SESAC, INC.
NASHVILLE, TN

SESAC Performing Rights Since being established in 1930, SESAC Performing Rights has become the nation’s most innovative PRO. Songwriters and publishers are paid royalties based on many factors, including state-of-the-art monitoring and computer database information.  SESAC is the first and only performing rights organization to pay royalties on a monthly rather than quarterly basis. SESAC utilizes a selective process when affiliating songwriters and publishers, resulting in a level of service and attention unparalleled in the industry. With an international reach and a vast repertory that spans virtually every genre of music, SESAC is the most innovative and technologically adept of the nation’s performing rights organizations. SESAC currently licenses the public performances of more than 400,000 songs on behalf of its 30,000 affiliated songwriters, composers and music publishers, which include such familiar names as Bob Dylan, Neil Diamond, RUSH, Charli XCX (PRS), Disclosure (PRS), Zac Brown, Mumford & Sons (PRS), Lady Antebellum, The Avett Brothers, Shirley Caesar, Paul Shaffer and Thompson Square. SESAC has long represented the music on some of TV’s biggest shows including Grey’s Anatomy, How I Met Your Mother, Parenthood, Dateline NBC, Dr. Phil, Seinfeld, and The Doctors among many others and is the PRO of choice among many of Hollywood's most sought-after film and television composers including Christophe Beck, Jeff Beal, Danny Lux, Jon Ehrlich, Dennis C. Brown, Bruce Miller and Paul Shaffer among many others. SESAC Holdings is the only U.S.-based Music Rights Organization that administers public performance, mechanical, micro-sync and other rights.  SESAC Holdings is unique in its ability to offer singular licenses for the works of its affiliated writers and publishers that aggregate both performance and mechanical rights in order to drive greater efficiency in licensing for music users, as well as enhanced value for music creators and publishers. Its businesses operate on a sophisticated information technology and data platform to provide timely, efficient royalty collection and distribution.  SESAC Holdings’ subsidiaries are some of the most well-known companies in music licensing and administration.  SESAC Performing Rights is the second oldest and most progressive performing rights organization in the U.S.  SESAC Holdings’ acquisition of accelerated its transition to a “multi-rights” organization with HFA’s deep publisher relations and mechanical licensing history.  Following the HFA acquisition, SESAC's subsidiary was merged with HFA's Slingshot business unit under the Rumblefish brand.  Rumblefish simplifies business for digital services, publishers, labels, artists and apps. Rumblefish's transparent composition and recording administration, data and royalty management, licensing and network monetization allow clients to focus on their core business. SESAC Holdings has offices in New York, Nashville, Los Angeles, Portland, San Francisco, London and Munich. SESAC was established in 1930 and built on service, tradition and innovation. SESAC was founded in New York in 1930 by German immigrant Paul Heinecke in an effort to help European publishers with their American performance royalties. Throughout the decades, until his passing in 1972, Paul Heinecke guided SESAC with his own unique mix of old-world charm and 20th century savvy. With an established cornerstone  repertory of the finest European Classical Music, SESAC began to turn its attention to American music in the 1930s. The company’s tradition of service began in the ‘30s when SESAC helped broadcasters satisfy FCC requirements, supplying them with quality recordings of SESAC’s substantial Gospel catalog. The stations got their much-needed music, and SESAC established enduring relationships with broadcasters across the nation. The 1940s was a time of worldwide upheaval, but SESAC continued to grow and evolve throughout the decade, redefining itself as circumstances demanded. By decade's end, SESAC had managed not only to survive, but to considerably broaden its reach and its repertory. The 1950s saw the explosion of the radio and pop music and the establishment of SESAC’S innovative electronic transcription series. On a monthly basis, radio stations would receive another “transcription” of exclusive SESAC music performed  by the likes of Duke Ellington, Count Basie, Woody Herman, Coleman Hawkins, Elliot Lawrence, Joe Venuti, Chico Hamilton, Jackie Wilson, Chet Atkins, and Hank Garland, to name a few. “It’s heartwarming to see the fruits of our combined efforts…writers, publishers, producers, users…As to the future, we shall continue to use as our buckler and our shield the eternal qualities of faith and hope, knowing full well that these, coupled with diligent and honest effort, shall inure to the benefit of all." – Paul Heinecke in 1950, on the occasion of SESAC’s 20th Anniversary. In the 1960s SESAC took its first steps int o the mainstream pop music market. SESAC continued its steady growth during the ‘60s, moving into new midtown headquarters at the Coliseum in Manhattan’s Columbus Circle and opening its first Nashville office (headed by country star Roy Drusky) in 1964. 1970 marked a historic turning point for SESAC as the company signed its first-ever songwriter agreement. Prior to that time, SESAC signed only publishers. Also in the early ‘70s, SESAC began a new focus on its Christian roster, helping to pioneer the Contemporary Christian format. SESAC continued to grow during the 1980s, particularly in Nashville, where the company moved its headquarters in 1985. SESAC, the smallest of the three U.S. performing rights organizations, focused on technology in the 1990s with the introduction of cutting-edge technology in performance detection. In 1993, SESAC inked a 20-year deal with Broadcast Data Systems (BDS) to gather data on music and commercial airplay by radio and television stations, and the company distinguished itself as the first U.S. performing rights organization to utilize BDS technology to track Spanish-language music. Just a few years later, the company expanded its agreement with BDS to include computerized music rights tracking for other genres. The SESAC repertory grew substantially during the decade across all genres, particularly in the areas of R&B/hip-hop, country and rock.