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Hi I'm Karl aka LlamaHat, a 3D Environment Artist, Sound Engineer and PHD Researcher, with a passion for all things Music, Virtual Reality and Research related.

Having originated from England, I relocated to the Middle East in 2006. Upon my return to England, I pursued higher education and obtained a Bachelor's degree followed by a Master's degree in Music Technology. 


During the COVID lockdowns, I embarked on a new venture in game development and virtual reality after being granted access to a VR headset. Engaging in immersive experiences and delving into the realm of Social VR, I began honing my skills in 3D modeling and development using Unity by creating Social VR Environments.

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3D Virtual Reality Environments

Virtual Reality is about immersing oneself in a new world and expressing oneself in ways that may have never been possible before. I am passionate about creating VR worlds and shared virtual environments that allow users to do just that. My goal is to provide a space where people can freely express themselves and develop meaningful friendships that transcend physical boundaries.

Virtual Realiy

Social VR Events

By teaming up with some DJs, World Creators and music lovers, I have set up some events in my virtual worlds. Nothing makes me happier than creating these environments where people can mingle, listen to live music, and groove to their favourite tunes.

I use Blender and C# in Unity to bring to life stunning virtual night clubs in VRChat. From creating intricate 3D models to programming lighting controllers, to deliver a truly immersive experience.


Join in on the fun!

Music: Composition, Recording and Production

Born in 1999 I took a liking to percussion at a young age. After a move to Dubai in 2006 I started learning the Drums in school, quickly moving to Guitar and Vocals. I started using the live sound equipment at school and quickly fell in love with Sound and Audio Production.


Doing gigs in school and around the upcoming areas of Dubai, I gained experience working as a live sound engineer facilitating company events and personal concerts in the Alserkal Art District in Al Quoz.

Educated in Music & Sound Recording at the University of York I moved to further my knowledge of technological systems by persuing a Masters in Music & Audio Technology.


Working closely with Derwent Collage to put on famous Club-D nights, and Concert Band, recording, mixing and mastering all concerts from Spring 2018.

Based in the York area there is no shortage of large organs or historic instruments ready to be recorded and processed.



Composing music is one of the most rewarding experiences one can have as a musician. It's an opportunity to take inspiration and turn it into something entirely unique and personal. As a composer, I take pride in exploring all music genres and styles to create something truly memorable.

PTCH Project

Inspired by the work of Rooster Teeth and Jeff Williams, a team and I set out to write a batch of songs for use with animation.

Composition for Video Games

This piece was composed as part of my third year of undergraduate study. The brief was simple, imagine a client has approached you requesting a piece of audio. The rest is up to you.

SoundCloud Archive

A collection of songs that I have made over the years, no real order to them, just creations that I thought worth uploading.


Recording and Production

As a recording engineer, I know firsthand the importance of good recording technique and production when it comes to making music. It's not just about capturing the sound of the instruments and vocals, but also about creating a sonic landscape that enhances and supports the artistic vision of the music. A well-produced song can make all the difference in how it is received and enjoyed by the listener.

Jeremy Lloyd - Jack Lyons Concert Hall

  • Neumann KM 184s – Spaced pair – 4m up, 7m away (Cardioid)

  • AKG Bluelines – ORTF – 1.5m up, 10m away (Cardioid)

  • Neumann U87s – Spaced Pair – 1.5m up, 15m away (Omni)

  • Sontronics Sigma – Room – 1.5m up, 15m away (Figure-8)

Prelude & Fugue in G Major BWV 550 - J.S BachJeremy Lloyd
00:00 / 07:14
Grand Jeu from 'Livre d'Orgue' - Pierre Du MageJeremy Lloyd
00:00 / 03:00
Tierce En Taille from 'Livre d'Orgue' - Pierre Du MageJeremy Lloyd
00:00 / 03:43
Plein Jeu, Fugue and Trio from 'Livre d'Orgue' - Pierre Du MageJeremy Lloyd
00:00 / 05:46
Music:Recording & Production

Technology & Programming

Generative Music

One of my biggest interests is in the world of generative music. Being able to have music write itself within systems and rules you've set in place is a magical experience when done well.

Conductive Labs: NDLR

This was my first attempt at a journalistic review, looking at what you get for your money and if it is worth purchasing.

