Old Blood Noise Endeavors Float V2 Mint

Dual Analog Filter

Revisiting the pair of analog filters from their original Float pedal, Old Blood Noise Endeavors unveils the Float V2 - a new version that is both more streamlined and more capable than ever before. The OBNE team has kept the stunning state variable filter voice that made the original Float special, all while cleaning up some of the noise around it, and expanding the control palette to allow far more versatility than before. 

Each filter can be a low pass, band pass, high pass, or any combination of those. It can stay still, or move around according to an envelope or LFO, with ample control over rate, shape and depth of those motions. Use one side individually for traditional filter sounds or pair them together for brand new sonic explorations.

The three filter types decide what comes out the other side: low pass keeps frequencies below the cutoff intact, band pass keeps a window around it, while high pass keeps everything that sits above the cutoff. Each side of Float runs any one of them, a pair, or all three at once. Two filters mean two of everything - two cutoffs, two resonances, two volumes, two motions, with nothing shared between them unless Sync is engaged. Underneath sits a two-pole state variable filter, twelve decibels per octave. It holds its low end as the resonance comes up, so it stays usable at the extremes instead of thinning out, and it will not self-oscillate, so even the top of the Res knob is somewhere you can leave the pedal and maintain a usable sound.

Sens is where your playing comes into play. Above noon, your signal pushes the LFO rate upward, or the cutoff if no LFO is running; below noon the same force works in reverse. The further you are from noon, the more authority your hands have. The LFO runs without you. Six shapes: sine, square, ramp up and down, then smooth and stepped random. Depth sets how far the cutoff travels from its centre, and at full depth the sweep belongs entirely to the LFO. Sync ties Filter 2 to Filter 1 and changes two jobs - Rate becomes a phase offset up to half a cycle, Sens becomes a direction, matching Filter 1’s envelope or mirroring it. Hold Sync for five seconds for hard sync, where Filter 2’s cutoff tracks Filter 1 exactly. There are so many ways to make that sweep sound like nothing else you’ve ever heard before!

Routing covers parallel mono, series mono for a band pass that behaves itself, mono-in-stereo-out, and true stereo from a TRS input with a filter per side. The setting saves globally - run it in stereo with a TRS-to-dual-TS breakout and Float becomes two filters in two places in a mono chain at once. Three presets are stored onboard, with another 124 accessible via MIDI, which also carries clock to drive the rates, CC on every parameter and program change for recall, on 3.5 mm TRS type A jacks. The expression jack takes any combination of knobs, stored per preset, and firmware updates over USB-C.

Tons of ways to control your filters. Tons of ways to lose yourself to the infinite serene sweeps of Float V2.