I have had golf teachers try and explain connection and In sync to me in the past and when I have really questioned them hard have never had a satisfactory explanation of the Buzz words. I think these terms are bogus along with X factor. When you drill down there is nothing there just Bull ****. Those that think they know what these Buzz words mean please educate me. I have had Dog Wagging the tail types run these terms past me in the past but these terms remain a mystery or are they Bull ****? Thanks.
Connection and In Sync . What does it mean?
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Brian Manzella
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cdog...ever watch a guy named JIM FuryK???
I posted at "Hands controlled pivot......" a somewhat answer to your question. May be a lot of Bull but is what works for me!
I once had a pretty good swing and attempting to increase my X factor was one of the Paralysis by analysis experiments that lead to complete loss of any resemblence to an effective swing.
I think during the good years I had a hands controlled pivot swing but attempting to gain distance, etc., I transitioned to a pivot controlled hands swing as I sought a larger X factor.
The "connected" term, at least to me, means what I stated what I feel/felt in my earlier post while taking a slow back swing.
To elaborate: If I get fast( hands controlled pivot) my hands and arms out race my pivot and I disconnect at forward armpit.
If I use a pivot controlled hands back swing my arms and hands get out of synch and my transition is horrible. (also my swing plane is much different)
I'd say 'in synch' is retaining the relationships of the hands/triangle/chest through the ball. That does NOT mean it is a 'stiff' motion (hence the negative side of the word 'connection'). It is the timing and tempo involved in 'allowing' that relationship to stay in place.
If you stand with your upper arms to elbows against your sides, holding a club in with hands at chest high, clubface at eye level, there is a point from your chest to where your wrists meet. Being in synch is keeping a string from those points 'straight', and of keeping the angles formed basically the same through the shot. This isn't something you DO it is something that HAPPENS when your timing is on track.
One of the better ways to feel this is by swinging a broom, held down near the broom, with the handle against the left side.
To keep the relationships and angles in place, to keep that string straight, you need to turn everything back and through - together - in a flowing motion.
Take the broom, and put the handle against the chest, and swing back and through keeping it on your chest.
That is being 'in synch'
the trick is to make that happen in tempo, in 'flow' with the swinging club
in balance
As cdog says, get too far ahead or behind with the hands or body, and you have trouble.
Nothing about that relationships says the lower body can't be open, or even the upper body, as long as that string is 'straight', that broom handle stays in place.
If you stand with your upper arms to elbows against your sides, holding a club in with hands at chest high, clubface at eye level, there is a point from your chest to where your wrists meet. Being in synch is keeping a string from those points 'straight', and of keeping the angles formed basically the same through the shot. This isn't something you DO it is something that HAPPENS when your timing is on track.
One of the better ways to feel this is by swinging a broom, held down near the broom, with the handle against the left side.
To keep the relationships and angles in place, to keep that string straight, you need to turn everything back and through - together - in a flowing motion.
Take the broom, and put the handle against the chest, and swing back and through keeping it on your chest.
That is being 'in synch'
the trick is to make that happen in tempo, in 'flow' with the swinging club
in balance
As cdog says, get too far ahead or behind with the hands or body, and you have trouble.
Nothing about that relationships says the lower body can't be open, or even the upper body, as long as that string is 'straight', that broom handle stays in place.
drewitgolf
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Developing a constant, effective rate of rotation can be obtain by moving your hands and right shoulder at the same R.P.M.'s. Moving them at different rates (over-acceleration)causes the golf swing to break down; getting out of sync (club-head throwaway). Angles will be retained until the right elbow begins to straighten. Thust is normally constantly applied regardless of the velocity it has produced.
Keep things constant and steady (RPM's)and you'll be in sync.
Keep things constant and steady (RPM's)and you'll be in sync.
I have seen Ernie play many times at both Wentworth and St George's. He swings the club very well . So anyone who swings the club well is connected and in sync . Is that it or is there more to it? These terms don't seem to have any real definition like the word nice which can mean what you want it to mean.
blah blah blah blahhhh. Its been a long winter, we all need to go play some golf. Brian's sync comment stems from Ed thinking the hands needed to be in front of the body for the whole swing, which it can't if you keep Acc#4 in tact. Trying to keep the hands in front is pure pivot over hands, like writing your name with a pen stuck in your shoulder. Hands in front does may work with some chip shots.
where did you get that idea?
read my post again re: the broom.
"keep the spoke straight" - not the same thing as "hands in front of the body for the entire swing" - if you did that, you would change the length, and 'break' the spoke (and be outside and above plane)
Keeping the spoke straight doesn't mean you don't let the hands come 'in'......
read my post again re: the broom.
"keep the spoke straight" - not the same thing as "hands in front of the body for the entire swing" - if you did that, you would change the length, and 'break' the spoke (and be outside and above plane)
Keeping the spoke straight doesn't mean you don't let the hands come 'in'......
Jimmy Ballard's teacher, Sam Byrd, described it as the hands/arms & body working together, yet independently</u>. Ballard coined the term "connection", yet Byrd understood the difference. And Byrd learned the concept from Babe Ruth when he was a NY Yankee in the late 20's. There's some good in Ballard's approach, but I think he took the concept too far.
I bought the Ballard tape and was very disappointed. Springing from the top his way was casting, but the real eye opener was what he said wasn't what his model swinger (a pro of his) was doing. Emperors clothing. Connection is just Accum#4 and he made a career dropping Byrd’s Ruth’s and Hogan’s name. And I just read that Homer thought that keeping the triangle in tact, although workable, was just silly.
Many pga teachers latched onto a single TGM concept that Homer presented in his life work and made a career on it. Cheap.
Brian Manzella
Administrator
YIKES!
The left arm swings from about 20 degrees in front of the chest at address...to 45ish degrees at the top...then when the body LOADS the #4 accumulator (THIS ANGLE) the arm is more like 50-to-60 degrees across the chest...this angle releases to 45-to-30 degrees at impact as the pivot slows...and when the pivot STOPS the arm is FULLY RELEASED to 0 degrees and then beyond as the RIGHT ARM swings aross the chest and the left arm starts folding.
This is NOTHING like the CONNECTION-ist or *nSYNC-ist camp thinks....
Got it??
The left arm swings from about 20 degrees in front of the chest at address...to 45ish degrees at the top...then when the body LOADS the #4 accumulator (THIS ANGLE) the arm is more like 50-to-60 degrees across the chest...this angle releases to 45-to-30 degrees at impact as the pivot slows...and when the pivot STOPS the arm is FULLY RELEASED to 0 degrees and then beyond as the RIGHT ARM swings aross the chest and the left arm starts folding.
This is NOTHING like the CONNECTION-ist or *nSYNC-ist camp thinks....
Got it??
So if we were to take the term "IN Sync" to mean the correct appropriate sequenced movement of the various body parts in a swing this would be dependant on the stroke pattern being used and would vary according to the person. Well that is obvious. So dog wagging tails types say swing in sync when the stroke pattern is wonky without being specific. Great. Just swing in sync like Ernie Els and everything will go swimmingly. Real quality instruction advice. Brian: I think your post has proved that this "In Sync" gloss over term is Bull ****. The term "connection" seems even more dubious to me. No good player really plays with the feel of towels under your arms. This is the type of drill you do when you are all over the place and should drop when you have a modicum of competence . The term leads to confusion all good swings move in a harmonious parity and that is relative to the person concerned and the stroke patern attempting to being used.
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