Copyright AudioLock.NET © 2015 . 1
Music Anti-Piracy
Best Practice Guidelines
Executive summary
There exists a considerable amount of misinformation about the measures and practices
which constitute effective music anti-piracy. This paper aims to examine this dynamic and
relatively new field with a view to dispelling the misnomers around it. Whilst asserting
measures which can be used to define effective music anti-piracy it also provides
explanations on how piracy works, frequently used terminology with some proven solutions.
By clearly signposting the pathways by which music rights holders can navigate to reach the
optimum level of protection for their music, it is hoped this paper will be useful in helping
further turn the tide on music piracy.
Like the technology discussed herein this document is live and evolving. Updates to the Music
Anti-Piracy Best Practice Guide will be issued in line with new knowledge and changes in this
specialist sphere. AudioLock welcomes all input which may help improve the usefulness and
relevance of this paper.
All rights are reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in
any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of
AudioLock.NET ©.
Copyright AudioLock.NET © 2015 . 2
Table of Contents
How Piracy Works
p.4
Tools to Combat Piracy
p.8
Google Transparency Report
p.20
Terminology
p.24
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How Piracy Works
Pirates are paid as much as €60 for every 1000 downloads of content they upload. 1
How pirates make big money
Music piracy provides both the uploaders and hosts of pirated content with several different
income streams.
● Advertising
● Cyberlocker pay per download
● Cyberlocker revenue from subscriptions
● Link protectors
● Malware
● Surveys
● Premium funded eg. FTP sites (File Transfer Protocol) or members website
The three main types are Premium Funded, Advertising Funded and Cyberlockers. The most
common way to generate large amounts of money is to use cyberlockers (also known as file
lockers, file sharing sites or hosts).
The process works like this:
1. Obtain a music file/release
2. Upload it to one or more cyberlockers
3. Share the download links by any means (websites, forums, Twitter, Facebook etc.)
4. Receive payments from the cyberlockers for every download or from subscriptions
1
http://www.kwwhosting.com/f95/oboom-com-extra-money-60-eur-1000-downloads-%96pps-mix-ppd-160241/
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With a small amount of programming knowledge, and the aforementioned four steps, it is
possible for pirates to write automated scripts to perform all these tasks making it easy for
them to scale and increase their earnings for very little time input.
Cyberlockers make money through displaying adverts to users when they are downloading
from a link. Further income is made through the sale of ‘premium’ accounts whereby the
downloader is not shown adverts and is able to download without any speed or concurrent
download limits. There are hundreds of such sites with new ones being discovered almost
daily. One of the largest payers and therefore very popular with pirates in this field is Oboom.
Website: www.oboom.com
Oboom.com is one of the most popular premium cyberlockers. It pays up to €60 for just 1000
downloads and pays a further 90% of any premium subscription payments to the content
uploader.
Example: A pirate adds 30 tracks per week, getting an average of 250 downloads on each,
which can earn them just over €23,000 per year. It is suspected that this exceeds the income
for many artists and small labels.
Oboom.com is not alone in making such lucrative offers to pirates. Below is a screen grab
from a popular pirate forum showing just some of the headline deals being offered by a
premium cyberlocker. In this highly competitive market pirates are able to pick and choose
the most profitable cyberlockers to ‘work’ with.
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Such cyberlockers often initially appear to users to be totally legitimate file storing and sharing
services. However a little digging on forums, such as the one shown above, quickly reveals
that they are being used heavily for the purpose of distributing infringing music content and
are encouraging other people to upload content.
Another reference point to check a cyberlocker’s legitimacy is the Google Transparency
Report. In the case of oboom.com the Google Transparency Report shows nearly 250,000
requests to remove content by everyone from music rights holders and software houses to
book publishers. A large proportion of this is expected to be related to music because the
volume of new releases makes a great opportunity for pirates to access new content.
http://www.google.com/transparencyreport/removals/copyright/domains/oboom.com/
As mentioned there are other types of cyberlockers, categorised by two main groups:
Premium funded
These are sites which charge a subscription or one off payment for access to content. They
often provide unlimited access to the whole archive they have which can be thousands of
GBs of music. They often boast about having the largest ‘0 day’ (music released today) and
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promo collection in high quality WAV format. In some cases torrent sites have a private
members area, usually containing exclusive or ‘0 day’ release content, which users can
access with subscriptions or donations.
