tongzilla
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Brian, why do you like the clubshaft pointing to the right at the 'first parallel' so much?
Inside takeaway problems
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Brian, why do you like the clubshaft pointing to the right at the 'first parallel' so much?
birdie_man
New
I love that face-on of Bubba.
That view really shows you how to create POWER in a golf swing. (and alignments....tilt and shaft lean)
In other words, butt end pointing right of the target?
That view really shows you how to create POWER in a golf swing. (and alignments....tilt and shaft lean)
tongzilla said:
In other words, butt end pointing right of the target?
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tongzilla
New
yes
Brian Manzella
Administrator
Chuck Norris
"I like it......becuase it works."
Why does it work?
Because the club SHOULD BE THERE unless you are making a "fade type" swing, or some other compensation.
Some of those copmpensation work too.
"I like it......becuase it works."
Why does it work?
Because the club SHOULD BE THERE unless you are making a "fade type" swing, or some other compensation.
Some of those copmpensation work too.
tongzilla
New
But the book says the clubshaft should be parallel to the Plane Line at the first parallel with a uncompensated stroke, unless the Plane Line is closed (pointing to the right) of the Target Line.
I understand that this would work with some people. But to jump to the conclusion that the club SHOULD BE, you will need to explain your theories.
I believe that the relationship of the shaft at 1st parallel is determined by how a player "times" the "in" vs the "up". Couples has a lot of "up" early but no "in" until very late - hence this shaft is pointing "left" at 1st parallel.
Snead on the other hand (along with many great players) has early hip turn creating a lot of "in" before the "up" - hence the shaft points "right" at 1st parallel.
Only a "machine" with perfectly timed "up" and "in" would get it "on target". Many players get it there (or close) by manipulating a little during the takeaway on the assumption that this is key to being there on the downstroke.
Although "staying on plane" during the early backswing is not to be discounted as totally meaningless, the most important thing is to arrive at a position at the top (end) where one can move on plane in the downswing.
Do whats necessary to get the to best top (end) postion for you and do not get hung up on "position" golf in the backswing (been there - done that).
Its like worrying whether the clubface should be "open", "square" or "shut" at the top - whatever works.
Bruce
Snead on the other hand (along with many great players) has early hip turn creating a lot of "in" before the "up" - hence the shaft points "right" at 1st parallel.
Only a "machine" with perfectly timed "up" and "in" would get it "on target". Many players get it there (or close) by manipulating a little during the takeaway on the assumption that this is key to being there on the downstroke.
Although "staying on plane" during the early backswing is not to be discounted as totally meaningless, the most important thing is to arrive at a position at the top (end) where one can move on plane in the downswing.
Do whats necessary to get the to best top (end) postion for you and do not get hung up on "position" golf in the backswing (been there - done that).
Its like worrying whether the clubface should be "open", "square" or "shut" at the top - whatever works.
Bruce
birdie_man
New
It is.
You could stick that right into a book.
You could stick that right into a book.
Brian Manzella
Administrator
No?
If the hips are 30° closed, and the shoulders are 30° closed, the club SHOULD BE in a different spot, than if the hips are 20° open, and the shoulders are square.
If the hips are 30° closed, and the shoulders are 30° closed, the club SHOULD BE in a different spot, than if the hips are 20° open, and the shoulders are square.
To have a shiftless (TSP) swing you would have to address the ball with very high hands and clubshaft. The pic in the book show this and if you have ever stepped into Homer's plane you would feel it as well. This is why working with a plane board (due to plane shifts) is not so simple.
tongzilla
New
i see
Ok Brian, I see what you mean.
So players on tour are manipulating their wrists to get the clubshaft parallel at the first parallel of the backswing. This is because we can find tour players with differing hip and shoulder turns and yet they still have the shaft pointing pretty much parallel. And we have come to the conclusion that there is no point in playing with this manual manipulation of the wrists unless it helps the player to get to the desired top position (the position which helps the player to get into the desired impact position).
Ok Brian, I see what you mean.
So players on tour are manipulating their wrists to get the clubshaft parallel at the first parallel of the backswing. This is because we can find tour players with differing hip and shoulder turns and yet they still have the shaft pointing pretty much parallel. And we have come to the conclusion that there is no point in playing with this manual manipulation of the wrists unless it helps the player to get to the desired top position (the position which helps the player to get into the desired impact position).
Brian Manzella
Administrator
Leo the GREAT!
You got it.
And remember! Too outside early with the hands leads to LAYING IT OFF!
You got it.
And remember! Too outside early with the hands leads to LAYING IT OFF!
birdie_man
New
Well put Leo.
tongzilla
New
...
Wow wow wow...just when I start to get one thing you throw another one at me. Are you trying to say that if your hands doesn't start up with enough "in" (too much OUT and back), then your wrists will have a tendency to over rotate at the top?
Wow wow wow...just when I start to get one thing you throw another one at me. Are you trying to say that if your hands doesn't start up with enough "in" (too much OUT and back), then your wrists will have a tendency to over rotate at the top?
Jared Willerson
Super Moderator
One overcompensation begets another.
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