SMALL-RUN LABEL · MODULAR & HARDWARE SYNTH · EST. 2019, SHEFFIELD · CAT. OSC-001 → OSC-006
OSC presses machine music played by hand — no laptops on stage, no quantise after the fact. The module below is real. Press RUN, steal the pattern, keep the groove.
Kick, noise hat, and a detuned two-osc lead through a filter and tape-style delay. Scheduled with a 25 ms lookahead clock — the same trick our hardware uses, minus the solder.
VOLTAGE CHOIR
The one that started the label: four friends, one power strip, a Sunday in a Sheffield basement. Every track is a single take — you can hear a cable get re-seated in the last minute of “Mains Hum Lullaby”, and we kept it.
MIRA OHM
Mira builds her own power supplies, and it shows: this is techno with the patience of a capacitor charging. Four long tracks that never rush the filter open. Cut at 45 for the sub — play it loud or not at all.
KARN & WEST
A duo who mail patches to each other on postcards — literally, drawn in biro. Ambient dub where the weather report is a resonant filter sweep. Recorded across two winters and two cities that both claim the rain.
TWO RING CIRCUIT
Ninety minutes, two sides, two rules: side LUMEN uses only sine waves, side LATCH only square. What sounds like a gimmick becomes a study in how much a single waveform can carry when someone actually listens to it.
AYA SIGNAL
Recorded between 2 and 5 a.m. with the modular's clock slowed until the sequences stopped feeling like music and started feeling like breathing. The quietest record we've pressed, and the one people write to us about.
GROUND LOOP
The newest one. Ground Loop tours with a suitcase system and treats every venue's bad wiring as a collaborator — the 50 Hz hum is tuned into the key of each track. Electro for people who wave at substations.
OSC is a label for music made of electricity you can point at. Every release is played by hand on hardware — modular systems, drum machines, synths older than their owners — and recorded the way it happened. If a take has a wrong note, the take has a wrong note.
We started in 2019 because our favourite recordings were the ones artists apologised for: rehearsal tapes, one-take jams, the patch that only existed for a night. Nobody was pressing those. So we bought a tape duplicator, then regretted it, then bought a better one.
Runs are small on purpose. When a record sells out we move on — the patch has been unplugged, and rebuilding it note-for-note would miss the point of everything above.
— OSC, FROM THE BASEMENT
Two tracks, recorded live, unmastered. Tell us what the rig was and what went wrong. We answer everything, usually within the week.