As people are talking about Dorico, a little story about how it happened (and, very nearly, didn't).

So Sibelius began as a project by the Finn brothers, then in their early 20s in Cambridge, some time around 1990. Originally it was written for the Acorn Archimedes, a British desktop computer running on ARM RISC processors. (They were decent machines, but having a big platform for native software was THE thing that mattered for personal computing in the 90s, and being essentially UK-only, Archimedes as a platform was doomed - as with Clive Sinclair's C5 light EV, the right idea at the wrong time).

Sibelius grew and thrived for 15 years, porting to PC & Mac on the way, enjoying wide adoption in education especially outside the US, growing to maybe 50 or 100 people, and became Finale's main competitor. In the mid 2000's they were acquired by Avid, who saw the potential to tie in its notation platform with their recording packages for Hollywood and other media composers. The founders stepped back, received royal awards from the Queen, and have kept a fairly low profile since.

Things carried on OK for a few years, but then when the financial crisis hits, the suits and bean-counters running Avid got Ideas. And you know that's not going to end well.

So to understand the importance of what happens next, you need to realise that there are maybe as few as a hundred people in the world who understand both music engraving and C++ application development to an advanced level. Either skill on its own, no big deal. Both together? The Venn overlap on that is _tiny_.

And at that point in time, twenty or thirty of them were working for Sibelius, the same again or a few more at Coda MakeMusic working on Finale, and a handful of others at minor competitors and F/OSS contenders such as Rosegarden. This is 2009 ish - before the mobile/tablet revolution really gets going, and interactive Web apps aren't quite at the maturity level to do professional-quality music engraving with smooth, low-latency UI.

So the top-level Avid suits find out that Western senior engineer salaries are $70K or thereabouts, whereas you can hire a senior engineer in Ukraine for $12K, and send out a decree that ALL engineering functions will be offshored to their development partner in Kiev.

I'm not knocking the Ukrainians. Clever, well-educated, innovative and hard-working to a (wo)man. But... rapidly offshoring a codebase with 15 years of history, addressing what is a very highly specialised domain, almost a culture in its own right, which the vast majority of contract engineers would have zero understanding of?

So, yep. Avid has a profitable (I assume) product, a mature team consisting of a third of the people in the world with that skill set, most of whom are doing it for the love and none of whom are overpaid, and what do the bean-counters do?

Yep, you guessed it. Fire the lot. "For the stock price!"

Now the professional composer community isn't huge. But they're sharp as a pin and well-connected, and this news is, obviously, not taken well. Thankfully the team's PM, Daniel Spreadbury, has the presence of mind to phone a friend at Yamaha-Steinberg. And over the next few weeks they're able to hammer out a deal where almost the entire engineering team is re-hired.

The way I heard it told, he convinced them to give him and his team three years and sufficient budget to build a "new Sibelius". In the end, it took them five-and-a-half, but such is the way of software projects.

So anyway, kudos to Daniel Spreadbury and whoever at Yamaha-Steinberg had the foresight to invest in this. And the opposite to the suits at Avid, who seem to have been bought out by a PE firm last year. So I guess triple yachts all round for them.