When I hit it pure it's perfect, but sometimes I get a few heel shots, and a few hosel rockets here and there, I don't think it has to do with my clubface.
I got my low point under control and ball flight it's good a small fade, but I can't find a way to get those heel-hosel contacts out and I don't want to swing in-out again been there...
please, any ideas?
I see a bit too much carry, then you go out to the ball with the hands. I think you could work the hands down by relaxing them at the transition a bit.
Your mostly upper body, arms/shoulders and very little pivot on the b.s. and you lead the d.s. with the upper body instead of the lower body which causes the club to go out first without sufficient down , lack of pivot causes your hand/arms to run in to your chest on the b.s. and then you lift to get the up, then you come over it on the d.s. IMO.
downswing too steep, through swing probably not left enough. You should be swinging left enough to counter the down AND have the face open enough to fade it. It almost seems like you are aiming a hair left of target and heeling it to fade it. Not the greatest way to make it work.
If you really want to fade it, you have to aim it way left, swing it way left...so when you hit down and have the face open it starts left and fades TO the target.
downswing too steep, through swing probably not left enough. You should be swinging left enough to counter the down AND have the face open enough to fade it. It almost seems like you are aiming a hair left of target and heeling it to fade it. Not the greatest way to make it work.
If you really want to fade it, you have to aim it way left, swing it way left...so when you hit down and have the face open it starts left and fades TO the target.
Jim, the heel/hosel contact shots are the ones that looks weird and I can't figure them out, if I hit pure on the sweet spot the ball goes straight/baby fade.
I think I'm on the right side of the matrix (left of it - swinging a bit left) and low point and face control are good, I know how much left I need to swing to get the true path ok (AOA 7i around 4 and HSP 1-2 negative), I also tried swinging in to out (the other side of the matrix) but low point was back and got to many hooks.
The question is, what's the best way to not hit those heel,hosel shots?
by the way, how do you know I'm too steep (AOA) from dtl view?
The best fix for me - (one at time)
1.connection, feel my arms close to my body during downswing.
2.left arm vertical, on downswing before impact, Kevin's great tip.
3.SD1 Backswing.
4.Drop and carry.
5.keep my right hand as close as possible to my right thigh on downswing/impact.
6.twistaway at transition during downswing - square the face.
7.standing 1 inch farther from the ball, more reach with my arms(setup).
8.good rhythm, swinging 85% effort.
before shank - I know the face looks a bit open...
I see a bit too much carry, then you go out to the ball with the hands. I think you could work the hands down by relaxing them at the transition a bit.
I think that it only looks outside-in BECAUSE I'm hitting on the heel/hosel but like I said if I get center contact it look good plus straight ball flight.
The question what's the best way to ingrain center contact, I'll compromise on toe shots also...
Ground level view (D plane) - Pablo martin
That shot looked outside in...and still ball flight pull3fade5 yards, basically straight
Relaxing the hands at the transition looks great. Along with that feel, work to get the hands low at impact--causing them to also be in closer to the body, preventing heel shots; as long as you are not too close to the ball.
you can really see a difference in the pure ones and the shanked ones. You saying drop and carry looks exactly right. In the shanks you have no drop, you just carry and tumble the arms over from the outside. Your pure ones you get that good dropping of the arms at the transition then come from the inside more on a better path.
Your checklist looked to get right on. There is a definite difference in the bad ones v/s the good ones.
His right toe is certainly closer to the base of the plane than his left, from our view point, so his stance appears "open" to us; but he is actually making contact in to out and going immediatly left after impact - I think.
I still see your problem as going left through, rather than immediately post, impact.
Either which way, you will work it out sooner rather than later, I reckon.
It seems harder to hit a fade with low hands through impact. Does low hands through impact make it harder to have an out to in HSP?
When swinging more out to in trying to hit a fade, I know I tend to hit it more on the toe. So the heel hits when trying to hit a fade was something new to me.
I was trying to think of a way for CHILI to get his hands closer to his body through impact and to lag the sweet spot without actually telling him to, in order to help prevent the hosel/heel contact.
The root problem of shanks, for Me - open clubface, lagging the hosel insted of the sweetspot and out to in path, resulting - heel shots and shanks.
Solution - learn to square the face, Twistaway.
It's unbelievable how powerful the mind is, the subconscious sense and knows that face is open, and without YOU, knowing that, it'll try to "fix" it and wouldn't let you hit the ball to the right, so out to in path, slices, shanks, all that crap that we don't like...
You going over the top because you slice(open face).
You shank because you lag the hosel with open face.
Just fix that face, good things will happen...
The video of Brian Manzella - from the thread, Shanking—The STONE TRUTH.
Brian Thanks again.
This list that I work on is very good but only number 6 is the real soltution which will fix the shanks for good!
The other ones are also very good (also for other problems ) but they wouldn't last for the shanks...unless you go straight to the face, twistaway.
Having said that (I sound like Brian) if I need to hit a high cut/flop or midsole pitch to a tight pin I wouldn't use twistaway to square the face, so feeling connected (number 1) is very important for me.
The best fix for me - (one at time)
1.connection, feel my arms close to my body during downswing.
2.left arm vertical, on downswing before impact, Kevin's great tip.
3.SD1 Backswing.
4.Drop and carry.
5.keep my right hand as close as possible to my right thigh on downswing/impact.
6.twistaway at transition during downswing - square the face.
7.standing 1 inch farther from the ball, more reach with my arms(setup).
8.good rhythm, swinging 85% effort.
I'm Working on Twistaway for the last month, after about 8 hours of twistaway I got it.
In the begining it wasn't pretty, shitty shots, hooks, fats shot, shanks, but I insist, kept on going, I had to convince myself it was the best solution, that little move is so hard because the force, torque that works against you, with the driver...
Eventually the mind adjusted...sweet spot is looking at the ball, face squareee!
Now, no more feeling of nausea from those shanks, I really can concentrate on rhythm and low point, and face is more square, so more carry, and even straighter ball flight...
The real test is on the course, and for me also hitting 30-150 yards shots from the fairway bunker, today I hit too many perfect shots from the hardpan fairway bunker...(I'll video it)
last week shot 74 and today 9 holes 1 over...and the most important thing - no fear of shanks...
Longer clubs are more tricky though, with driver my rhythm is faster (I wonder why) so squaring the face with twistaway it's harder, less time.
Twistaway works best if you I pivot well, if my pivot is not very good I will hit a few left shots.
For me Twistaway works very good with right arm release (power accumulator #1 release)
sand wedge upper body transition - face still open, good shot though...
Working on twistaway...
Twistaway Practice 6i dtl
hd 5w dtl
5wood dtl twistaway
Iron dtl - TOE HIT! yes even that, for me it's like a miracle...
