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Roger McGuinn (born James Joseph McGuinn III on July 13, 1942 in Chicago, Illinois) is an American singer-songwriter and guitarist. McGuinn is best known for being the lead singer on many of the Byrds' hit records and lead guitarist of the Byrds, the pioneering folk-rock band of the 1960s contributing much to the band's unique sound.//McGuinn's parents, James and Dorothy, were involved in journalism and public relations, and during his childhood, they penned a bestseller titled Parents Can't Win. He became interested in music after hearing Elvis Presley's "Heartbreak Hotel," and asked his parents to buy him a guitar. In 1957 he enrolled as a student at Chicago's Old Town School of Folk Music, where he mastered the five-string banjo and continued to hone his guitar skills. After graduation, McGuinn performed solo at various coffeehouses on the folk music circuit where he was discovered and hired as a sideman by folk groups such as the Limeliters, the Chad Mitchell Trio, and Judy Collins as well as playing guitar and singing backup harmony for Bobby Darin. Soon after, he moved to the West Coast, winding up in Los Angeles, where he eventually met the future members of the Byrds.During his time with the Byrds, McGuinn developed two innovative and highly influential styles of electric guitar playing: the so-called "jingle-jangle"--generating ringing arpeggios based on banjo fingerpicking styles he learned while at the Old Town School--and a merging of saxophonist John Coltrane's free-jazz atonalities (harmolodics) with the drone of the Indian sitar, a style of playing first heard on the Byrds' 1966 single "Eight Miles High".While tracking the Byrds' first single, "Mr. Tambourine Man," at Columbia studios, McGuinn discovered a key ingredient of his signature sound. "The 'Rick' by itself is kind of thuddy," he details. "It doesn't ring. But if you add a compressor, you get that long sustain. To be honest, I found this by accident. The engineer, Ray Gerhardt, would run compressors on everything to protect his precious equipment from loud rock and roll . He compressed the heck out of my 12-string, and it sounded so great we decided to use two tube compressors [likely Teletronix LA-2As] in series, and then go directly into the board. That's how I got my 'jingle-jangle' tone. It's really squashed down, but it jumps out from the radio. With compression, I found I could hold a note for three or four seconds, and sound more like a wind instrument. Later, this led me to emulate John Coltrane's saxophone on 'Eight Miles High.' Without compression, I couldn't have sustained the riff's first note.
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