TECHTALK - San Francisco Billiard Academy

TECHTALK
Bob Jewett
Get to the Point
Practice tips for attaining the most precise position possible.
There are
t w o c o n t r a s t i n g s t y l e s of
p o s i t i o n p l a y — l o n g a n d s h o r t . In the
long style, the main goal is to have s o m e
s h o t , e v e n if y o u l e a v e t h e c u e ball q u i t e a
w a y s f r o m t h e n e x t o b j e c t b a l l . You c a n
see a lot of 9 - b a l l p l a y e r s u s i n g t h i s strategy. T h e y d o n ' t c a r e h o w long t h e shot i s
as long as they aren't hooked. I've seen
Earl S t r i c k l a n d a d o p t this strategy.
T h e o t h e r s t y l e s e e k s t o m i n i m i z e the
distance
between
the cue ball and
object ball, down
to something under
18 inches. The goal
is to k e e p all t h e
s h o t s s h o r t s o that
not only is each
shot
easier
to
m a k e , b u t it's e a s i er to play position.
The best example
of this
type
of
p l a y e r I ' v e r u n into
at 9 - b a l l is P a u l
Silva.
a
player
f r o m t h e P a l a c e in
San Francisco 40odd years ago. Not
only did he make
every
shot
look
eas y , b u t it s e e m e d
that p o s i t i o n on his
next
ball
was
always
automatic
— he m a d e 9-ball
look like straight
pool.
i s initially p l a c e d c l o s e b y a s s h o w n . T h e
g o a l on e a c h s h o t is to p o c k e t t h e first
object ball a n d t o u c h t h e s e c o n d o b j e c t
b a l l . T h e p r e c i s i o n p a r t i s t o l e a v e the c u e
ball w i t h i n o n e b a l l ' s d i a m e t e r o f t h e s e c o n d b a l l ; y o u s h o u l d j u s t b a r e l y t o u c h it.
L e a v e that s e c o n d o b j e c t ball w h e r e y o u
b u m p e d it. G r a d u a l l y it will c r o s s t h e line
a n d t h e n it is t i m e to start over. Try to g e t
at least five g o o d s h o t s in b e f o r e t h e l i n e .
30
BD • JANUARY 2007
A w a r n i n g on this d r a w s h o t : If y o u
d o n ' t get e n o u g h d r a w o n y o u r f i r s t few
s h o t s , y o u m a y hit
t h e b a l l o n t h e far
s i d e , w h i c h will t e n d
to drive the ball
straight toward you,
making
the
shot
increasingly
difficult. A g o o d g o a l is
to drive the ball
toward pocket B. If
the ball goes along
that
line,
the
required d r a w will
remain
reasonable.
In p r a c t i c e . 1 f o u n d
this s e c o n d f o r m o f
the shot e a s i e r t h a n
the first.
In D i a g r a m 2 is an
exercise using the
cushions. The set-up
is fairly c r i t i c a l : T h e
object ball is one
d i a m o n d from the
long rail and the cue
stick p a s s e s o v e r t h e
m i d d l e of the rail
section at the diamond as shown.
You will p r o b a bly play b e t w e e n
these extremes, no
matter what your
g a m e is. T h e p l a n
this m o n t h is to
work on the closeposition
part
of
your game.
In D i a g r a m 1 are
two similar drills
to w o r k on control of both speed and
d i r e c t i o n . I n S h o t A , t h e cue ball a n d the
o b j e c t ball a l w a y s r e t u r n t o t h e s p o t s
m a r k e d — y o u m a y a s well m a r k t h e m o n
the cloth with paper reinforcement
" d o n u t s " o r c h a l k . T h e s e c o n d o b j e c t ball
T r y to d r i v e it as s t r a i g h t as p o s s i b l e
toward the pocket labeled A.
