There is a distinction between piracy and personal-use backup.
Piracy is both the commercial and non-commercial distribution of copyrighted works, without the copyright owner's permission, for non-educational uses to other persons who do not own the rights to access the work.
1. The sale of a pirated copy of the work.
2. The public sharing of pirated copies of the work. (including ripping of the CD layer.)
3. The commercial, noneducational, rendition of a legitimate copyrighted work, without the copyright owner's permission, for public consumption at a paid event in which the promoter of the event earns a pecuniary benefit from his/her patrons which is not shared with the copyright owner.
4. The noneducational incorporation of a copyright owner's work into a product or service that is not authorized by the copyright owner.
The consumer is allowed to:
1. Make a backup of a copyrighted work for his/her personal use in order to protect his/her investment.
2. Store that copy in any playable form, for personal, noncommercial use, but not share that copy, publicly for noneducational purposes, with anyone who does not have legitimate access to the work.
3. At a party, given by the consumer, he/she may play the work for the enjoyment of all present (even if they do not enjoy private access to the copyrighted work).
4. A friend of a consumer who has access to the copyrighted work can legitimately play, view, or read a copyrighted work, as a guest of the consumer without having to obtain permission from, or to pay royalties to the copyright owner for use of the work.
, if consumers support the music industry by purchasing products that they enjoy, then the industry shall prosper. If producers stop making people buy its products all over again, when these products fail to have a shelf life of 100 years+, as advertised, then consumers will appreciate the products they produce with an eye towards fairness; and, equitable dealing shall then prevail.
Pirates must be put out of business, not by frustrating the legitimate need for quality and protection of longevity, but by swift action in the courts against the pirates.
The industry can survive, as it always has, if we patronize the producers who merit our patronage. Back in the days of the LP era, making a copy of a disc involved getting out the tape recorder and dubbing it over. Consumers did that then and do it now for personal use. Pirates also did that by dubbing the LP using professional quality 2-track recorders, such as Ampex, Scully, Studer, 3M Mincom, Stephens, etc. They then mastered these dubs (pops, clicks, surface noise and all) to a lacquer master and pressed LPs for illegal sale of the copyrighted works. Similarly, today, any pirate can dub a SACD through the SACD players analog outputs connected to either a DSD or PCM Digital Recorder, or even a professional analog tape recorder. Certain pirates have also found ways to bypass the encryption schemes altogether.
IMHO, Digital Transmission Content Protection has not stopped pirates in the slightest, while, it has inconvenienced consumers in the pursuit of their legitimate right to backup their investment. MP3s are not the way to pleasant listening. Consumers deserve better than that. The industry deserves better than that. Spread the word.