Examples include: soundeo.com - $29.95 per month for 50
downloads per day htrk.net/membership/ ­ €11 per month unlimited
access to 5TB of music electrobuzz.fm - $26.95 per month with 10GB
added daily essentialhouse.net - $29.95 4GB of fresh content per day
Advertising funded
This includes a range of sites such as torrent sites, Usenet and Click Scam sites. They
generate traffic through offering free downloads of the content and are usually heavily
covered in advertising. They often use ‘Link Protectors’ which when clicked show the user an
advert for a short time before allowing them to click through to the content.
It is not uncommon to see the pirates abusing social media channels such as YouTube,
Facebook and Twitter to market pirate sites to generate traffic and also to directly make
revenue through the use of ‘Link Protectors’. It is important to note that none of these social
media channels are complicit in piracy, merely that they are used as a vehicle by
unscrupulous users to peddle pirate content via legitimate means.
Examples of such sites include:
4shared.im mp3skull.com newalbumreleases.net - this also uses
cyberlocker download links for revenue kickass.to
* Please note that any site which features links to content can also make use of cyberlockers
or link protectors to generate revenue streams. They may not just be advertiser funded or
premium funded. Some sites will also charge premium access to certain areas as can be
seen on some torrent sites.
Tools to Combat Piracy
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It is often heard that there is nothing that can be done to fight piracy effectively. This however
is far from the truth. As we have seen piracy is often generated by automated software so the
key to any defence is that it needs to be just as fast, scalable and automated. While any of
the tools below will make an impact in isolation using them together in a holistic approach will
make a significant difference in an integrated campaign.
Over the following pages we will examine the following eleven tools, discussed in order of
effectiveness:
1. Scanning and takedown 2. Search delisting 3. Integration with the music
ecosystem 4. Good naming conventions 5. Careful promotion through stream sites
6. Leak prevention and promotion 7. Make the music easy to identify 8. Social
media 9. Blocking content from being shared 10. Education 11. When to release
1. Scanning and takedown
The detection and removal of links to download/stream the content from infringing sites/hosts
is an essential tool. This aims to discover links being generated and published by pirates and
request their removal usually by issuing a DMCA (Digital Millennium Copyright Act) notice
requesting the link to be disabled. This is a well used process and means that the majority of
links created by pirates can be removed from between instantly to 24 hours, and varies greatly
depending on the site/host. Indeed some do not remove links at all, the most famous being
The Pirate Bay (the best known torrent site in the world) so that they are in continual battles
with content owners and law enforcement.
Due to the volumes and speed of links that can be generated per release by pirates an
effective solution should provide the following:
● Scanning in up to real time (The faster a link is detected after being created the better).
● Automated validation (confirming the link provides access to the content being
protected).
● Automated processing (the vast majority of links should be automatically validated
without the user having to confirm the link is infringing).
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● 24/7 automated sending of notices.
● Integration with website and file hosts APIs (ensures instant removal on most sites).
● Linked to search delisting (removes the links and pages linking to the download links
from search engines to reduce traffic to them).
● Scalable (the service must be able to scale limitlessly to avoid delays).
● Downloads the pirate files (used not only for identification but to enable pre-filtering of
content on UGC sites and can have any watermarks decoded to identify the source of
leaks).
2. Search delisting
Search engines and other sites that provide access to content or indexes unfortunately, by
their nature, help to make links to download infringing content easier to find. By removing
links from such services the access to infringing content is reduced and at the same time
access to legitimate content is increased by clearing the results to make room for the
legitimate links.
Example : On page 1 of Google you get 10 results for a search to download a particular
album. If 7 of them are for illegitimate links then only 3 are to the content the label/artist really
wants the user to see. This often means that download stores, the label’s Facebook page,
Twitter and press are on page 2 or 3. With only 6% of users clicking past page 1 of search
results2 this means they are hardly seen. If the 7 pirate links are removed this makes way for
the legitimate links to come onto page 1. This drives traffic not only to the download stores or
2
http://www.gravitateonline.com/google-search/2nd-place-1st-place-loser-seriously
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streaming sites for users to buy the content but also can increase traffic to the labels/artist’s
Facebook, Twitter or website which in turn helps market the content.