S h o t B in D i a g r a m 1 is similar, but the
o b j e c t ball starts m o r e t o w a r d y o u s o that
y o u will n e e d t o d r a w t h e c u e ball t o m a k e
c o n t a c t . T h e g o a l i s to g e t at least five (or
10) soft c o n t a c t s b e f o r e t h e s h o t b e c o m e s
t o o difficult.
If t h a t ' s t o o eas y, tr y for 10. R e m e m b e r
not t o c o u n t a n y s h o t t h a t e i t h e r d o e s n ' t
touch the second ball, or leaves it more
than a b a l l ' s d i a m e t e r f r o m t h e c u e b a l l .
It is useful to h a v e a specific g o a l for the
d i r e c t i o n y o u a r e d r i v i n g t h e s e c o n d ball.
T h e distance from
t h e c u e ball to the
o b j e c t ball is up to
y o u . If it is c l o s e r ,
t h e s h o t is e a s i e r , so
begin there. As you
develop more control, try m o v i n g t h e
c u e ball b a c k t o w a r d
the
cushion,
but
a l w a y s w i t h t h e c u e s t i c k p a s s i n g o v e r the
second diamond.
T h e g o a l h e r e is to s e n d t h e c u e b a l l in
turn to l o c a t i o n s A t h r o u g h J. S h o t A is a
plain draw shot, and this shot is very
t o u g h if t h e c l o t h is s t i c k y or t h e c u e ball
is h e a v i e r t h a n t h e object b a l l . It will a l s o
b e c o m e h a r d e r t h e farther b a c k t h e c u e
ball s t a r t s .
With practice y o u should be able to leave
the c u e b a l l w i t h i n a ball of the target at
least o n e i n t h r e e ,
but at first j u s t try to
hit the target. Shots
A and B are direct,
but C and D n e e d to
be played w i t h one
cushion.
For
the
shots u p the s e c o n d
side rail, t h e r e are
t w o w a y s to get to
t h e m — go o n e rail
and then t w o rails.
For extra c r e d i t , try
to get the c u e ball
out to the side p o c k et on y o u r s i d e of the
table. Is it p o s s i b l e ?
N e x t , see h o w the
s h o t s c h a n g e if the
c u e ball i s m o v e d
u p a n d d o w n t h e table slightly. W h i c h
shots b e c o m e easier and which harder?
F i n a l l y . D i a g r a m 3 s h o w s an e x e r c i s e
for " k i l l i n g " t h e c u e ball i n t h e m i d d l e o f
the t a b l e . T h i s is a fairly c o m m o n situation w h e r e y o u h a v e a 2 0 - t o 3 0 - d e g r e e
a n g l e o f cut a n d with the w a y t h e o t h e r
balls i n t h e g a m e a r e s i t t i n g , you h a v e t o
leave t h e c u e b a l l o n y o u r s i d e o f t h e s e c o n d c u e stick. You n e e d t o d e c i d e b e t w e e n
s t o p p i n g t h e c u e ball b e f o r e i t c r o s s e s that
line a n d g o i n g t o t h e c u s h i o n a n d b o u n c ing o u t . W i t h this m u c h a n g l e , g o i n g o n e
c u s h i o n is u s u a l l y not a p r o b l e m u n l e s s
b a l l s a r e in the w a y , but l e t 's w o r k on t h e
softer, m o r e p r e c i s e shot.
T h e object ball i s t h r e e d i a m o n d s from
the e n d rail a n d o n e d i a m o n d f r o m the
side r a i l . P u t t h e c u e ball w h e r e y o u a r e
sure y o u c a n m a k e t h e s h o t a n d m a r k its
l o c a t i o n w i t h a c o i n . T r y t h e shot, d o i n g
your best to keep the sideways motion to
a minimum.
Use
y o u r b e s t soft d r a w
with no s i d e s p i n to
a c h i e v e a stun shot
( s t o p shot w i t h an
angle). As you get
the h a n g of the
shot, m o v e t h e c u e
ball and t h e c o i n to
t h e left u n t i l y o u
c a n 't kill t h e c u e
ball in t i m e .
