Zero Ohms

Artist: Craig Padilla & Zero Ohms
P: 2005
Craig Padilla and Zero Ohms have both had successful independent careers as ambient musicians, but this CD marks their first collaboration... and the result is amazing!
Path of Least Resistance combines melodic flute and synth melodies with soaring, pulsing, sweeping soundcapes for a mesmerizing sonic experience. This CD has been worked, reworked, polished and primed by the artists and the care in it's creation shines through! Path of Least Resistance will be one for every space music and ambient aficionado's CD collection.
Produced, engineered, recorded and composed by Craig Padilla and Richard Roberts
Craig Padilla - synthesizers, sequencers, samplers
Richard Roberts - wind-synth, bass flute, bansuri, tinwhistle, native American flute, field recording.

Artist: Craig Padilla & Zero Ohms
P: 2012
Imagine traveling through a solitary and vast expanse; a distant sojourn into the farthest reaches of space, searching for another planet to eventually inhabit. That is the sound and story of When The Earth Is Far Away, the third collaboration from synthesist Craig Padilla and flute master Zero Ohms. Hailing from opposite sides of a continent, the two veteran musicians have crafted a dreamlike tapestry of organic space music, showcasing a skillfully executed amalgamation of analog and digital synths, various wind instruments, field recordings and subtle electronics, that seems to suspend the perception of time.
Blended to perfection, the music on When The Earth Is Far Away has such an organic feel to it that it becomes difficult to tell where the synths end and the flutes begin. Craig Padilla explains, “I think the unique combination of electronic synthesizers and acoustic wind-instruments creates a hauntingly beautiful and dream-like aural soundscape.” Indeed, the sound sources and individual instruments disappear deep into the spacescapes, and all that remains is the music. Padilla continues, “The music creates a warm, cosmic, floating atmosphere with slow-moving organic waves of sound. It’s spacemusic with a sense of drifting on a sea of timelessness from beginning to end.”
Their unified sound is the result of a collaborative process that these two artists have developed over years of working together. Zero Ohms’ Richard Roberts explains, “The process is somewhat unique in that Craig and I both manipulated each others’ tracks instead of the usual ‘hands off the other guy’s tracks’ attitude common in most collaborations. This resulted in pieces that had a fresh sound and an innovative feel to them, performances with real heart and soul.”
The colossal expanse of deep space, the loneliness of the journey, the marvels of the cosmos; all of these things, filtered and expressed through the emotions of wonder and awe that they evoke, bring an honest purity to this album. Whether the epic journey through space that inspires this music is a possible reality or just a dream for the future, When The Earth Is Far Away pays tribute to the age-old feeling that we — the human race — as a manifest destiny, belong in the stars…to the stars.

Artist: Craig Padilla, Zero Ohms & Skip Murphy
P: 2009
Continuing the astral journey they began with Path of Least Resistance, Craig Padilla, Richard Roberts (a.k.a Zero Ohms), and fellow traveler Skip Murphy have created a release that is an excellent fusion of New Age heart with Electronic Spacemusic sensibilities. Although it would seem an unlikely combination for a multi-flutist to join forces with two retro-analog synth masters, the results are suprisingly fresh and skillfully executed, and as one reviewer put it, “Roberts, Padilla and Murphy show they are a trio to be reckoned with as astral musical explorers.” According to Roberts, the new release is a more yin-inclined expolration of an inner space as opposed to the yang-oriented excursion through outer space presented on the earlier Path of Least Resistance. "The Portal represents our own limitations,” states Roberts, “and so to go beyond the portal is to become more than we believe we are." This indeed becomes a fitting metaphor for the project itself. Artists from different ends of the musical spectrum coming together to create something beyond what would be possible as individuals. Throughout the album, Padilla and Murphy at times craft etherial and elegant soundscapes around Robert’s fluid and purposeful flute explorations. At other times slightly more active electronics gently propel the music from one space to the next, carrying listeners through the vast spiral beyond and into the realm of the spirit with music that is simultaneously intimate and interstellar, organic and otherworldly.

