Rob Compa is the guitarist for Northeast-based band Dopapod, which is currently on a year-long hiatus. Anyone that’s ever listened to Dopapod’s music can immediately tell that Rob’s got something special, as he masterfully works his way around the fretboard, hammering out everything from funk riffs to face-melting solos to jazz licks reminiscent of Jimmy Herring. Check out his playing on Dopapod’s most recent release, Megagem (http://music.dopapod.com/album/megagem).
2005 Paul Reed Smith Hollowbody II “Amelia”: “I bought this guitar new in 2005, when I was 19, and it’s been with me through almost everything. My favorite guitar in the entire world. Maple top and back, mahogany sides and neck, rosewood fretboard. The pickups are PRS’ archtop pickups, which they no longer make, and the neck is their “wide fat” style.”
Moollon Custom S Classic: “I got this guitar over the summer from the good folks at Moollon in South Korea, and it’s been my go-to guitar since then. It has a really fat neck with the back unfinished, and the radius is really really round, like a vintage Fender, which I really love. The pickups were also made by Moollon. 2 humbuckers, and a single coil in the middle position. Super super versatile. I can get it to sound like pretty much whatever I want/need.”
2012 Gibson CS-336 with Firebird Headstock: “I found this guitar used in a shop in Teaneck, NJ, and I just fell in love with it. the pickups are stock 57 classics, and it also has really nice Grover tuners on it. Really easy to play, and has a really fat bottom and great midrange.”
Fuchs 50 Watt Overdrive Supreme w/ 212 cab (speakers are a Celestion G12-65, which is mic’d, and an Eminence Red White and Blues)
“I’ve had this about a year and it’s just fantastic. I did 2 things before I really started to get a sound I liked out of it. First, I replaced one of the speakers to a Celestion G12-65, which is the one that I mic. The original Eminence Red White and Blues that came in the cab (one of which is still in there) were too dark for me; soloing on my neck pickup was too dull and muddy. Secondly, it’s a pretty loud amp, so once I started turning the cabinet away from the audience, I could afford to turn it up just a bit more so that it reached a good point of tube saturation.
It also has a great overdrive channel in it, although I still get my gain mostly from pedals. I’ll often leave the footswitch on stage as a contingency plan, but I have gotten some great Dumbly tones by using the amp and no pedals. The tune “Buster Brown” [http://music.dopapod.com/track/buster-brown] on our new album is just my guitar plugged directly into the amp with an overdriven sound, with me using the guitar’s volume to adjust the dirtiness of the tone.”
1978 Fender Vibrolux
“It has 2 different speakers. The one that’s mic’d is a Weber DT10, which I got about 4 years ago after I blew one of the original ones. It was the only ten inch speaker the repair guy had in stock. Sounds great to me though. Very warm, which contrasts the other speaker (a Kendrick Gold Label) well.
I bought this amp in college in 2007, at a store in Cambridge, MA. The previous owner had Roy Goode mod it to blackface specs, as well as a mod done that takes the tremolo circuit out of the amp when I turn the Intensity knob all the way down (which is all the time), which adds a little more volume and midrange. When I’ve taken this amp in for repairs in the past, repair guys have told me that nothing inside of it is really a Fender amp anymore.”
“I try to not use too much stuff, not only for the sake of keeping a cleaner signal path, but also because I don’t like having too many pedals to distract me.”
Signal chain: Boss TU-2 Chromatic Tuner > Maxon VOP9 (Sometimes switched out for an Analogman Silver mod TS9) > Analogman King of Tone Boost/OD > Maxon PT999 Phaser > Maxon AD999 Analog Delay > Boss DD-20 Giga Delay (w/ a Boss FS-5U for tap tempo) > Strymon Flint Reverb/Tremolo