
Revisiting—and expanding—an underappreciated vintage compression flavor yields inspiring results.
A beautiful introduction to Orange Squeezer compression voices. Low noise floor. Smart expanded functionality.
A touch expensive if you’re an occasional or light-duty compression user.
$315
DryBell Module 4
drybell.com
I didn’t know much about compressors when I got curious about the Dan Armstrong Orange Squeezer. But I read an interview with Mike Campbell about his work on Don Henley’s “Boys of Summer,” and there, among the ingredients for his magic tone recipe (along with an Ampeg Jet and that Broadcaster), he listed an Orange Squeezer. I knew there was something haunting and magical about Campbell’s intro and solos on that song, and if an Orange Squeezer was the way, well, then, one day I would have one too. That never happened. I bought a Dyna Comp instead, and then dropped the idea of using a compressor for a long time.
DryBell’s Module 4 is a vastly expanded and more flexible take on the original Dan Armstrong Orange Squeezer. In my explorations of the pedal, I found a lot of tones that sounded and felt a lot like Campbell’s “Boys of Summer” lines. It’s clear, punchy, squishy, and even a bit pure in the way it retains a guitar’s personality. But with the significantly expanded functionality that DryBell offers in the Module 4, which include vintage Squeezer and full frequency modes, there’s much more to discover.
Semi-Silent Squeezing Sensations
It’s easy to hear why Campbell embraced the Orange Squeezer. There’s a just-right cross between retaining a guitar’s voice and adding sustain with a bit of dirt and push. And, at least as far as the studio is concerned, there may have been another incentive: the Squeezer, in relative terms, is not too noisy. Adoption by other known studio hounds seems to confirm this. Skunk Baxter used one. So, say some, did Tommy Tedesco. And according to a few experts (or myth-makers), Mark Knopfler might have used one on “Sultans of Swing.” DryBell clearly went to some lengths to replicate, and perhaps improve, on this low noise floor. Next to a few old-reliable OTA- and VCA-based compressors, the Module 4 is comparatively free of hiss, even at advanced make-up gain settings.
Set at DryBell’s suggested settings for best replicating a real Orange Squeezer (small dots mark these positions on the enclosure, a really cool and tasteful touch), the Module 4 yields compression that will feel pretty different if you’ve done long hours with a Ross-style or Boss compressor. It’s clicky and even bright, with pretty quick attack and a slightly slower release time. When you use it, you definitely feel like an effect is at work. And in Squeezer mode in particular, the Module 4 is not transparent—apart from the parts of it that are. You can still hear the guitar’s essence loud and clear. And the relatively low noise floor means transients sound out a lot more clearly. It’s also very responsive to pick attack, which is not common in most comps. For an effect that’s so bold, it’s pretty organic. It makes your ears perk up too. (Again, the Squeezer was a hit with session dogs. I, for one, am getting the hint.)
As you deviate from classic Squeezer settings, the orange mode remains compelling. Advancing the treble away from the prescribed classic Squeezer formula makes the Module 4 feel paradoxically snappy with a cool squishy attack. (Think in terms of biting into a candy with the chocolate on the inside and the delicious inner goo as a shell, and you’ll get the idea). It’s perfect for punky funk stuff. Humbuckers also benefit from the smooth leading edge and snappy core of notes. They sound smooth and responsive to a light touch, providing nice range within limited dynamics—illustrating another way the Module 4 manages to have it both ways.
While not the main attraction, the full-spectrum setting might be what sells a lot of potential customers on the Module 4. Like the orange mode, it deals in cool dualities: snappy and saggy, bright and contoured. But the full-spectrum side feels electrically alive. Slow attack and fast release settings, and the nice range in the tone control, make the Module 4 feel like it’s adding a little dynamite to most tube amps. It also sounds awesome with fuzz if you keep a close eye on the Module 4’s tone, preamp, and output settings, which, by the way, add lots of tone-shaping flexibility.
The Verdict
An Orange Squeezer-inspired compressor is a distinctly different flavor of dynamic control. If simply imitated, that shade of compression might not be for everyone, but the Module 4’s expanded functionality stretches the boundaries of what a Squeezer can be in very cool ways. If you prefer primitive compressors with few controls (and what sane player doesn’t), you should not fear the Module 4’s extra dials. They are easy to use and offer real tone-crafting power. Better still they modify an engaging, often striking basic voice that can be practical and transformative in many musical situations.