D o e s soft follow
w o r k from t h e s a m e
position?
You s h o u l d b e able
to shoot the follow
shot so softly that
the object ball j u s t
gets to the pocket.
D o e s that cut d o w n further on s i d e w a y s
m o t i o n ? H o w about s i d e s p i n ? Finally, try
m o v i n g the cue ball back t w o m o r e diam o n d s t o see h o w t o u g h the shots b e c o m e ,
and to get a little motivation for k e e p i n g the
c u e ball close to the object ball.
BD • JANUARY 2007
31
Bob
TECHTALK
Jewett
Online Magic
YouTube.com brings Sayginer's masse wizardry to the masses.
O n e o f the most a m a z i n g talents o n any
table is S e m i h Sayginer, the Turkish c h a m pion. H i s m a i n g a m e is three-cushion billiards, but he can also perform at ball-to-ball
billiards and p o o l His artistic shots are the
stuff of legend, and now they are available
online.
— you cannot m a s s e the cue ball to the right
without putting s o m e right spin on the ball.
years of practice, and probably m o r e than
one take.
Given the shot a n d m a s s e lines a n d the
right side spin, h o w d o e s the illustrated shot
result".' First, the cue ball starts along the shot
line. T h e m a s s e line accelerates the cue ball
toward the first rail a n d m a k e s it curve. You
N o t e that at s o m e point in the second part
of the path — b e t w e e n the first and second
c u s h i o n s — the m a s s e spin runs out. and the
cue ball begins to roll smoothly on the cloth
without slipping. After that point, the cue
ball's path will be a straight
line.
B e f o r e you read the rest of
this article, you should visit
www.youtube.com,
and
type " S e m i h Sayginer part
o n e , " into the search w i n dow. Click on the video that
is 9:30 long. You may want
to visit a friend with a highs p e e d c o n n e c t i o n if y o u
have a dial-up. O n c e y o u ' v e
watched
"The
Magic
Show," pick u p your j a w
and read the following for
an e x p l a n a t i o n of what you
saw.
O n c e the ball follows the
p a t h i n t o t h e c o r n e r , the
r e m a i n i n g right spin t a k e s
w h e n the ball contacts the end
c u s h i o n and t h e c u e ball
c o m e s back to the side rail for
a fourth
cushion
contact
before hitting the two object
balls. S i m p l e .
D i a g r a m 1 s h o w s the
first shot on the video; a
m a s s e shot I h a d never seen
before. At first glance it
l o o k s like it m i g h t be
impossible, but the action is
actually straightforward. It
is a four-cushion shot. If
you s h o w the position to
s o m e o n e and n a m e the hits
in o r d e r — side rail, side
rail, e n d rail, side rail, both
balls — it c o u l d be a long
time before he guesses the
path.
When
shooting
masse
s h o t s , t h e p l a y e r has t o
blend
initial
direction,
degree of elevation, a m o u n t of side spin and
" m a s s e s p i n , " a n d a m o u n t o f force t o
achieve a particular path. For e x a m p l e , in
D i a g r a m I, the initial direction of the shot is
along the "shot line." T h e stick is elevated
and p l a y e d with right draw. This produces
b o t h right side spin and a tendency to curve.
