[This message was edited by Rick Aiello on 29 January 2003 at 05:32 PM.]

If so, I love their music! He uses the "plunking" effect (for lack of a better description) with wonderful results.

By plunking, I'm referring to the muted sound made when you rest your picking palm right at the bridge...just enough to mute the sustain as you pick the strings.

David Rogers (Feets) is very versatile in this technique. It's a nice effect. Pick up a Sons of Hawaii disc with him on it, and you won't be disappointed!

[This message was edited by Jeff Strouse on 30 January 2003 at 07:59 AM.]

f#
d
a
F#
D
D (octave down)

His comping was minimalistic and sparse...I think of a Count Basie on the steel, just tinkling away on those notes and inserting them in all the right places...this style earned Feet both applause and harsh criticism.

Ron noted that it's unfortunate that Feet was limited to Hawaiian as far as the recordings went. I must add that it's a very different kind of "Hawaiian"...not the Hawaiian the world outside of Hawai'i is accustomed to hearing.

Feet was very "rootsy-folky" in his approach IMHO. Very laid back and relaxed.
http://www.mele.com/v3/info/2593.htm

Listen to Feet on these cuts:
Maile iau li ili' i (hot fast number)
Ha nohea 'oe i ku'u maka
Kanuai
Sanoe (harmonics at the end of cut)
Pua Kukui
'Ama 'ama

------------------
Gerald Ross
'Northwest Ann Arbor, Michigan's King Of The Hawaiian Steel Guitar'

Gerald's Fingerstyle Guitar Website

David "feet" Rogers, was the nephew of Benny Rogers. Benny used a E7th tuning.

Hale Seabury Akaka said he got a D tuning from a student of Feets,"Fred Lunt" :
Low to high (A D F# A D F#).

John Ely however says it is the double octave D, D major tuning found in Jeff's post.

I like the way Feet Rogers sounds on the cut "He Nohea'Oe I Ku' Maka". Makes me think of early Hawaiian cowboys. Thanks for the link Gerald...!

[This message was edited by Jesse Pearson on 30 January 2003 at 12:17 PM.]

I have given a very quick listen to the CD on Real Audio and compared it to the LP, played on my stereo. To me the CD, which was made from older recordings, has a generally lower fidelity sound. The dynamic range sounds compressed and the frequency response seems limited--like one might expect from an older recording. Also the steel on the CD seems louder in the mix, which can cause your ears to hear a difference in timbre, usually a little "harder."

That said, here are a few more comments. First, you might be sure Rogers used the same steel on both recordings, but how about his amp? Even if he used the same amp he might have changed his settings from time to time. Assuming the sound coming from his amp was recorded by a microphone (or two mics) in both cases, the sound qualities would be influenced by mic placement, individual mic choice, etc. Tape speed can make a big difference. Once recorded, the sound can be further altered by compression, EQ and other signal modifiers as well as the overall mix.
Also, do we know if thge CD was made from master tapes or old records. I don't notice much surface noise, so it probably was made from the tapes.

There is really no telling what was done in the studio for sure. Then there is the question of what was done during the "restoration" and conversion to CD.

In my experience, it is tricky to judge tone from a recording.

By the way, I appreciate your stirring things up. You have raised some interesting issues.

The "Sons of Hawai`i"

[This message was edited by Jeff Au Hoy on 03 February 2003 at 03:34 PM.]

Maybe you're confusing him with Bobby Ingano

[This message was edited by Jeff Au Hoy on 03 February 2003 at 07:34 PM.]

Feet Rogers,Bobby Ingano,Jeff Au Hoy