Connection and In Sync . What does it mean?

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ragman

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quote:Originally posted by hue

quote:Originally posted by brianman

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??
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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.
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Who said, "swing in sync like Ernie Els and everything will go swimmingly" ??

I gave you an example just as Brian did.
quote:Real quality instruction advice. Brian: I think your post has proved that this "In Sync" gloss over term is Bull ****.
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Constant and synchronized movement.

For example, the arms must travel a farther distance than the hips from the top of the swing to impact. The arms can (and will) travel faster than the hips to reach the destination (impact). But, they will rotate simultaneously and the arms will eventually overtake the body rotation.

Is the above IMPERATIVE for a solid shot? NO. But, does it help produce solid shots with more consistency (the Holy Grail)? IMHO, YES.

"Got it?"
 
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6bee1dee

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quote:Originally posted by brianman

Great post hue...6bd...Ballard taught NO #4 release.
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I understand that, I just (yuck) re-watched the tape. I'm just saying, Ballard's connection of the left arm is what acc#4 would be in most swings. Its the only thing he has to offer that comes close to being a good thing. It is a simply 6-B-4-0 but not a 2-M-4 for Ballard. Ballard also teaches, on this tape, 6-D-1 and 6-D-2. Bad Bad. Of course, Ballard swing assistant, is not doing this, he has a wonderful Peck going on. I think Ballard took one deep breath and talked non-stop for a hour. He took no swings.
 
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EdZ

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[/quote]

Never read "The Broom" Brian and I were responding to your body over hands pivot post. It was felt that you move the body keeping the hands in front on the chest at all times. That is why acc#4 was in jeopardy. We disagree on several points about the hands.
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Read that post again - beedee.... I said that the body vs. hands can 'feel' either way, but the 'goal' was to have them 'in synch', and however you get to that goal in 'feel' is fine by me.

Some people need to 'feel' the body, some need to 'feel' the hands. Agreed that 'athletic' folks should 'feel' more hands....but flat footed folks should 'feel' more feet/body.

actually, I like to think of them as 'independent guides', almost as if they are floating, but held on by that 'string' or 'spoke', and I visualize their path 'along the rim', while 'feeling' the flat left/bent right 'form' of the hands stay 'in place' - like they were wrapped lightly with an ace bandage.
 
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EdZ

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quote:Originally posted by brianman

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??
Click to expand...

And if you connect that broom to your chest, you'd still see it stay in place with this motion, and that is EXACTLY what I am talking about.

being in synch is 'not letting the broom come off' and 'keeping the spoke straight'

I think you are focused too much on pp4 angles, and not the 'actual' meaning of being in synch - hands and chest staying together doesn't mean those angles can't change.
 
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EdZ

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Brian - look at the picture of you on the top of this website....

Your hands and chest are 'in synch' - a point from your wrists (basically PP1) to your chest would 'keep the spoke straight'
 
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EdZ

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no kidding!!!.....but in regards to the wrists/chest 'spoke', it is a 'proper' pose Brian (in this specific 'spoke straight' sense, there are many things that aren't the same as in a real swing of course, but then you know that)
 
Burner

Burner

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Doesn't life get complicated once people become involved!!??

Back to the original question:

Hue, a connection and synchronisation analogy would be that of a finely engineered Swiss watch. Each of its component moving parts are inter-connected and reliant on precise synchronisation for optimum performance - just like a golf swing.
 
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