Adrian Weckler

that then suddenly become really popular on streaming platforms, but nobody has ever heard of outside of those platforms.

So they're all signals that you can use to not try and detect the fraud

by listening to the music, but try and detect the fraud at the point that the playing of the music gets commercialized.

And that's quite an effective way of dealing with it.

But there are hundreds of thousands of fraudulent works registered across the network of CMOs in the world on a regular basis.

Yeah, so it's typically hundreds of thousands, depending on the size of the market, right?

But it's typically hundreds of thousands on a monthly basis.

And, you know, and the real issue there is that if the fraudulent work registration, like so the details of the copyrighted work,

get into the system and start attracting royalties it's very hard to unwind it afterwards because you could have ended up paying them in one month and then you're trying to get the money back off them chances are that's going to be super difficult so intercepting it early is really important um and and a lot of the systems hers included

are geared to make it easier for creators to register their works because you're trying to encourage people who are touring around the country or who are creatives really to register their copyrighted works so they can get the commercial benefits out of them.

And that's now being exploited by making it easier.

There's kind of holes in the system that make it easier for bad actors.

It's between hundreds of thousands and millions.

Like the CODA case, I can't remember the exact number, but it was a really big number.

And yeah, and like it's... Where are they based?

Yeah, so lots of times they're based in countries outside the market of the CMO that they're registering with.

And the bot farms obviously are in low cost economies where it's kind of economic to do it.

No, millions of times.

Millions of times.

Yeah, yeah.