An effective delisting service would have the following features:
● Remove links from multiple key sites (Not just from Google).
● Offering real time scanning.
● Notify these sites of links before they have been indexed.
● Identify and remove links for proxy services which circumnavigate content blocked by
the country from which the user is accessing it e.g. in the UK kickass.to is blocked but
you can access it easily through a proxy service such as kickass.unblocked.pw which
also is indexed by the search engines.
● Manage domain aliases (pirate sites swap domains frequently to keep them high up
in Google results ­ this is following Google’s change to demote sites which receive
high volume of notices to remove content).
3. Integration with the music ecosystem
With more and more services available to labels and artists a solution that is integrated with
the digital eco system ensures accuracy of data such as the artist and title of releases but
also makes it easier to use. For example being able to deliver data direct from distributors or
asset systems with a single click saves time and money. This also ensures that the details of
the content being protected is accurate and does not allow for human error.
4. Good naming conventions
It may sound obvious that you want a release to be easily found and identified by customers
but this can sometimes be much more difficult if the release name is hard to locate. This can
be for various reasons but most often it is that the title is very similar to something else being
searched for (eg. ‘Ibiza ­ Anthems’ when there are multiple compilations named this every
year). If your product is hard to search for then it makes marketing harder plus it makes it a
lot harder for anti-piracy services that do not use identification methods such as downloading
and fingerprinting to correctly identify and remove infringing content.
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5. Careful promotion through stream sites
When tracks are being promoted on services such as YouTube and SoundCloud it is also
very important to title releases clearly identifying that they are just ‘short promo edits’. If you
upload full tracks you can expect them to fill Google and other search engines with ‘download’
(the links often convert a stream or rip a video into a mp3 download or in some cases just
lead to more adverts without delivering the content) links and any hope of many legitimate
links showing on Google page 1 without employing a delisting service are very slim.
Why? Because pirates know that sites like SoundCloud are the first place a label will upload
content to promote a forthcoming release so they use this as a data source to create pages
pretending to be downloads of the release. Sites that do this ‘scraping’ of data from other
sites we call ‘Click Scam’ sites. These sites fill up search engines with links purporting to be
downloads of the content and users click through to them generating advertising revenue for
the pirates while, at the same time, displacing the legitimate links for the release such as
download stores, news and social media.
See this search result (see next page):
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The link highlighted is for this page (see grab on next page):
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That second download link is this:
http://4shared.im/download.php?name=oliver+heldens+last+all+night+koala+feat+kstewart+e
xtended+mix&url=aHR0cHM6Ly9hcGkuc291bmRjbG91ZC5jb20vdHJhY2tzLzE3NzM1Njg3N
y 9zdHJlYW0/Y2xpZW50X2lkPWFjMDFkYzY3MmU2Yjk4ZjZlNDA1NmQwY2Y5NWIyOTY4
Which is hiding the source link using a technique called base64 encoding. This is a common
technique in coding to convert a string of characters or a file into a list of letters and numbers
like the set you can see on the following page. The technique is reversible and is often used
to
hide
the
true
contents.
aHR0cHM6Ly9hcGkuc291bmRjbG91ZC5jb20vdHJhY2tzLzE3NzM1Njg3Ny9zdHJlYW0/Y2x
p
ZW50X2lkPWFjMDFkYzY3MmU2Yjk4ZjZlNDA1NmQwY2Y5NWIyOTY4
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which when decoded is this much more recognisable link:
https://api.SoundCloud.com/tracks/177356877/stream?client_id=ac01dc672e6b98f6e4056d0
c f95b2968
And the download.php page will convert the stream into a nice 128kbps mp3 without you ever
seeing the SoundCloud page.
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As you can see the track is for sale and yet through the scraping of SoundCloud into the ‘Click
Scam’ site we have downloaded it for free without any idea it was hosted by SoundCloud.
More importantly without any interaction with the label or artist so they are unable to contact
the user or market to the user in future. This is hugely damaging.
