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ISRC

FR59R1894362

DIVOONEYE DOOS DASHTANI

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FR59R1894362 is the International Standard Recording Code (ISRC) for the recording "DIVOONEYE DOOS DASHTANI". 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. Written by HAMED BARADARAN, ALIREZA TALISCHI.

Format

FRCountry
59RRegistrant
18Year (2018)
94362Designation
Country:
ISO 3166-1 alpha-2 country code (FR).
Registrant:
3-character code identifying the label or distributor that assigned this ISRC.
Year (2018):
Last two digits of the reference year (2018). Years < 50 are 21st century.
Designation:
Unique 5-digit code assigned by the registrant for this specific recording.

Who wrote this song?

HAMED BARADARANComposer
359 MEDIA GMBH & CO. KG OriginalPublisher0.00%IPI: 01225173679
SENTRIC MUSIC LIMITED SubPublisher100.00%IPI: 00509030978
ALIREZA TALISCHIComposerLyricist
359 MEDIA GMBH & CO. KG OriginalPublisher0.00%IPI: 01225173679
SENTRIC MUSIC LIMITED SubPublisher100.00%IPI: 00509030978

Who publishes this song?

359 MEDIA GMBH & CO. KGOriginalPublisher
IPI: 01225173679
SENTRIC MUSIC LIMITEDSubPublisher
IPI: 00509030978
SourcesMLC

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People also ask

What is the ISRC for "DIVOONEYE DOOS DASHTANI"?
The ISRC for "DIVOONEYE DOOS DASHTANI" is FR59R1894362.
Who wrote "DIVOONEYE DOOS DASHTANI"?
"DIVOONEYE DOOS DASHTANI" was written by HAMED BARADARAN, ALIREZA TALISCHI.
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 FR59R1894362?

FR59R1894362 is an International Standard Recording Code (ISRC) that uniquely identifies the recording "DIVOONEYE DOOS DASHTANI". 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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