The CWR Format on Curve
Line Types of the CWR Format
In the CWR format, the first three characters of a line specify the Record Description, which gives an indication of what type of information you can expect to find on that line. Each Record Description has a different set of rules which say which data is specified at which character count of that line. For example on a REV line, the first 3 characters specify the Record Description, the following 17 characters are zeros, the following 60 characters specify the Work Title, the following 2 characters specify the language code of the Work, etc.
The most commonly used CWR versions are V2.1 and V2.2. Curve covers both of these formats.
The below image shows an example of a CWR file, and highlights some of the most important Record Descriptions and information you can find on these lines.
Below we provide more information on the important and/or common Record Descriptions you can find in a CWR file.
General Record Descriptions
HDR - A CWR file always starts with a HDR row. This row specifies the name and IPI of the Publisher sending the file, when it was created, and which version of CWR is used. A Sender Type of PB specifies that the file is sent by a Publisher rather than a Society. As per CISAC rules, in the event where the IPI of the Publisher is 11 characters rather than 9, then we’ll remove the PB from the line and use this space to store the first two characters of the IPI instead.
TRL - The last line in a CWR file will always be the TRL line. This line specifies the number of groups, Works and lines included in the CWR file.
GRH/GRT - In the event where there are both new works and revised works delivered in the CWR file, then these are grouped separately. The GRH line states the start of a group, whereas the GRT line states the end of a group. In practice, we always specify Works as revised works (see REV/NWR below), which means that CWR files created by Curve always have just one group. You would thus find one GRH line just below the HDR line, and one GRT line just above the TRL line.
Work Specific Record Descriptions
REV/NWR - A REV or NWR line holds key information about a Work such as the Work Title, Main Identifier, ISWC and Duration. NWR states that this is a brand new Work, which has not been registered with the society before. REV states that this is a revision of a Work that has previously been delivered. In practice, REV can be used in either scenario, and the society will work out based on the Main Identifier whether you’ve previously delivered this work or not. Curve always uses REV, even in the case of a new Work.
SPU - An SPU line tells us more about a controlled Publisher on the IP Chain. Who is the Publisher; what is their IPI; what is their Owned Performance and Owned Mechanical Share; and whether they are an Original Publisher, Sub-Publisher, Admin, Acquirer or Income Participant.
SPT - If the Publisher specified in the SPU also has a Collected Performance or Collected Mechanical share, then it is followed by one or more SPTs. The SPT says what the collected share is in which territory. There is one SPT line per territory where the Publisher has a collected share, or if possible it is summarised into one SPT for a group of territories where a matching group is defined in the CISAC standards.
OPU - If there is an uncontrolled Publisher on the IP Chain, then we’ll specify this with an OPU line. An OPU is the equivalent of the SPU, but for an uncontrolled Publisher. If the Publisher in the OPU also has a collected share, then they could be followed by an OPT specifying these collected shares. However this OPT is not required for uncontrolled publishers, and so we don’t create these in CWR files created on Curve.
SWR - The SWR and SWT lines are for Composers what the SPU and SPT lines are for Publishers. An SWR line tells us more about a controlled Composer on the IP Chain. Who is the Composer; what is their IPI; what is their Owned Performance and Owned Mechanical Share; and what is their capacity on the Work (eg Lyrics, Music, Lyrics & Music, Arranger, …).
SWT - If the Composer specified in the SWR also has a Collected Performance or Collected Mechanical share, then it is followed by one or more SWTs. The SWTs says what the collected share is in which territory. There is one SWT line per territory where the Publisher has a collected share, or if possible it is summarised into one SWT for a group of territories where a matching group is defined in the CISAC standards.
PWR - The SWR and SWT for each Composer are followed by a PWR line. This line specifies which Original Publisher controls this Composer. If there is an Agreement number between the Composer and the Publisher, then it’ll be specified on this line also.
OWR - If there are any uncontrolled Composers on the Work, then these are specified on the OWR line. If this uncontrolled Composer has a collected share, then it can be followed by an OWT line. However this OWT is not required for uncontrolled composers, and so we don’t create these in CWR files created on Curve.
