Quote:
Originally Posted by boogieman
I have recently realized something I think I knew all along. At least found a way to verbalize it. I may be nuts, but when I get a good hit, it has a certain feel to it. Almost like how when you were a kid and striking a xylophone in music class. Sort of a ring/ting/vibrating feel.
When I am at the table, if I focus on my non-bridge hand, make some micro adjustments up and down the butt, I find what feels like a perfect balance point. It may be 1/8" difference but it's there. Once I get that point, I get the "ting" upon hitting the cue ball, the shot goes in a perfect manner. I have heard some calling this a slip stroke, but when I am in the zone or in dead stroke, I do this sliding in the non bridge hand almost subconsciously. It just happens and I get those sweet sweet "tingy" sounds. So obviously if your bridge hand is a fulcrum point, any variations on the bridge length and grip hand will change the balance/levelness/feel of the cue and as a result your stroke. A longer bridge it seems would need you back farther than a shorter one...
Am I thinking about this right? I am looking for someone with more know how than me to let me know if I am on track with this or way out in left field.
Also, without any "Pearl" comparisons, should I use a glove on the grip hand to facilitate this sliding? I don't use one on my bridge hand as the shaft is well prepared and I have no issues with friction there, no talc or anything needed. Are there any grips which give next to no friction? I want that butt end to slide as much as the shaft end. That balance point finding is more important to my shooting than really anything, even the bridge it seems. If nothing else I may look like an idiot which could actually help if it gets an opponent to underestimate me. 
One last question, I use a Kamui soft tip now. Would a medium give me more "ting" feedback than the soft? I am thinking a harder tip would facilitate the feedback in the cue. I understand the chalking/tip prep differences between hardness, and don't really care. I would chalk twice before each shot if I got that lovely "ting" each time.
Thanks for any help in this, hopefully it's not just me out in left field!  |
First, are you using a Kamui black soft or just a Kamui soft tip? My guess is that it's not a black soft because the black is more of a thud rather than a ting. Yes, you would probably get more of a ting with a harder tip.
As for the slip stroke thing you described, it's only a slip stroke if the cue is sliding in your back stroke. If it's sliding in the forward stroke, it's a release, which is fairly common.
Next, that ting you're referring to is probably the sound as a result of the tip striking the ball without back hand pressure on the cue. Gripping the cue at impact will result in a more muted sound. Some players like to release the cue at impact and some players don't. It's a matter of personal preference.
I've done a lot of experimenting with releasing the cue, and I have found that it's not something I want to do on every shot, because it's too inconsistent and it also caused me to sometimes forget to move my arm through and actually follow through. I found myself stopping short and letting the cue slide act as my follow through. I do use the release however, on shots where I feel I need it and it works great ---Just not for every shot.
Tightly wound Irish linnen grips are slick and facilitate sliding. A glove for your back hand isn't necessary. However, before you make any grip changes, I think you should realize that there are some power shots where hanging on to the cue is a must if you don't want to send it flying on to the next table. (Which I've done.) I use a leather grip which allows me to hang on to the cue when I need to and to allow it to slide when I need that.
One thing you didn't write and that's if you are shooting better when you release the cue. If so, it may be because by releasing, you are not twisting, or doing whatever it is that was holding you back.
Pool is a complicated game. There is no one solution to all of our problems. We have to work things out one small piece at a time.