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The series features three distinct models—The Bell,The Dread, and The Parlor—each built to deliver rich, resonant acoustic sound with effortless amplification.
Constructed with solid Sitka spruce tops and solid mahogany back & sides, the Festival Series offers warm, balanced tone with incredible sustain. A Fishman pickup system, paired with hidden volume and tone control knobs inside the sound hole, ensures seamless stage and studio performance.
Grover 16:1 ratio tuners provide superior tuning stability, while D’Addario strings enhance clarity and playability. Each guitar comes with a heavy-padded gig bag, making it a perfect choice for gigging musicians and traveling artists.
Key Features of the Festival Series Guitars:
- Solid Sitka Spruce Top – Provides bright, articulate tone with impressive projection
- Solid Mahogany Back & Sides – Adds warmth and depth for a well-balanced sound
- Fishman Pickup System – Delivers natural, high-fidelity amplified tone
- Hidden Volume & Tone Control Knobs – Discreetly placed inside the sound hole for clean aesthetics
- Grover Tuners (16:1 Ratio) – Ensures precise tuning stability
- D’Addario Strings – Premium strings for enhanced sustain and playability
- Heavy-Padded Gig Bag Included – Provides protection and convenience for musicians on the go
Kirk Hammett has partnered with Gibson Publishing to release The Collection: Kirk Hammett, a premium hardcover coffee-table photo book where Kirk tells the stories behind his rare and collectible instruments.
“I am thrilled to announce the launch of The Collection: Kirk Hammett. I’ve worked diligently on this curated collection of vintage and modern guitars for the book. I feel the book captures the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! This book could not be possible without the help of Gibson, so I’d like to thank them for making my passion for Greeny, and guitars a reality. I hope all of you enjoy this journey as much as I did.”
“It’s exciting the time has come to release The Collection: Kirk Hammett by Gibson,” adds Cesar Gueikian, President and CEO of Gibson. “We have been working on this project with Kirk for years now, and I had the opportunity to work closely with Kirk on the composition of the collection for the book. It was a thrill to put this together and it took a village to get it done! I hope everyone appreciates the work that went into this book and enjoys every story behind the guitars.”
The Collection: Kirk Hammett, Custom Edition is limited to just 300 numbered copies signed by KIRK HAMMETT and comes in a huge 19 x 14.5” (490 x 370mm) presentation box featuring custom artwork and an outstanding case candy package. In addition to the large-format 17 x 12” (432 x 310mm) hardcover version of the book with a stunning lenticular cover, the boxset includes a frameable 16 x 11.6” (407 x 295mm) art print of a Ross Halfin portrait of KIRK HAMMETT signed by both Halfin and the Metallica guitarist. Other case candy includes an Axe Heaven miniature replica of Hammett’s 1979 Gibson Flying V with case and stand, an exclusive pick tin complete with six Dunlop® Kirk Hammett signature Jazz III guitar picks, and a Gibson Publishing Certificate of Authenticity.
Explore The Collection: Kirk Hammett book HERE.
The collection includes Cobalt strings with a Paradigm Core, Tim Henson Signature Classical Strings, and the Tim Henson Signature FretWrap by Gruv Gear.
Engineered for maximum output, clarity, and durability, these strings feature:
- Cobalt with a Paradigm Core (not RPS) for added durability
- Nano-treated for maximum lifespan and corrosion resistance
- Gauges 9.5, 12, 16, 26, 36, 46 (Turbo Slinky set)
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature Classical Strings
Crafted for dynamic, percussive tonality, these strings pair fluorocarbon trebles with silver-plated copper basses to deliver exceptional response and clarity.
- Gauges: 24, 27, 33, 30, 36, 42
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature FretWrap by Gruv Gear
An essential string-dampening tool, the Tim Henson Signature FretWrap is designed for cleaner playing by eliminating unwanted overtones and sympathetic vibrations.