ALT - Any Alternate Titles of a Work as listed on an ALT line. There is one line per alternate title.
REC - Any recordings of a Work are listed on a REC line. This includes information such as the Track Title and ISRC. There is one line per linked Track.
PER - Any performers of a Work are listed on a PER line. There is one line per Performer. We create a PER for every Performer that is directly specified on the Work, as well as per Track Artist on any Tracks linked to the Work.
How Different Record Descriptions Make a Work
When a Work is exported in the CWR format on Curve, you can always expect to find this information in the below structure.
- Each Work always starts with a REV row.
- It is then always followed by the controlled Original Publisher (SPU) and its collected shares (SPT). In the event where this original publisher is sub-published; the SPU for the Original Publisher is followed by another SPU for the Sub-Publisher, which is then subsequently followed by SPTs to specify the collected shares of that Sub-Publisher. If there are multiple controlled Original Publishers and/or Sub-Publishers on the Work, then you can expect this structure to be repeated.
- This is followed by the uncontrolled publishers (OPU). Each uncontrolled publisher is specified on a separate OPU line.
- This is followed by the controlled Composers (SWR). There is one SWR line per controlled Composer. Each SWR is directly followed by one or more lines specifying the collected shares for that Composer (SWT), followed by a line that indicates which Original Publisher this Composer is controlled by (PWR). If there are multiple controlled Composers on the Work, you can expect this structure to be repeated.
- This is followed by the uncontrolled Composers (OWR). There is one line per uncontrolled Composer.
- This is then followed by the lines that give additional information about the Work such as the ALT, REC and PER lines.
Different IP Chain Scenarios and how they are created on Curve
One Controlled Publisher & One Controlled Composer (KEY001)
We start with the most basic example, where one Composer is controlled by one Original Publisher. See the below example taken from Curve.
To explain how Curve translates different IP Chains into the CWR format, we'll not be listing the full CWR export (we'd need a bigger boat), but we will work with simplified text examples instead, such as the one below. This gives you an idea of how we will use CWR's different Record Descriptions to configure this IP Chain scenario.
REV Work Title SPU Crown Publishing (E) - 50p100m SPT 50p100m (WW) SWR John Smith - 50p0m SWT 50p0m (WW) PWR Crown Publishing
How do we interpret this simplified text? First, we start with a REV line for the work. On the SPU line we provide the name of the publisher, as well as its capacity. In CWR terms, 'E' represents an Original Publisher, 'SE' stands for a Sub-Publisher, and 'AM' refers to an Admin. On this line, we also list the owned performance and owned mechanical shares of this publisher. The example of 50p100m refers to this publisher having an Owned Performance share of 50% and Owned Mechanical share of 100%. On the SPT row, we'll provide the collected shares of this publisher, as well as the territories of these collected shares. Once we’ve added the publisher information, we move on to the composer. We list the composer's name and its owned shares on the SWR line, their collected shares and territories on the SWT line, and finally, the original publisher that controls them on the PWR line.
Multiple Controlled Composers (KEY002)
Let’s now look at the example where one Original Publisher controls two different writers.
In CWR format this gives us:
REV Work Title SPU Crown Publishing (E) - 50p100m SPT 50p100m (WW) SWR John Smith - 25p0m SWT 25p0m (WW) PWR Crown Publishing SWR Sarah Johnson - 25p0m SWT 25p0m (WW) PWR Crown Publishing
Since there are now two controlled composers on the Work, you find that the SWR-SWT-PWR section is repeated for the second composer.
Uncontrolled Publishers & Composers (KEY003)
Let’s now look at the example of one controlled Publisher and Composer, but additionally the Work now also has a two uncontrolled Publishers and two uncontrolled Composers.
This is translated into the below CWR format.
