8) We could essentially create any sound on the Zendrive with the Dumkudo, with the exception of the slight absence of boosted mids. We didn't miss that, and in fact, preferred the transparency of the Dumkudo.
We would rather dial in more mids with our amp if we wanted it. but the difference was very very slight in any case.
The Zenkudo was not as high gain capable as the Zendrive (or Dumkudo), not by a huge amount, but noticeably so. At the slightly lower end of drive, it performed very admirably and as well as the others. But if one had to get only either the Zenkudo or Dumkudo- it's a no brainer- Dumkudo.
The Zendrive could not make every sound the Dumkudo could make, nor to a lesser extent the Zenkudo, because of the lack of three-way clipping selector, nor the broader range of Tone and Voice found on the D/Z pedals. Again, not a huge amount, but certainly a fairly significant difference between the pedals.
9) The basic sound all three pedals made was essentially the same in regards to type of overdrive, tone, etc.
10) The price of the Dumkudo Zendudo pedals, individually or in the Twin configuration (either Zen-Zen, Dum-Zen, or Dum-Dum) is higher than the Zendrive. So, for more sounds and transparency, you pay a premium. Currently, the individual D/Z pedals run over $320 each, or $560 for the twin configuration. This may even change more as the dollar loses value agains the Yen. The Zendrives can be had for $200.
None the less, I sold my Digitech RP1000 and my Lovepedal Kanji 9 to buy my Dum-Zen Twin. I am exceedingly happy with my purchase.
Phil is happy with his $200 Zendrive.
11) Although the basic sound of all three pedals is the same, The D/Z pedals provide additional tonal variations that are a significant enough leap from the Zendrive so that anyone claiming it is a CLONE- is just not correct. The design may have been generated at some point from the original Zendrive formula, but it has evolved and added things, the components are different, so it is a distinctly different pedal- as a Lotus is from a Ford GT.
three are at unity with the Tone/Voice (Jali) fully clockwise.
I.e., with the gain all the way down, and the Tone Voice all the way up, your guitar tone is unchanged
THUS-- these knobs act as FILTERS as you turn them counter clockwise.
They are disengaged as you fully turn them clockwise.
Toshihiko may describe it differently than Hermida, but what we detected with all three, is that they all did exactly the same thing.
Tone is a high pass filter, engage to turn counter clockwise.
Voice or Jali (Dumkudo label) is a Harmonics overtone filter, engage to turn counter clockwise.
Yes, of course, they ARE interactive on all pedals. As you increase the amount of treble heard, this increases the high frequency harmonic overtones, and vice versa.
People are free to disagree with us. We spent a lot of time on this, with both pedals right together at the same time. We are certain of our observations.
As for the three way switch-- Toshihiko explained that this was only to change the clipping characteristics. This may possibly have an effect on tone- because as you clip a waveform, the auditory perception of a sound may change according to the amplitude of the wave, etc- but this is an indirect result that may or may not occur from the clipping characteristics, depending on other factors of the wave signal. The 3-way switch itself, and it's chosen position will not necessarily change the EQ of the wave, and it is certainly not the intention of the switch.
From my listening- the Green Dumble position has more bass- because there is no compression involved in the wave clipping. The Zen position with symmetrical clipping will have the least bass, and the Red position with asymmetrical clipping will be in between the two- perhaps a more "mid" sound to it than the others.
There you have it.