Old Blood Noise Endeavors FLOAT V2 Mint

Float V2: OBNE’s Reimagined Dual Analog Filtering

With the Float V2 Dual Analog Filter, Old Blood Noise Endeavors revisits the principle behind the original Float: two analog filters capable of operating separately or interacting with one another. This new version retains their state-variable architecture while reducing noise and expanding the control possibilities. Handmade in Oklahoma, it encourages sonic exploration without leaving behind the classic uses of a filter.

From Expressive Filtering to Moving Stereo Textures

The Float V2 is designed for musicians who want to go beyond simple tone shaping. A single filter can produce expressive sweeps and rhythmic effects suited to funk, rock, or electronic music. Combining both filters opens the door to ambient pads, offset pulses, and experimental textures.

On stage, presets, tap tempo, and momentary controls make texture changes easy. In the studio, the routing options invite you to compare two treatments in parallel or run the signal through both filters in succession. Stereo operation also lets you distribute the movements between the left and right sides.

Two Independent Filters, with Modulation Freely Organized

Each side features Cutoff, Resonance, and Volume controls, as well as Rate, Depth, Shape, and Sens. The mode knob selects a low-pass, band-pass, or high-pass filter, as well as combinations of them: two types simultaneously or all three together. This gives you two complete sections that remain independent as long as synchronization is disabled.

The LFO offers six waveforms: sine, square, rising ramp, falling ramp, smoothed random, and stepped random. Rate controls the speed, while Depth determines the sweep range around the cutoff frequency. At maximum depth, the LFO takes complete control of the filter’s sweep.

The Sens control introduces playing response. Above noon, a stronger attack increases the LFO speed, or raises the cutoff frequency when the LFO is not running. Below noon, this action is reversed. The farther the setting moves from center, the more your dynamics influence the movement.

Sync links filter 2 to filter 1. The second filter’s Rate then becomes a phase offset of up to half a cycle, while Sens selects either identical or inverted envelope following. Holding it for five seconds activates Hard Sync, causing filter 2’s cutoff frequency to follow the first filter’s exactly.

The auxiliary footswitch can be used for tap tempo or preset changes. Subdivisions range from quartering the tempo to quadrupling it. MIDI lets you recall memories, control all parameters, and synchronize speeds to an external clock. The expression input can control several settings at once, with an assignment saved for each preset.

The Sound

The Float V2 is built around two-pole analog filters with a 12 dB-per-octave slope. The low-pass filter retains frequencies below the cutoff, the high-pass filter retains those above it, and the band-pass filter isolates an intermediate range. Their combinations let you move from gradual darkening to more scooped or more incisive contours.

Resonance emphasizes the movement without systematically thinning out the low end: the bass remains present as you increase this setting. The filters do not self-oscillate, even at maximum resonance. You can therefore explore pronounced accents while keeping the played signal at the center of the result.

With the envelope, sweeps follow your articulation; with the LFOs, they become cyclical, irregular, or phase-shifted. Parallel routing layers the colors, series mode tightens their interaction, and stereo operation gives the movements space. The Float V2 can therefore remain subtle or profoundly transform the sonic material.

Technical specifications

Effects	Multimode Filter, Low Pass filter, Hi pass filter	EQ	Filter
Technology	Analog	Type	sector
Format	Pedal

Architecture	two-pole state-variable filters	Time subdivisions	quarter-speed to four-times speed
Filter slope	12 dB per octave	Routing	parallel mono, series mono, mono input to stereo output and stereo
Filter types	low-pass, band-pass and high-pass	Routing storage	global setting
Combinations per filter	one type alone, two types simultaneously or all three types simultaneously	Stereo input	TRS, with one filter per channel
Resonance behavior	bass retention and no self-oscillation	Separate insertion into a mono chain	possible with a TRS-to-two-TS breakout cable
Manufacturing	handmade in Oklahoma, United States	Directly accessible presets	3
Controls per filter	Rate, Depth, Shape, Resonance, Cutoff, Volume and Sens	Presets accessible via MIDI	127 total, including 124 additional presets
Filter selection	mode button for each filter	Auxiliary footswitch	tap tempo or preset change
Modulations	LFO and envelope following	Footswitches	soft switching, latching or momentary operation
LFO shapes	sine, square, rising ramp, falling ramp, smoothed random and stepped random	Expression control	assignable to a combination of the main knob parameters, stored per preset
Envelope sensitivity	positive or inverted action on the LFO speed, or on the cutoff when the LFO is stopped	MIDI control	all parameters via CC messages, preset recall via Program Change and synchronization via MIDI clock
Synchronization	linking filter 2 to filter 1 via the Sync button	MIDI connectivity	3.5 mm TRS Type A jack
Phase offset in Sync mode	up to half a cycle	Firmware update	USB-C
Envelope in Sync mode	identical or inverted following	Required power supply	9 V DC power supply
Hard Sync	exact tracking of both cutoff frequencies after holding Sync for five seconds