- Features Tim Henson’s custom ‘Cherub Logo’ design
- Size Small, fits 4-string basses, 6-string electric/acoustic guitars, and ukuleles
- Ideal for live performance and studio recording
- Ernie Ball collaboration with Gruv Gear
- Available individually or as part of the Tim Henson Signature Bundle
The Ernie Ball Tim Henson Accessory Bundle Kit
For players who want the complete Tim Henson experience, the Ernie Ball Tim HensonSignature Bundle Kit includes:
- Tim Henson Signature Electric Strings (9.5-46)
- Tim Henson Signature Classical Strings (Medium Tension)
- Tim Henson Signature FretWrap by Gruv Gear (Small)
- Tim Henson Signature Cable (Exclusive 10ft white dual-conductor cable, only available in the bundle)
The Tim Henson Signature String & Accessory Collection is available starting today, March 19, 2025, at authorized Ernie Ball dealers worldwide.
For more information, please visit ernieball.com.
Ernie Ball: Tim Henson Signature Electric Guitar Strings - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Teamwork makes the dream work for the Charleston, South Carolina, twosome, who trade off multi-instrumental duties throughout their sets.
Michael Trent and Cary Ann Hearst have been making music as Shovels & Rope since 2008. The husband-and-wife duo from South Carolina specialize in rootsy, bluesy rock, Americana, and alt-country, but they don’t confine themselves to traditional two-piece arrangements. They switch off on vocal, guitar, percussion, and synth duty throughout their shows, orchestrating a full-band ruckus with all available limbs.
Their seventh full-length, Something Is Working Up Above My Head, released in September last year, and while touring in support of it, they stopped at Nashville’s Brooklyn Bowl in late February. PG’s John Bohlinger caught up with Trent before the gig to see what tools he and Hearst use to maintain their musical juggling act.
Brought to you by D’Addario.Black Bird
Trent’s not a guitar snob: Generally speaking, he plays whatever he can get his hands on. While playing Eddie Vedder’s Ohana Fest, someone loaned him this Gretsch Black Falcon, and he fell in love with it. He likes its size compared to the broader White Falcon. It’s also the band’s only electric, so if it goes down, it’s back to acoustic. Hearst takes turns on it, too.
Trent loads the heaviest strings he can onto it, which is a set of .013s. It lives in standard tuning.
Ol' Faithful
As Trent explains, he and Hearst have done some DIY decorating on this beautiful Gibson J-45—it’s adorned with sweat droplets, stains, and fingernail dust. It runs direct to the venue’s front-of-house system with an LR Baggs pickup. This one is strung with Martin heavy or medium gauge strings; lighter ones are too prone to snapping under Trent’s heavy picking hand (which holds a Dunlop Max-Grip .88 mm pick). And it rolls around in an Enki tour case.
On Call
These second-stringers—a Loar archtop and an LR Baggs-equipped Recording King—are on hand in case of broken strings or other malfunctions.
Need for Tweed
Trent doesn’t trust amps with too many knobs, so this tweed Fender Blues Junior does the trick. It can get fairly loud, so there’s a Universal Audio OX Amp Top Box on hand to tame it for some stages.
Shovels & Rope's Pedalboard
Because Trent and Hearst trade off bass, guitar, keys, and percussion duties, all four of their limbs are active through the set. Whoever is on guitars works this board, with an MXR Blue Box, Electro-Harmonix Nano Big Muff, EarthQuaker Devices Hummingbird, and Boss OC-5, plus a pair of Walrus Canvas Tuners for the electric and acoustic. Utility boxes on the board include a Walrus Canvas Passive Re-Amp, Radial J48, Livewire ABY1, and a Mesa Stowaway input buffer.
A Roland PK-5 MIDI controller, operated by foot, sits on the lower edge of the board. It controls the board for “Thing 2,” one of two MicroKORG synths onstage.
Thing 1 and Thing 2
There’s no one backstage helping Hearst and Trent cook up all their racket; they handle every sound themselves, manually. During the first few sets of a tour, you’re liable to see some headaches, like forgetting to switch synth patches during a song, but eventually they hit a rhythm.
Affectionately given Seuss-ian nicknames, this pair of microKORGs handles bass notes through the set, among other things, via the foot-controlled PK5. “Thing 1” is set up at the drum station, and runs through a board with an EHX Nano Big Muff, EHX Bass9, EHX Nano Holy Grail, and a Radial Pro DI. A Walrus Aetos keeps them all powered up.
The board for “Thing 2,” beside the guitar amps, includes an EHX Mel9 and Bass9 powered by a Truetone 1 SPOT Pro, plus a Radial ProD2.