Old Blood Noise Endeavors FLOAT V2 Ocean

Float V2: OBNE’s Reimagined Dual Analog Filtering

With the Float V2 Dual Analog Filter, Old Blood Noise Endeavors revisits the concept behind the original Float: two analog filters capable of operating independently or interacting with one another. This new version retains their state-variable architecture while reducing noise and expanding the control possibilities. Hand-built in Oklahoma, it encourages sonic exploration without abandoning 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 deliver expressive sweeps and rhythmic effects suited to funk, rock or electronic music. Combining the two opens the door to ambient pads, offset pulses and experimental textures.

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

Two Independent Filters, Freely Organised Modulation

Each side features Cutoff, Resonance and Volume controls, along with Rate, Depth, Shape and Sens. The mode button selects a low-pass, band-pass or high-pass filter, as well as combinations of these: two filter types simultaneously or all three together. This gives you two complete sections that remain independent as long as synchronisation 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 extent of the sweep around the cutoff frequency. At maximum depth, the LFO takes full control of the filter’s movement.

The Sens control introduces playing dynamics into the response. Above noon, a harder attack increases the LFO speed, or raises the cutoff frequency when the LFO is not running. Below noon, this action is reversed. The further the control moves from centre, 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: filter 2’s cutoff frequency then follows 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 can recall memories, control all parameters and synchronise the rates 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 take you from gradual darkening to more scooped or more incisive contours.

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

With the envelope, the sweeps follow your articulation; with the LFOs, they become cyclical, irregular or phase-shifted. Parallel routing layers the colours, series mode tightens their interaction, and stereo gives the movements room to breathe. 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	a single type, two simultaneous types or all three simultaneous types	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-dual-TS breakout cable
Manufacturing	handmade in Oklahoma, USA	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 adapter
Hard Sync	exact tracking of both cutoff frequencies after holding Sync for five seconds