REV Work Title SPU Crown Publishing (E) - 25p50m SPT 25p50m (WW) OPU Hops Publishing (E) - 12.5p25m OPU Liberty Publishing (E) - 12.5p25m SWR John Smith - 25p0m SWT 25p0m (WW) PWR Crown Publishing OWR Sarah Johnson - 12.5p0m OWR Emily White - 12.5p0m
We now have OPU lines that specify these uncontrolled publishers and OWR lines that specify these uncontrolled writers. Please note how OPU lines are not followed by OPT lines, and how OWR lines are not followed by OWT lines. We don’t provide collected shares for uncontrolled publishers and composers, as this is not a requirement. Please also note how the OWR lines are not followed by PWR lines. We do not specify which uncontrolled Composer is controlled by which uncontrolled Publisher, as this again is not a requirement.
A Global Sub-Publisher (KEY004)
We now go back to our basic example of one controlled Original Publisher and one controlled Composer. But now, this original publisher is sub-published globally by a Sub-Publisher.
In CWR this gives us:
REV Work Title SPU Crown Publishing (E) - 50p100m SPU Tulip Publishing (SE) - 0p0m SPT 50p100m (WW) SWR John Smith - 50p0m SWT 50p0m (WW) PWR Crown Publishing
Please note how the SPU of the Original Publisher (E) is not followed by an SPT, because the original publisher does not have a collected share. Instead, it is followed by another SPU for the Sub-Publisher (SE), which is subsequently followed by an SPT to specify the collected shares of that sub-publisher.
A Collecting Original Publisher & Sub-Publisher (KEY005)
In this example, the Original Publisher controls the Work globally, but has a Sub-Publisher in Belgium. The original publisher collects the royalties for all territories excluding Belgium, whereas the Sub-Publisher collects the royalties in Belgium.
In CWR this gives us:
REV Work Title SPU Crown Publishing (E) - 50p100m SPT 50p100m (WW) SPT 50p100m (Excluding BE) SPU Hops Publishing (SE) - 0p0m SPT 50p100m (BE) SWR John Smith - 50p0m SWT 50p0m (WW) PWR Crown Publishing
Note how the SPU of the Original Publisher is followed by an SPT because it has a collected share in all territories excluding Belgium. We display this by having an SPT for the World, followed by another SPT that excludes Belgium.
This is then followed by an SPU for the Sub-Publisher, and an SPT that specifies this sub-publisher has a collected share in the territory Belgium.
Different Sub-Publishers in Different Territories (KEY006)
We now again have just one controlled original publisher and one controlled composer, but we are sub-published by two different sub-publishers in two different territories. We don't specify a collected share for the Original Publisher in either of the territories.
In CWR that gives us:
REV Work Title SPU Crown Publishing (E) - 50p100m SPU Hops Publishing (SE) - 0p0m SPT 50p100m (BE) SPU Tulip Publishing (SE) - 0p0m SPT 50p100m (NL) SWR John Smith - 50p0m SWT 50p0m (WW) PWR Crown Publishing
You can see the SPU of the Original Publisher is now no longer followed by an SPT (because the Original Publisher does not have a collected share), but is instead directly followed by the SPU of its Sub-Publisher. First by an SPU-SPT for the first Sub-Publisher, then by an SPU-SPT for the second Sub-Publisher.
One Original Publisher with two Sub-Publishers in the same Territory (KEY007)
In this example, our controlled original publisher now has two sub-publishers which both have a collected share in the same territories.
In CWR this gives us:
REV Work Title SPU Crown Publishing (E) - 25p50m SPU Hops Publishing (SE) - 0p0m SPT 25p50m (WW) SPU Crown Publishing (E) - 25p50m SPU Rochefort Publishing (SE) - 0p0m SPT 25p50m (WW) SWR John Smith - 50p0m SWT 50p0m (WW) PWR Crown Publishing
Please note how there are now two SPU rows for the same Original Publisher. We list this Original Publisher separately a first time with the first Sub-Publisher, and then list it a second time with the second Sub-Publisher.
Multiple Original Publishers with the same Sub-Publisher (KEY008)
In this example, there are multiple controlled Composers and Publishers on the Work, each are Sub-Published by the same Sub-Publisher.
