Tanabe Zenkudo

• The Zenkudo overdrive pedal was the first pedal Tanabe developed. In a product review by guitarist Henry Kaiser in a 2010 issue of "Guitar Player" magazine, Kaiser notes that Tanabe had redesigned the circuit in this pedal compared to earlier versions, and added a three-position switch on the side that allows the guitarist to cycle through three sound modes: Zenkudo, Marshall and Dumble. The latter two are meant to approximate the sound of a guitar played through a Marshall amplifier and a Dumble amplifier, which have different sounds. The Zenkudo mode, says Kaiser, "excels at achieving the famed Dumble overdrive tone."
  
  

Tanabe Dumkudo

• In the same issue, Kaiser describes the Dumkudo as a "higher-gain version" of the Zenkudo that is designed to work well with guitars that have single-coil pickups. Kaiser points to the high-gain tone that is achieved when using humbucking pickups and notes that the Dumkudo provides a sound akin to the highest-gain Dumble tone, exemplified by the 1970s-era slide-guitar sound of David Lindley and Little Feat guitarist Lowell George. The Dumkudo has three modes, each of which produce different sound variations.
  
  

Tanabe Twin Custom

• Tanabe's Twin Custom has a larger housing that can accommodate any combination of two Zumkudo and Dumkudo pedals. By overdriving the first circuit, writes Kaiser, the resulting sustain and timbre venture "into new territories that no single pedal could achieve alone." When routed directly into a mixing console, Kaiser likens the sound to a high-quality amplifier that is recorded with a microphone, "providing outstanding note detail, dynamics and tonal complexities."
  
  

Tanable Sunkudo

• According to Kaiser, the Sunkudo is a refinement of the Buzzaround fuzz pedal that was a favorite of a King Crimson guitarist in the early 1970s. The Sunkudo has four control dials to alter fuzz, sustain, volume and brightness of the LED display. Kaiser characterizes the Sunkudo as being "very different from most fuzzes on the market today . . . particularly in the way different harmonics of the guitar signal will leap out in a lovely sustained feedback at higher gain settings."