PRS聲稱 串流媒體盜取已急劇增加

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  • 作者: 音樂地圖
  • PRS聲稱 串流媒體盜取已急劇增加

      202101/1302:31

    ◎英國音樂收藏協會(PRS for Music)發布有關串流媒體盜版行為增長的研究:可幫助人們翻錄下載串流媒體(例如從YouTube或Spotify)的網站和工具。
    ◎報告聲稱,在2016年至2019年期間,這些服務的使用在英國急劇增長了1,390%,成為最受歡迎的盜版形式。報告稱,串流媒體抓取服務的使用,占前50個特定音樂侵權網站的80.2%。到2019年10月,其中一個站點(y2mate)估計占前50個網站使用量的47%。
    ◎該報告由版權監控公司Incopro製作,聲稱YouTube仍然是最受盜版歡迎的服務,領先於SoundCloud和Spotify。儘管合法串流媒體服務和付費訂閱的增長,但該報告認為,不應忽略最新的盜版形式。希望在數位經濟中負有責任的人,包括應用程式商店,軟體和平台,廣告網絡,YouTube和其他許可服務,防止這些非法服務竊取音樂,剝奪歌曲作者,作曲家和音樂發行人應有的報酬。

    詳細全文:

    UK collecting society PRS for Music has published some research into the growth of ‘stream-ripping’ piracy: sites and tools that help people rip streams (e.g. from YouTube or Spotify) into downloads.
    It claims that usage of these services has “dramatically” increased by 1,390% in the UK between 2016 and 2019, to become the most popular form of piracy. “Usage of stream-ripping services accounted for 80.2% of the top 50 specifically music infringing sites,” claimed the report.
    There are some 900lb gorillas here too: one site, y2mate, is estimated to have accounted for 47% of the usage for those top 50 sites by October 2019.
    The report, which was produced by rights-monitoring firm Incopro, claims that YouTube is still the most popular service being ripped, ahead of SoundCloud and Spotify.

    While the growth of legal streaming services and paid subscriptions means the music industry doesn’t lose sleep over stream-ripping in 2020 like it did file-sharing a couple of decades ago, but the report thinks the latest piracy form shouldn’t be ignored.
    “A persistent and targeted approach in the enforcement of all stream-ripping services is necessary to combat their evolution.”
    “We will continue to take all possible measures to prevent stream-ripping services from existing, in order to maximise the royalties we collect for our members and to ensure they receive fair remuneration for their work,” added Simon Bourn, head of IP and litigation at PRS for Music.
    “We also expect others who are in positions of responsibility within the digital economy, including app stores, software and plug-in platforms, ad networks, YouTube and other licensed services, to play their own parts in preventing these illegal services from stealing music and depriving songwriters, composers and music publishers of their rightful reward.”

     

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