KOí¿N‘s Munky has teamed up with TC Electronics to give you the chance to win one of his Corona Chorus pedals – not only that, the pedal is signed by the legendary axeman himself. Check out the details in the video below:
Commanding bass, shredding twin guitars, hard drumming and aggressive vocals is a perfect description of hit metal band, Korn. James “Munky” Shaffer is one hard-hitting guitarist that plays the strings in powerful Korn and we are very excited that Shaffer uses our TC gear to spike his sound on- and off stage.
Watch Shaffer create two awesome Toneprints with the Corona Chorus:
When James ‘Munky’ Shaffer created his Drowning Chorus TonePrint for the Corona Chorus he wanted the best of both worlds, a subtle chorus and a crazy sounding flangy effect. Gradually turning the tone knob clockwise, as a unique feature, enables you to control the amount of chorus dispertion going from a single subtle chorus to an extreme widespread Tri-chorus.
TC: Who inspired you to create your guitar tone?
Shaffer: When I was ten years old I heard ‘Eruption’ for the first time but I didn’t understand ‘cause I was young and I thought a guitar was such a traditional instrument. However, when I heard ‘Eruption’ I thought it was the craziest, most beautiful thing I had ever heard. So from that point in time, it was like: “I gotta know more about effects, guitars and amps”! Then I started getting into things like Black Sabbath, Tony Iommi and his guitar tones. And I think that’s how I got started.
TC: Would you describe yourself as a gear nerd?
Shaffer: A little bit. I normally like to keep everything analog. The TonePrint pedals are probably the perfect combination of crossing the two worlds together. Because it’s interactive and you can download different parameters, but you can also adjust them to your own thing.
TC: What’s the main ingredient in your guitar tone?
Shaffer: I went through a lot of amps on the first couple of Korn records. Ross Robinson and I found a lot of different old amplifiers that I bring with me on tour. They are really road worthy as they can take a beating and still sound great. I do have a Marshall ‘69 at home that I love. However, I leave it at home because I use it for recordings only. Also, I have an old straight tweed cabinet that sounds really amazing – they don’t make them like that anymore.
TC: What kinds of effects do you like to use?
Shaffer: I like to combine delays with choruses and different pedals like a flanger, a wah and the stables: I gotta have a clean and dirty sound like every guitar player and a whammy pedal and a wah wah, so if I needed three important pedals in my setup it would be a clean and a dirty channel, a wah wah and a whammy pedal.
TC: So what did you want to create with your Corona Chorus TonePrint and Flashback Delay TonePrint?
Shaffer: It was just about creating a good sound that sounds good to me. It has enough parameters for anyone who would like to tweak it to their taste.
TC: So did any new ideas for tones or combinations of tones pop up in the process?
Shaffer: I’m really exited to use this particular delay (Flashback Delay) and incorporate it into a song. It’s something new. Once I get back home, I can take these pedals back into the studio and really play with them.
TC: In your opinion what’s the coolest thing about making these TonePrints?
Shaffer: The coolest thing for me is that it combines the two technologies into a analog feel pedal that I can also access through different TonePrints and different presets. Then it’s small and it’s durable. It’s well made! Those are the things I need – especially on tour. I want to be able to throw it, beat it, let it get water, beer, urine, blood, whatever comes on tour. If I create something with the pedal, I won’t be afraid to put it out there and use it every night. Durability is important for anybody.
TC: When you use effects, do you prefer to have a bunch of parameters, so you can tweak a lot of knobs, or do you prefer just an ‘on and off’?
Shaffer: I like to have the pedals in front of me because night after night we’re playing the same songs. Therefore, I like to have my parameters right in front of me so I quickly can make some adjustments to the delay or the feedback time. I’m always sitting down and tweaking them. My guitar tech Jim, he sets the basic parameters. But usually at the end of a show I’ve messed with most of them. Some of the pedals I don’t touch, as some sounds are crucial for particular songs. It’s sort of a colour palette for me as an artist.