Russ, here's how I see this one, FWIW.

A ticket to hear is not a license to save others the cost of the ticket or the cost of other ways of hearing the performer, through their recorded works. On the other hand, a performer without recorded works might appreciate you sharing a meatball-sound-production clip with someone who might buy a ticket NEXT time and that kind of support can lead someone in the direction of eventually having material recorded for sale. I think that's where the cart joins the horse-- what will the outcome be for the performer and for the people who sponsored the event of which you bought a timeshare of listening time. And what was the purpose of the event itself-- LIVE music in a certain setting.

Here is an example. I carry a handheld tape recorder to catch tunes I make up as I go about, or tunes I may hear that I want to be able to study and perhaps learn, that I can;t capture otherwise. I happened to have it in my purse, from a long day's car ride, when we went to hear a certain Mudcatter perform. He's a MudPal-- a limited but close relationship. One tune he played was a fiddle tune I thought my husband might be trying to learn without ever having heard it. I taped about half of that tune, for that sole purpose of catching the feel of the melody. Later in the set I taped what seemed like an astounding moment of stagecraft where a young audience member came up to share the mike on an amazingly fast and difficult tune-- thinking, maybe he'd like a memento of the moment in his life when he shared the spotlight. And I let the performer know I had done this before passing either item on-- asking if he wanted the tape for any purpose, and giving an opportunity for him to let me know if I had done wrong. But although I have a lot of other MudPals, I would not share that tape with them-- because the point of that whole evening had been, "You had to BE there."

See?

Does that help any?

~Susan