6. Leak prevention and promotion
Because marketing campaigns build up the excitement of a forthcoming release they create
a vacuum of desire and a volume of people using search engines to find out information about
the upcoming release and to listen to previews.
This is the ultimate fertile ground for a pirate, because the money has been spent to create
such a vacuum, with the intention that the release will then rapidly fill this, making the sales
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jump and the release soar up the chart. This is the goal of a successful marketing campaign.
If the pirate is able to get there first by leaking the release just before the real release date
then they will receive huge numbers of downloads and a maximum amount of revenue from
the traffic generated.
The biggest and most obvious impact is that users who originally intended to buy the release
are presented with only a free download option because the legitimate download is not yet
available. These lost sales for a release can be extremely costly. This is made worse if there
is no legitimate place to purchase the release, because peers are downloading and listening
to the release - so if you want to be part of that then you must download illegally.
The key ways for pirates to get the content early are through promo lists, promo pools,
careless employees within the distribution chain or ‘Release Groups’.
To minimise the risk we recommend that you carefully check any recipients on promo lists to
ensure that they really should be there. It is much better to have a smaller list of key people
than a big list of unknown people who could easily be pretending to be worthwhile music
journalists or radio jocks to get access to your releases. Also check promo pools to make
sure your music is not ending up there without your approval. Often music is submitted from
unofficial sources and then quickly distributed to their network. Where possible use promo
services that are secure and use watermarking to uniquely identify any streams or downloads
which would allow you to identify a leak and remove the person that leaked it. Be sure that
the watermarking is capable of surviving being converted to different formats (many don't and
pirates know this so they can strip watermarks easily).
If your release does leak then it is best to have a plan in place with the various partners in the
distribution chain, allowing you to instantly bring forward the release date. This makes the
legitimate version available to mitigate the loss from such a leak. This should include pre
prepared email shots, social media posts and paid for search listings to ensure that people
tempted to download the leak have a choice to instead buy the legitimate release.
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7. Make the music easy to identify
Part of the battle against piracy is ensuring that your release can not only be found easily by
users but also identified easily by automated systems. Technology provides a great way to
identify music through a technique called ‘Fingerprinting’. This technique actually listens to
the sound of the track and matches it to a ‘Fingerprint’. Submitting the music to such
databases allows automated systems to identify the music.
This is important not only for your customers to be able to identify a track they like that they
hear (eg. using Shazam in a club) but also allows other systems to quickly identify your music.
Why? Because these types of systems are used to allocate royalty payments for TV and radio
plus many sites including SoundCloud3 are reported to use them to block the uploading of
copyrighted content without the authorisation of the content owner.
8. Social media
Taking control of your social media helps to minimise piracy. This is most obvious on
YouTube and SoundCloud. Some labels are happy for their content to be reuploaded in order
to get extra royalty payments. However by removing all uploads, except the official ones, will
still mean the release can be found and played but most importantly it means that the
descriptions, quality and what is shown on the video are also all within the control of the label.
This stops instances like this occurring (see next page):
3
http://www.hypebot.com/hypebot/2011/01/SoundCloud-partners-with-audible-magic-gets-content-id-tech.html
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YouTube and SoundCloud are key tools used in promotion so to help identify unwanted
content on these platforms it can be easier to find a service which is able to find and help
manage through use of whitelisting channels etc.
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9. Blocking content from being shared
A number of file hosting sites and UGC sites use upload filters to block files from their systems
which they know to be infringing. To help stop your release from being published on such
sites you can use a service which will send fingerprints of the pirate files as soon as they are
discovered to such sites. This is usually an extra service beyond sending the release to
‘Fingerprint’ services such as Shazam because it is a different type of identification using the
actual unique hash (also known as a fingerprint) of the digital file. To do this effectively this
needs to be connected to a scanning and takedown system that downloads the files allowing
them to be fingerprinted and this data sent to such sites.
10. Education
Educating everyone who is involved with a release is essential making sure that care is taken
at each stage to avoid the pitfalls and ensure the release gets the legitimate exposure it
deserves. This, in turn, funds the supply chain from the artist right through to the intern making
coffee in the office.