Artist: Gordon Rhyne
P: 2000
Instead of singing the blues, Gordon Rhyne chooses to sing the HU... by way of mantric overtone chanting, he takes reverential, innerstellar (gotta love that title!) journeys on extended multi-toned vocal strands which seem to ebb and flow endlessly.
Travel across trance-inducing sonic horizons in search of God, of serenity or of some simple-yet-complex lung-powered sounds.
Adjectives like "cavernous" and "chasmic" leap to mind when the multi-toned groans of Tula begin to pour forth in amazingly continual streams. The wind sounds and high frequencies which spiral around the vocalizations of Vistas certainly seem to be either sampled or synthesized; the overall impression is one of crossing a vast, arid plain. Gordon admits to a bit of pitch-shifting in Gliding, a seemingly endless current of otherwise unadorned oscillations.
Deep (almost didgeridoo-like) throatiness sends grumbling rays Earthbound; a self-chorus of lighter layers emerges to brighten the proceedings. One actually hears the pause-to-breathe between the intertwining (and seemingly inverted) segments of Quantic Discernment as layers of almost-subterranean depth stop and go, into the nearly-identical (though "looser" and more layered) Perception, where more of the harmonic overtones are heard.
More of the same when the deeep strands of Falling Up (4:12) do their falling up thing, which sounds rather alot like the previous pieces actually. Even though the long-running Fractal Dreamscape (15:46) includes the addition of some light keyboard drone and cicada buzz, the been-there/heard-that effect has really begun to seep in, leaving me nearly desensitized to the sparkling harmonic auroras. The various tonal levels of slowly wavering Sonoluminescence give it a swarm-like resonance.

Artist: Numina + Zero Ohms
P: 2015
Broken Stars Through Brilliant Clouds finds veteran ambient electronic sound explorers Numina (Jesse Sola) and Zero Ohms (Richard Roberts) joining forces for the first time to embark upon a vast new deep sonic voyage through a solid hour of time-shifting, free floating, pure ambient space music. Billowing textures, serene and occasionally foreboding passages, and abstract washes of full spectrum sound set the stage for a mesmerizing voyage through the awe-inspiring wonder, beautiful isolation, and staggering immensity of infinite interstellar vistas. Broken Stars Through Brilliant Clouds is true spacemusic in every sense of the genre; soundscapes, simultaneously intimate and interstellar, that expand the boundaries of imagination.

Artist: Vidna Obamana, Brannan Lane,
Robert Carty, Zero Ohms u.a.
P: 1997
This is the projekt of ambient collaborations with all new tracks by the listed artists.

Artist: Zero Ohms + Brannan Lane
P: 2002
Ambientmix of wind-instruments and synthesizer with a natural environment in the background.
Zero Ohms: flute, bass flute, wind-controlled synthesizer, bass bamboo flute, native American flute, Napali flute, Thaipii-joom gourd flute, bansuri, & field recordings
Brannan Lane: synths, beanpods, shakers, rattles, djembe, rainstick, processing & mastering
Gordon Rhyne: overtone voice

Here the last copy!

Artist: Zero Ohms
P: 2014
Following three masterful collaborations with Craig Padilla on the Lotuspike label, Zero Ohms (aka Richard Roberts) returns with PROCESS OF BEING, a new ambient solo work of floating, ethereal, luminous and expansive spacemusic. With his flutes and wind synthesizers in tandem, Zero Ohms brings forth billowing spaces that ascend and gently fall, effortlessly altering the listener’s sense of time and space.  This brilliantly subtle, beatless environment breathes with a sense of infinite presence, leaving both the past and the future elsewhere.
The album’s six tracks are well-developed, patient, deep and probing, seeping into, and shifting the frequencies of awareness. Through it all, the reigning atmosphere of peace and open space is evident everywhere, and the relaxing result serves as a soothing reminder of the joy of stillness and serenity, especially when painted from such an expansive sonic palette.
In speaking about this album, Richard shares “I have tried to establish a sense of infinity and freedom, and the sense of timelessness that seems to come with it.”  Even the track titles suggest an internal encounter with the infinite; from the koan-inspired “The Approach of Nothingness,” to the Lost Horizon literary reference of “Glimpsing the Eternal,” or “The Process of Being There,” a reference to Peter Sellers’ masterpiece Being There, a film about an existence which is only as long as the present moment.
The music on PROCESS OF BEING was created through a skillful blend of acoustic and electronic instruments and effects, but without the actual use of keyboards in any of the process. Synths were instead played via an electronic wind-controller, and of course the masterful flute textures that are the trademark of any Zero Ohms release are in full bloom throughout, lending an underlying rhythm of breath to the album and giving the electronics a very natural, organic feel.