This is a parallel to the music copying saw. 3 angles.. A recording is less than a live performance (an "echo" if we had to put it in ancient terms, or perhaps listening from a remote place to the stage), and so long as performer earns their keep (practice/composition time, support staff, gear, performance itself) nothing is stolen by an extra copy. Second point is the progression of recording art. When Philips' Compact Cassette was introduced in '64, there were legal cases in the states, with the discovery that recordings not for resale were legal. ASCAP and BME were happy with that. But, it could be argued, these were "lossy" copies (analog), so always inferior. No matter, DAT arrived in the market in due time, permitting infinite generations of lossless copy, and not so much as a squeak from the industry. (But digital audio tape media was never popular) Not til CD burners became ubiquitous, was there a hue and cry from the music industry. So their problem was a loss of profit not for the performers, but for the industry which leeches off them. Third point, is that performances only accrue "worth" by being initially offered gratis ("top 100" on the radio etc.), and if it gains traction, then at some point they decide you need to pay. This of course, is after it's been floated ad nauseam in the Public Domain - for free.