ISRC

GBAET2100076

Nelson, op. 41, Act II, Scene I: Nelson. “Welcome Ma’am”

Song: Nelson, op. 41: Act II

David JohnstonEiddwen HarrhyMargaret KingsleyBBC Symphony OrchestraElgar Howarth
Released 2021-06-04

Last verified:

GBAET2100076 is the International Standard Recording Code (ISRC) for the recording "Nelson, op. 41, Act II, Scene I: Nelson. “Welcome Ma’am”" by David Johnston, Eiddwen Harrhy, Margaret Kingsley, BBC Symphony Orchestra, Elgar Howarth, released 2021-06-04. ISRCs are 12-character ISO 3901 identifiers that uniquely tag a specific sound recording — different masters, remixes, and live versions each receive a distinct ISRC.

Format

GBCountry
AETRegistrant
21Year (2021)
00076Designation
Country:
ISO 3166-1 alpha-2 country code (GB).
Registrant:
3-character code identifying the label or distributor that assigned this ISRC.
Year (2021):
Last two digits of the reference year (2021). Years < 50 are 21st century.
Designation:
Unique 5-digit code assigned by the registrant for this specific recording.

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People also ask

What is the ISRC for "Nelson, op. 41, Act II, Scene I: Nelson. “Welcome Ma’am”" by David Johnston?
The ISRC for "Nelson, op. 41, Act II, Scene I: Nelson. “Welcome Ma’am”" by David Johnston, Eiddwen Harrhy, Margaret Kingsley, BBC Symphony Orchestra, Elgar Howarth is GBAET2100076.
What is an ISRC and what does it tell you?
An ISRC (International Standard Recording Code) is a 12-character ISO 3901 identifier that uniquely tags a specific sound recording. The first two characters are the country code, the next three are the registrant (label or distributor), the next two are the year, and the last five are a unique recording number.

What is ISRC GBAET2100076?

GBAET2100076 is an International Standard Recording Code (ISRC) that uniquely identifies the recording "Nelson, op. 41, Act II, Scene I: Nelson. “Welcome Ma’am”" by David Johnston, Eiddwen Harrhy, Margaret Kingsley, BBC Symphony Orchestra, Elgar Howarth. ISRCs are 12-character alphanumeric codes defined by ISO 3901, used globally by streaming platforms, record labels, and rights organizations to track plays and distribute royalties.

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