11. When to release
There have been a lot of discussions about the best time to release which usually hinge
around maximising chart positions. One thing to remember though is that many of the smaller
cyberlockers use manual validation to remove content after they have received takedown
notices. So it comes as no surprise that we have seen evidence in the response times which
indicate they don't all work at the weekend. So if you release on a Friday links found might
not get removed until Monday.
Google Transparency Report
“ We disclose the number of requests we receive from copyright owners and governments
to remove information from our services. We hope these steps toward greater transparency
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will help inform ongoing discussions about the appropriate scope and authority of content
regulation online. ” ­ Google4
The Google Transparency Report5 is the empirical reference point of this paper. The Google
Transparency Report is a public service provided by Google and is in no way influenced by
AudioLock; so statistics quoted from it may be seen as not being biased to any one copyright
reporter.
Google received more than 345 million requests to remove supposedly infringing links in
2014, according to TorrentFreak .6 A considerable number of these requests were made by
music rights holders.
Google’s Transparency Report is a useful online reference for the creative industries into the
extent of piracy across the search giant’s pages. It gives music rights holders an overview of
the extent to which piracy affects their content. Moreover it provides details of which entities
4
http://www.google.com/transparencyreport/removals/
http://www.google.com/transparencyreport/removals/copyright/
6 Music Week,
5
http://www.musicweek.com/news/read/google-received-345m-takedown-requests-in-2014-report/060464
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are responsible for purveying music piracy and which services are principally responsible for
protecting music content.
Google ranks AudioLock as removing infringing content from more specified domains (unique
websites) than any other independent music specific anti-piracy service in the world.
Every link removed from Google search by music anti-piracy services such as AudioLock, on
behalf of the music rights holders whose content they represent, is reported as statistics on
the Google Transparency Report. This makes it a useful source of empirical data on how
many sites an anti-piracy service is scanning and removing from, and how much infringing
music content has actually been removed from Google search.
The more infringing content which is removed from Google Search for a rights holder the less
opportunities there are to download it for free. Removing these infringing links helps drive
sales and chart positions for the music rights holder.
Number of URLs removed
Content specific - does a given anti-piracy service just protect music content? If not the figures
they report on the Google Transparency Report for Specified Domains and URLs removed
will be a mix of other media often encompassing film, adult content, photo’s, ebooks etc,
URL removal accuracy ( “% of URLs not removed” from Google, by Google )
Removal accuracy is important because poor accuracy is a reputational risk. Large reporting
volume to Google doesn't necessarily equal accuracy. As the percentage of URL’s not
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removed decreases, the chance of a counter notice from a website where a link/page has
been inadvertently removed increases. Poor accuracy exposes rights holders and their
anti-piracy services to criticism from sites like torrentfreak.com, which can cause harm to their
reputation. A scan of the first ten pages quickly reveals how accurate an anti-piracy service
is on behalf of it’s rights holders e.g. AudioLock figures 05/02/15.
Specified Domains are vitally important as it defines the width of the ‘net’ that a given entity
has to detect piracy. The wider this net the more piracy can be found and removed for rights
holders’ content. AudioLock is a music specialist so this figure only includes music related
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websites. For other companies who cover all types of content from ebooks through to
software only part of the figure would represent music websites.
Terminology
Click Scam Site
A Click Scam site, in basic terms, is a site that uses artists' work to generate ad impressions
and clicks in order to generate revenue income for the site owner. Generally the music is
comprised of rips from YouTube, SoundCloud and other social media sites. The site looks
like a search engine which will present the user with a list of mp3 files that match their search,
and when a user clicks on the page you will usually find ads popping up all over the place. In
some cases, Click Scam sites will not even offer the download of the mp3 at all, even though
you see the 'play' and 'download' buttons next to each item.
Examples:
http://www.myfreemp3x.com/
http://mp3.pm/
http://mp3vip.eu/
http://mp3finder.me/
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Fingerprinting
This is a technique used to automatically identify a track through the analysis of the actual
sound. A well known system that uses such a technique is Shazam. In this case, using your
phone, with just a short sample, Shazam can identify the track you are searching for with a
good degree of accuracy, even with background noise .