In CWR this gives us:
REV Work Title SPU Crown Publishing (E) - 25p50m SPU Hops Publishing (SE) - 0p0m SPT 25p50m (WW) SPU Maison Publishing (E) - 25p50m SPU Hops Publishing (SE) - 0p0m SPT 25p50m (WW) SWR John Smith - 25p0m SWT 25p0m (WW) PWR Crown Publishing SWR Emily White - 25p0m SWT 25p0m (WW) PWR Maison Publishing
Please note how we have an SPU for the first original publisher, followed by the SPU and SPT for the sub-publisher. Then followed by the SPU for the second original publisher, followed by another SPU and SPT for the sub-publisher.
Co-Publishing (KEY009)
In a co-publishing scenario, a composer is controlled by two different Original Publishers. In this scenario, the one Original Publisher is also Sub-Publishing the share of the other Original Publisher.
In CWR this gives us:
REV Work Title SPU Crown Publishing (E) - 25p50m SPT 25p50m (WW) SPU Liberty Publishing (E) - 25p50m SPU Crown Publishing (SE) - 0p0m SPT 25p50m (WW) SWR John Smith - 50p0m SWT 50p0m (WW) PWR Crown Publishing PWR Liberty Publishing
We first list the first Original Publisher, Crown Publishing, on the SPU, together with its collected shares on the SPT. We then list the second Original Publisher, Liberty Publishing, on an SPU, followed by another SPU for Crown Publishing which is now a Sub-Publisher, followed by the collected share of this publisher as the sub-publisher. Please note how the controlled Composer’s SWR is now followed by two PWR lines, to establish that it is controlled by two different Original Publishers.
Multiple Layers of Sub-Publishers (KEY010)
In the below IP Chain, we have an Original Publisher which is Sub-Published by one Sub-Publisher, who is in turn Sub-Published by another Sub-Publisher.
In CWR this gives us:
REV Work Title SPU Crown Publishing (E) - 50p100m SPU Tulip Publishing (SE) - 0p0m SPU Hops Publishing (SE) - 0p0m SPT 50p100m (WW) SWR John Smith - 50p0m SWT 50p0m (WW) PWR Crown Publishing
In this scenario, the SPU of the Original Publisher is followed by an SPU for the first Sub-Publisher, which is in turn followed by an SPU for the second Sub-Publisher.
Original Publisher Controlled in Some Territories Only (KEY011)
In this scenario, we control a Publisher in the territory of Belgium only and not in any other territory.
In CWR this gives us:
REV Work Title SPU Hops Publishing (E) - 50p100m SPT 50p100m (BE) SWR Thomas Brown - 50p0m SWT 50p0m (WW) PWR Hops Publishing
Note how in this case, we just have the SPU for the controlled Publisher, with an SWT for the territory of Belgium only. There is no OPU for this publisher required, even though they’re technically an uncontrolled publisher in some of the territories. This is simply specified by having the SPTs for the controlled collected territories only. Only in the event were a Publisher or Composer is uncontrolled throughout the IP Chain would you expect an OPU or OWR line for the respective Publisher or Composer.
Original Publisher has Collected Shares as well as a Sub-Publisher (KEY012)
In the below IP Chain, the Original Publisher has a Sub-Publisher, but still collects part of the mechanical royalties independently.
In CWR this gives us:
REV Work Title SPU Crown Publishing (E) - 50p100m SPT 0p50m (WW) SPU Liberty Publishing (SE) - 0p0m SPT 50p50m (WW) SWR John Smith - 50p0m SWT 50p0m (WW) PWR Crown Publishing
Different Collecting Shares in Different Territories (KEY027)
In the below IP Chain, the publisher and composer have a different collecting share across the different territories. The owned shares are the same across territories, which is a CWR requirement. A publisher or composer can not have different owned shares across different territories within the same CWR.
In CWR this gives us:
REV Work Title SPU Crown Publishing (E) - 50p100m SPT 50p100m (WW) SPT 0p0m (Excluding BE) SPT 33.33p100m (BE) SWR John Smith - 50p0m SWT 50p0m (WW) SWT 0p0m (Excluding BE) SWT 33.33p0m (BE)