I was lucky enough for a small article to be written about this piece on


Game of Life MIDI Sequencer

The MicroBit

The MicroBit is a microcontroller aimed at education, primarily used to introduce the idea of coding to younger audiences. However, the MicroBit can run python which allows it to punch far above its initial class.

Game of Life

Game of Life invented by the mathematician John Horton Conway is a 0 player game where the initial state of alive or dead cells dictates the evolution and population of the grid. This is one form of 'Cellular Automata'

Game of Life.PNG

How It Works

Game of Life depends on the population of the neighbours of a cell. If there are between 2 or 3 neighbours then a cell live in the next generation. If not, it dies. However, a dead cell can be brought back with 4 neighbours. Shown below is the first 4 steps of a simple game of life.

Game of Life example.PNG

8x8 Matrix to 4x4 Screen

The MicroBit's dot matrix isn't high enough resolution to show the full 8x8 matrix so a form of 'sudo' anti aliasing is used to give more of a 'map' of the matrix oppose to a full representation.

Display Theory.png

Little Video I Made For It

Although the website and code are no longer available it is interesting to listen to the sequences and think of where this project could go next.

Music: Technology & Programming


Masters Thesis

The Creation of a Syllabus: Developing an International Baccalaureate Course for `Music Technology'

Level-3 Qualifications, typically taken between ages 15-18, are designed to be the final level of schooling before access to higher education. This report looks into existing research surrounding Level-3 Qualifications within the subject of `Music Technology'. It aims to outline the parameters which would comprise a `Music Technology' course and assess the current situation regarding pedagogy and the different approaches in this field. The report makes links the practices in a `Music Technology' field to international education standards such as the `International Baccalaureate (IB). This is to argue why it should be included as an option in the curriculum. The report is given from the viewpoint of an individual who studied under the IB curriculum but was not able to study this subject at a Level-3 standard. The report explores what `Music Technology' really is, what Pedagogy is, and how it relates to `Music Technology', and offers an overview of the IB and how its core structures can be linked to practices in `Music Technology'. The overarching goal of this report is to give evidence to the argument that `Music Technology' should be offered at IB level, and suggest a syllabus to be adopted by the IB.

Virtual Acoustics and Spacial Audio

An Exploration of Computerised Acoustic Modelling

Acoustic modelling is a process involving complex computational algorithms in the aim to improve or explore a given modelled space. Often this is to discover problem areas before a retrofit or build of a musical venue. concert halls and cathedrals are common explorations using acoustic modelling however, this is not where the applications are limited. Within this report the effectiveness of these techniques are explored when analysing the difference between the real space and modelled when the model is given constraints such as a low poly count. 

Audio Signals & Psycho Acoustics

PureData Report - Tartini Tones

A combination tone is a psychoacoustic phenomenon that occurs when two tones are played and a third, resultant tone is heard. First coined as 'Tartini tones' after their discovery by 'Giuseppe Tartini'. This psychoacoustic phenomenon occurs when two pure tones are play at a frequency interval of greater than 50hz, this is where limits of acoustic beating can be perceived and is instead perceived as a separate tone. If played at a loud volume a third much quieter sub-harmonic will be heard, this being the frequency interval.

IOS Programming

MPE Style Synth Control on an iPad

I wanted deep gestural integration much like how the 'Roli Seaboard' uses pressure in addition to what amounts to an XY pad on each note. However, the screen on the iPad is not pressure sensitive and instead a constant pressure. This limits the expressive capabilities available to the user, not allowing velocity expression means that the overall performance can be hindered. However the XY pad on each note is possible as tracking position from a point is very possible.

Undergraduate Dissertation

Methods of Musical Interaction: An investigation into the tools utilised in a studio environment

Many names describe the role that a person facilitates in a studio scenario: artist, producer, engineer, writer. The system with which we choose to record music can greatly affect the outcome of the product. Speed, quality and comfort are all aspects of creating a record. The workings between an engineer and his chosen Digital Audio Workstation can be extended from mouse and keyboard to further their understanding of sound recording, the methods we use to mix, and the ways we interact with expressive instruments. Controllers can expand expressive capabilities can influence the creation of music, and devices that expand mixing capabilities have the ability to change the workflow and approach of an engineer, thus influencing the record. This investigation will examine the specifications of which the industry is built off and the technologies which facilitate mixing in and outside the DAW. It will also frame an argument into the inner workings and attitude of the developers in relation to the audio industry, presenting an experiment analysing how the usage of certain equipment can aid in the production of a record in a studio environment.

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