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After years of plotting, life got more intense again.
I’m finally bootstrapping a company, lonewolf-style.

Auburn Sounds ( will focus on crafting audio plugins for voice processing. I’ve plenty of ideas to try and plenty more I haven’t found yet.

The best way to keep being updated about new products is to suscribe to the mailing-list.

You can also follow this new account on twitter: (it will speak about music and audio plugins).

Interesting times ahead!

I’ve also deciced to end being anonymous with the “ponce” nickname. This has become a hindrance over the years. My true name is Guillaume Piolat and you can find my official portfolio here:


I’ve made a new website for programmers: d-idioms. Its aims is helping fellow developers learn the sometimes surprising parts of the D Programming Language. While the language is simpler than C++, there is still a whole lot of gotchas and vocabulary to know.

This is a semi-serious joke site for official french translations of computer concepts:
Many contributors that have popped out of the void to help bring to light the funny side of state-sanctionned technical translations.

I’ve never written much about the D language in this blog. I think it could fill many blog posts🙂.
Let’s just say I’m a huge fan and find it very rewarding to use.

Since 2012 I’ve been working on GFM a library to make it easier to create games and other types of pretty applications.

Obviously it’s only interesting if you are interested in using D in the first place (but I wonder why you wouldn’t be with more information).

I believe GFM to be a reasonably useful toolkit for Windows/Mac/Linux based game development.
It is documented and reached 1.0 last week-end.

With the advent of the dub package manager, it’s only one line away to integrate in your project. You don’t need to use it all, since GFM has been splitted in dub sub-packages.

I’ve been listening to electronic music for years.

It has become a real challenge to find a sub-genre I can delve into and find quality tracks resisting repeated listening. For me this sub-genre right now is the more “trancey” side of Progressive House.

This is a very codified genre whose most striking feature is being DJ-friendly. The average such Progressive House track lasts 9’30 min, has 125 BPM, and no intro/outro (size of data-set = 10).

The structure of all tracks is also remarkably similar, with two breaks being the gold standard. Most Progressive House producers are also DJs that never make gigs in your particular home country.🙂

So, what producers to listen to?

  • First you can’t avoid Cid Inc. He is a prolific producer whose style is hard to define, raw and refined at the same time. Most Cid Inc. tracks might look just “OK” on first hear. Yet they all have that spot-on groove understanding and signature sticky sound. And as you delve into them, you realize the amount of details that went into it behind a thin layer of hurry. It took months before I rediscovered this track:



Another Cid Inc. track which is a bit different from his other works:



  • Marcelo Vasami has a special place in my listener’s heart. His tracks have this airy, nostagic feeling you can’t shake.



  • Hector Sawiak’s style is more trancey, darker, and impressively hypnotic. I’m a fan of his Dagon track which let your imagination run far away.



Ace of Spades v0.75 is a game with a great gameplay, especially the “babel” mode which is quite unique.

I recently launched a server called “GFM Babel+irpg 24/7” that you can find on this page:
It provide some improvements over baseline babel mode. Iif the server is not populated enough (99.9% of the time) you should really try another server instead to see what it’s all about.

(Epilogue: then I implemented a special mode with a big generated 3D labyrinth, then lost interest and closed the server).

With a bit of lateness, it is time for a yearly Vibrant update.

Download and changelog are here.

I think I need to apologize to all Vibrant users: over the years I’ve been given quite a lot of feedback but I would not really listen to it. I was chasing my Own Thing ™. Vibrant had this particular gameplay that was so fragile that anything might break it. I would make endless adjustements and tiny changes instead, to keep the things going.

But this time I do not recognize anymore what this gameplay really was and how it felt. I do not even recognize the game, and what it was supposed to be.

I came to the realization I was trapped in a sort of gameplay over-tuning spiral, and that breaking out of the spiral would allow for things a bit more radical to be implemented. And many ideas I suddenly found good had been suggested to me years ago by users. I did just not listen. What was I thinking?

A much needed update

GFM Koch, GFM Psypan and GFM Distort are finally available in more formats:


– Windows 64-bit VST
– Mac Audio Unit, Universal Binary (32 & 64-bit)
– Mac VST, Universal Binary (32 & 64-bit)


That's it. No more need to ask for a Mac version.

Bonus: better sounding distortion!

I fixed an ugly oversampling bug in GFM Distort which would defeat the 16x oversampling and make it sound like 4x. GFM distort now sounds better and if you were using it you should upgrade.

I’d like to thanks Oliver Larkin from for his work on the wdl-ol library.

War against machines

The first Tokamix was a strange offline DJ set I did in 2008 (re-release pending). Some listeners unearthed it and demanded a sequel, which is now released by @MPlatiniste.

I’m not too proud of it, but I hope it’s good enough.





I went to DemoJS 2012 and happen to release a rushed demo in Javascript.

Someone made a video.

Online here:
Source here:


It’s slow except on Chrome! Sorry about that.

One year and a half ago Graindolium started secretly giving me tracks of his next album. It was fascinating. Each tune would be weirder and more impressive than the previous one.

I happen to have some understanding of DSP but what I heared puzzled me. Meeting him last summer I understood he had tricks I didn’t know of.

He asked me to take care of distributing the album, which strangely he can’t endure.

This is the album released today


It’s hard to find the english words to say how highly I consider this album.

Digital sounding, yet with organic progression.
Computer-based, but controlled.
Challenging at first, deeply rewarding afterwards.
It’s an album where the computer served the composer but did not hold him back.

If you ever liked what I do, I beg you to pay close attention to this album and if you care help spread the word. I believe this is something important to hear.

It’s on sale on bandcamp, and the whole price goes to the artist.

Happy black room listening!