File Locker / Cyberlocker / Filehost
A cyberlocker, or file locker, is a site where users can upload their files and have them stored
on the cloud. They come in two variants, usually the legitimate variation (dropbox and
wetransfer are good examples) which do not offer payment to users uploading content.
The other variation of cyberlockers use ads to generate revenue and subscription charges.
Although they operate very much the same as legitimate varieties, they are more commonly
used for piracy because the locker will offer money to users depending on the number of
downloads and a share of the revenue generated from premium subscriptions. Oboom.com
is a prime example, which will pay the user $60 for every 1000 downloads of a file. These
sites also have premium options as well in order to generate more money. The most notable
examples are uploaded.net, rapidgator.net and novafile.com
File search engines
File search engines are used in order to provide quick access to locker links, which are usually
not found in search giants such as Google and Yahoo. Before Google adjusted it’s search
rankings, the most well known one was filestube.com (the site has though changed in 2014
to only link to reportedly legitimate content).
Some of these sites accept DMCA notices, but as with link sites it is better to send notices
directly to the lockers which actually host the download.
UGC
User generated content sites are where users are able to upload their own content. This can
be any content and well known examples include SoundCloud and YouTube.
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Linking sites
Linking sites are used to 'direct' users to downloads of content from cyberlockers (and torrents
in rare cases). A lot of them are laid out like a typical blog, displaying the latest downloads;
forums are also used as linking sites due to their categorical nature.
These sites are set up in conjunction with lockers or torrent links, so that the site owner can
provide the downloads to users in a categorised list thus allowing the owner to generate
revenue via the lockers. Some linking sites also have link protectors (eg adfly) between the
download page and the locker page to give extra revenue.
Release Groups or Warez Groups
These are groups of pirates who usually identify themselves on the more hidden parts of the
web by a single name. For example ‘AciDToX8’ which is a notable name tagged onto dance
music releases found on many torrent sites.
Release groups usually have a collection of members who are able through various means
to get access to releases before their release date. These groups make themselves known
with the tagging of the files by changing the name to include their release group name and
often to add details of how they can be contacted by anyone wanting to supply content to
them within an .nfo file. This is essentially just a text file within the downloaded zip archive
that is the release.
Usenet
Usenet is a distributed network, which means that it is not controlled by any single source.
The function of Usenet is to provide a network where any user can freely post information
which is then rapidly distributed, allowing any other user to access such information as easily
as possible. Usenet though has been hijacked for the purpose of piracy with tools that can
join news posts together allowing large files to be distributed through them such as pirated
releases. This is though a less common way for piracy to occur.
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Link Protectors
These are tools which are used to mask the destination link (usually to a download link such
as a cyberlocker) which show the user and advert for a short time before allowing them to
continue to the destination link. These types of protector usually feature adverts that
encourage users to install software they shouldn't or to call scam phone lines to remove
viruses on their computer that they actually don't have.
Examples include:
adf.ly
linkbucks.com
Torrent sites
Torrent sites are usually viewed as illegal because piracy groups have used them to great
effect for sharing torrent files of copyrighted material. The most notable example of a torrent
site is thepiratebay, which went down in December 2014.
Torrent sites are distinguishable from a regular piracy linking site by their 'magnet' downloads,
hashes, and trackers. Other things to look for on these sites are 'seeds', 'leeches' and 'peers'
which show how many people are seeding the torrent files and how many have downloaded
them. Torrent sites are popular among pirates because the only way to truly kill a torrent is
by removing the trackers, which is a very difficult process (especially non-public ones).
However a lot of the larger torrent sites are DMCA compliant which means that the torrent
content can be removed from their databases (although due to the trackers the torrent could
be found on others).
Due to high numbers of blockades being introduced by courts and ISPs, we see a lot of torrent
sites multiplying by the use of proxy domains to get around blocks - basically where a user
will set up a domain and create a clone of the original torrent site. This means that torrent
files are very easily spread and can be seen in search engines often. However, removing the
original torrent files from the main site will cause all the clones to fail, and will eventually be
wiped from search engines.
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AudioLock.NET ©.
Copyright AudioLock.NET © 2015 . 27