connected to the right profile and claim access if applicable. Have a short bio, artist images, and the links you will use to communicate the release ready. You do not need to turn it into a huge campaign; you need people who arrive to find a coherent identity. Work backward from the release date. First block out time for final approval; then distributor delivery; then time to check the upcoming release and complete the pitch if you plan to use it. If a collaborator needs to approve credits or artwork, their review has to happen before delivery, not during the final countdown. A practical sequence could look like this: first, you lock the audio, cover art, and master sheet; then you do a joint review; after that, you deliver to the distributor; finally, you verify the profile, visible information, and communication plan. That order reduces cross-changes and lets you catch an odd detail before it is public. - Deliver at least seven days ahead if you will pitch on Spotify - Check the artist profile before release day - Get approvals before delivery - Verify visible details when the release is approaching ## Mistakes That Cost You Time When Releasing The most common mistake is mixing creative decisions with publishing tasks. If you are still debating the hook, the EP order, or the name of a collaboration, you are not at the delivery stage yet. Lock those decisions first and use an approval list so the whole team is working from the same version. Another mistake is thinking credits can be fixed with a social-media post. Profiles and services receive the information submitted by the distributor. It is better to check names and roles in the master sheet than to correct them once the release is already visible. Also avoid sending a messy folder to whoever is handling mastering, design, or distribution. You do not need to turn this into a file-management guide, but you do need to clearly identify which file is approved, which artwork is final, and which document contains the details. If you are going to work on a mix with other people before mastering, check out [how to give mix feedback and avoid endless revisions](/en/blog/mix-feedback/). Finally, don’t confuse a pitch with guaranteed placement, or a selected date with a secured date. Leave room for review. That calm beforehand shows more than a flood of messages the day before. - Do not upload a version that is still being discussed - Do not copy credits from scattered messages - Do not leave cover-art review until the last day - Do not promise playlist results because you sent a pitch ## Turn Preparation Into a Repeatable Workflow Once you finish this first pass, keep a template for your next release. Not to copy old details, but so you do not forget the key blocks: approved audio, cover art, metadata, credits, ISRC, date, and profile review. Every song will have different needs, but that foundation lets you focus on the music without dropping the practical side. If the release involves producers, featured artists, or anyone who needs to review a delivery, keep the project, its versions, and comments in one place. With wuse, you can organize release files, share deliveries, and document splits using the available features, so decisions do not end up scattered across messages and links. - Save a blank template for the next release - Centralize approval of audio, artwork, and data - Document splits with the team - Do one final review before publishing ## Frequently asked questions ### When should I create my song’s ISRC? Include it in your preparation before delivery and record it alongside the recording details. The first owner of the recording normally assigns it or manages its assignment. Confirm the specific workflow with your distributor or distribution contact. ### Is a song’s ISRC the same as the album’s? No. An ISRC identifies one specific recording. An album brings together multiple recordings, so every track released as a recording needs its own identification. ### Can I change credits after publishing? It may be possible through an update submitted by your label or distributor, but it is not a change you should leave until later. Review roles, names, and spelling before the first delivery. ### What size should the cover art be? For Apple Music, prepare a perfectly square image of at least 4000 × 4000 pixels in JPG, PNG, or GIF. Your distributor may have its own requirements, so check its guide before uploading too. ### How far in advance should I deliver my music? If you want to pitch an unreleased song in Spotify for Artists, deliver it at least seven days in advance. Even if you are not pitching, leave additional time for the distributor to process the delivery and to review profiles and metadata. ### Should I upload an MP3 or a WAV? Follow the formats your distributor accepts and prioritize a lossless file when one is available. Always keep your source master; do not assume one service’s recommendation applies to all of them. ## About Roye Roye is a music producer and writes the wuse guides. His production credits include “Bopbopdrop,” released by ZML Records, the label for Zumba Music Lab.