Skip to end of metadata
Go to start of metadata

RIN is a complex file format – it has to be, to be able to adequately document the salient aspects of a recording, mixing or mastering session. Yet, at the core RIN is also quite simple. It enables the storage and communication of who did what to, and with, what resource, where and when. The Resources referred to here can be creations such as musical works, recording components and sound recordings, but also equipment such as instruments or recording devices.

As a consequence, RIN files can be very small, providing very little information about only a few types of entities[1], as well as very large, providing lots of detailed data about many entities, and anything in-between. By way of note, the smallest RIN file that can be generated is shown below – but it is completely useless. It does include, however, one crucial aspect: information about the person who created the RIN file in the FileCreator tag.

<?xml version="1.0" encoding="UTF-8"?>
<rin:RecordingInformationNotification xmlns:rin=""
  SchemaVersionId="rin/11" LanguageAndScriptCode="en">

      <PartyId><ISNI>1234 1234 1234 1234</ISNI></PartyId>


This then begs the question about what a RIN file needs to contain in order to be useful. There is no single answer to this question:

  • If a session “only” led to the creation of a new Musical Work, then it is perfectly reasonable to describe this session with just a MusicalWorkcomposite that lists the (potentially preliminary) Titleand the Contributors such as writers.
  • If a session “only” led to the creation of a new stem, it is equally reasonable to capture the important information in a RecordingComponentcomposite with just a Title, a list of Contributors and the date and location of the session in the CreationDateelement. This would make this RIN file useful – especially in combination with the FileCreatortag from the RIN’s FileHeaderthat provides information about the organisation or person that has a significant role in creating the RIN file and, therefore, for collecting the metadata.
  • If, however, a RIN file documents the creation of a sound recording, that may (or may not) find its way into the music industry supply chain, additional data is needed in order to ensure that all people who contributed to that sound recording can be properly credited and remunerated. The Recording Academy’s P&E Wing has created a list of “credits and recording metadata”[2] that the industry considers to be essential to be collected and preserved for each sound recording. Ideally, all RIN files that document the creation of a sound recording should therefore contain:

    Data a RIN file should containXML Tag in the RIN File format
    The name of the recording artist as it should be displayed to consumers//SoundRecording/DisplayArtistName
    The name of the individual recording artists and his/her/their identifiers//SoundRecording/DisplayArtist
    The title of the sound recording//SoundRecording/Title  
    The ISRC of the sound recording//SoundRecording/SoundRecordingId/ISRC 
    The writer(s) of the musical work that has been recorded, as well as the work’s music publisher and the Collective Rights Management organisation the writer(s) is/are a member of //MusicalWork/Contributor 
    The producers, engineers, performers and other contributors to the recording//SoundRecording/Contributor
    The date, location and country when and where the recording took place//SoundRecording/CreationDate or a separate //Session composite
    The format into which the recoding was fixed  //File
    Unique identifiers, ideally ISNIs, for all contributors (writers as well as recording artists, producers, engineers, performers and other contributors) //Party/PartyId

[1] These can be creations such as musical works, recording components and sound recordings, but also equipment such as instruments, recording devices, etc.

  • No labels