Why a short CD run still needs proper planning
Streaming has not killed the CD for small acts. Bands sell them at gigs, folk and jazz audiences still buy them, labels send them to radio and reviewers, and collectors want something they can hold. What has changed is that many musicians now reach their first CD with almost no knowledge of how the physical product gets made. They have a finished album and a good cover, and then a plant asks for a DDP image, a barcode and a track list with ISRCs.
The result is often avoidable delay. A small CD release needs only a handful of decisions, but some of them must be made before the mastering engineer closes the session. This guide covers what to send the plant, how to prepare a CD master, what CD-Text and barcodes do, and what to ask for when ordering a first run for a band or small label.
Start by deciding how the discs will be made
Two manufacturing routes are available. Duplication burns audio onto recordable discs, which suits short runs and quick turnaround. Replication presses discs from a glass master, and usually makes more sense once quantities reach several hundred or more. The cost per disc falls quickly on replicated runs, and the discs have the highest compatibility with older players. We go into the differences and thresholds in CD and DVD duplication versus replication.
The answer affects how you plan. A band with 100 discs for a tour may be able to order at the last minute, while a pressing for a retail release needs several weeks allowed in the schedule.
The master: why DDP is the format plants want
A CD is built on the Red Book standard: 16-bit, 44.1 kHz audio, up to 99 tracks, and usually up to 74 to 80 minutes in length. Older equipment can struggle with discs that run close to the limit, so check with your plant if your running time is long.
DDP (Disc Description Protocol) is a folder of files that describes the whole disc: the audio itself, track start points and gaps, plus any CD-Text and codes. It is the format most replication plants prefer, because the file can be checked with a checksum, so what leaves the mastering studio is demonstrably the same as what the plant receives. A burned CD-R can still work as a master, especially for duplication, but it may carry read errors, and a burned disc can pick up scratches on its way to the plant.
What to ask your mastering engineer for
- A DDP image with an MD5 checksum, along with a free viewer or player so that you can listen to the final sequence.
- Track gaps set the way you want them, including any crossfades or hidden tracks. The usual default gap between tracks is 2 seconds, and you may want to change this for albums that flow.
- ISRC codes and CD-Text embedded, if you are using them. Supply these before the session, because adding them later usually means another round of work.
- A separate set of WAV or digital files for streaming and download distribution.
Listen to the DDP right through before approving it. People often check individual tracks and miss a wrong order or an awkward gap, and that error then goes into every disc.
ISRC, barcode and CD-Text: three different things
| Item | What it identifies | Where it lives | Who needs it |
|---|---|---|---|
| ISRC | Each individual recording | Embedded in the disc's data, and in digital distribution files | Useful for royalty tracking and distribution |
| Barcode (EAN or UPC) | The product as a whole | Printed on the back of the packaging | Retailers, distributors and some online stores |
| CD-Text | Artist and track names | Embedded in the disc's data | Some car stereos and hi-fi players |
ISRC codes
An ISRC is a 12-character code that identifies one specific recording. If you already have ISRCs from a digital distributor for your tracks, reuse the same ones on the CD. Do not generate new ones for the same recording. National ISRC agencies issue registrant codes, and many distributors will also assign them for you.
Barcodes
If you plan to sell in shops or through a distributor, you will need an EAN-13 or UPC barcode. Get a number from your distributor or through GS1. Print the barcode on the back of the tray card or wallet, in dark bars on a light background, with clear space on each side. Avoid shrinking it to fit a design, as retail scanners may struggle with it. Gig-only releases can skip this, although a barcode costs little and it keeps the option of retail open later on.
CD-Text and online track names
CD-Text displays track names on some car stereos and hi-fi units. Computers usually ignore it, and look up an online database. If you want track names to appear when a fan rips the disc, submit the album details to services such as Gracenote or MusicBrainz after the discs are made.
The rights paperwork plants ask for
Most plants ask you to confirm that you have the right to reproduce the material. If the album is entirely your own songs, this is usually straightforward. If it contains cover versions, you will generally need a mechanical licence for each song before manufacture. The licensing body varies by country, such as MCPS in the UK or The Harry Fox Agency in the US. Samples need separate clearance from both the recording and the composition owners. Plan this early, because a licence can take longer to arrange than the print job itself.
Packaging and artwork for a first run
Pick your packaging before you start design. Each format has its own template, and the choice changes both the cost and how your release feels in the hand.
- Card wallet: slim, cheap to post, and ideal for promos and small runs.
- Jewel case: the classic option, with space for a full booklet. Its spine text helps in record shops.
- Digipak: folded card with a plastic tray, popular for albums sold at gigs.
Our guide on choosing packaging for discs compares these in more detail, and CD booklets, inlays and tray cards covers sizes and page counts for jewel case releases.
A few things to include on the artwork:
- A track list with running times, in the same order as the master.
- Copyright and phonographic notices, usually written as a C in a circle and a P in a circle with the year and owner.
- Your label name, a catalogue number if you use one, and a web address or social link.
- Credits for writers, players and the mastering engineer, which are often what reviewers look for.
The on-body print deserves attention of its own. Keep text away from the inner hub and the outer edge, and check how solid colours and fine type will reproduce with your print method, using the notes in our disc printing methods guide.
How many to order, and a simple timeline
Be honest about how many you will really sell. Many small acts over-order because the unit price looks attractive at higher quantities, and boxes of unsold discs are a well-known sight in band members' garages. Base your number on recent gigs, your mailing list and any radio or review copies. You can always reorder, especially when the master and artwork are ready to go.
- Several weeks before the release: finish the mastering, get ISRCs and a barcode, and clear any licences.
- Next: confirm packaging, get templates from the plant and finish the artwork.
- Then: send the DDP and artwork, check the proofs, and sign them off. Read the track list against the master one more time.
- Finally: allow for manufacture and shipping, with a buffer before your launch show. Ask for current lead times when you place the order.
Ask what your order includes: on-body print type, packaging, shrink wrap, and delivery. Compare quotes on those terms, since a low price with no wrap or a bare on-body print is a very different product.
Sending your release to us
We print discs and packaging for bands, labels and small organisations, from short runs for a tour to larger orders for a release. Send us your running time, quantity and preferred packaging, and we can suggest the method that fits. We will supply templates, check your files and send a proof before anything is printed.
You can see more on our printing services page, or contact us with your release date and we will work out what is realistic. If you are not sure whether your master is ready for a plant, ask, and we will tell you what needs to happen first.