We can assign a direction to this tendency to
curve by i m a g i n i n g (or causing) the cue ball
to run straight into an object ball, and then
seeing w h i c h w a y the c u e ball m o v e s . F o r
this shot, the " m a s s e l i n e " s h o w s which way
the cue ball wants to m o v e . In addition, there
is s o m e right side spin, which is a necessary
result of c h o o s i n g a m a s s e line to the right
30
B D • FEBRUARY 2007
can think of the m a s s e acting like gravity
with the m a s s e line saying "this w ay d o w n . "
T h e ball hits the first c u s h i o n and it
b o u n c e s , m o r e or less, straight back with the
right side spin h e l p i n g to bring the ball back
down the table. As the cue ball c o m e s off the
rail, the m a s s e line is a l m o s t u n c h a n g e d , so
the ball again w a n t s to "fall" b a c k to that
same cushion and the path curves again. In
theory, if there w e r e e n o u g h m a s s e on the
ball, it c o u l d be m a d e to return to that s a m e
long cushion. In S a y g i n e r ' s shot, there is just
e n o u g h m a s s e to bring the c u e ball to a path
that grazes the other long cushion at a fairly
shallow angle. H o w does he do that? By feel.
S a y g i n e r ' s third shot is
s h o w n in D i a g r a m 2. a n d
might be called a draw/follow
m a s s e . T h e shot line is more
or less directly into the end
cushion. T h e m a s s e line is
toward the c u s h i o n and back
toward the second object ball,
a n d there is s o m e left side
spin. T h e cue ball is shot hard
e n o u g h that it mostly slides
off the end cushion and to the
first object ball. In the video,
you can see that there are at
least t w o different paths that
will w o r k , as the different
angles w e r e shot on t w o different takes. T h e shot that
starts and e n d s the clip has the
cue ball going first to the e n d
c u s h i o n , then twice on the
long cushion before it hits the
first object bull, then three big hops on the
long cushion a n d then a straight path to a last
contact on the long cushion just before the
object ball for a total of seven cushion contacts.
T h e shot is not hard to understand, given
the shot line a n d the m a s s e line. T h e masse
will tend to k e e p the cue ball on the long
cushion between the e n d rail and the first
ball, so the aim d o e s n ' t have to be perfect.
As long as there is still s o m e m a s s e spin left
on the cue ball after it hits the first object
ball, it should return to the long cushion
s o m e more. In the shot on the video, the cue
ball h a p p e n s to be about half a ball off the
cushion w h e n it hits the first object ball so
the r e m a i n i n g h o p s are large and obvious.
D u r i n g t h o s e h o p s , t h e r e m a i n i n g left
English on the cue ball helps to b r i n g it
d o w n the table to the s e c o n d object ball. T h e
m a s s e gives out a b o u t t w o
d i a m o n d s from the second
ball, a n d the last part of
the p a t h is a straight line to
the score.
D i a g r a m 3 shows the
fifth shot Sayginer does
on the v i d e o . It's a fairly
standard shot in concept,
but the action is not standard. T h e shot line is up
the table, and the m a s s e
a c t i o n i s m o r e o r less
straight b a c k from the shot
line. I think there is a little
right English on the cue
ball. If so, the shot line
a n d m a s s e line c a n 't be directly opposite —
that is only true for p u r e m a s s e d r a w without
b e n d i n g to the side.
T h e cue ball hits the first object ball thinly
a n d travels forward along the cushion. It gets
four cu s h io n contacts as the masse'fights to
k e e p returning it to the rail and speeds it
toward the s e c o n d object ball. T h e cue ball
gets a total of 11 contacts on the long cush-
ion before hitting the end rail and c o m i n g
straight off the end rail to the second object
ball.
O n e r e m a r k a b l e feature of t h e shot is that
the second object ball is barely m o r e than a
ball off the cushion. As the cue ball passes
between it a n d the rail, there looks to be less
than a quarter-inch of clearance. T h e principle that m a k e s it possible to pass through
such a small g a p is " d y i n g b o u n c e . " Imagine
dropping a tennis ball. If the first b o u n c e is a
foot, the second m a y be half a foot a n d the
third a quarter foot, and so on. After a few
b o u n c e s , all the subsequent b o u n c e s are
quite small. T h e m a s s e spin is again acting
like gravity to cause the b o u n c e s , a n d t h e
imperfect elasticity of the c u s h i o n c a u s e s the
d y i n g out of the b o u n c e s of the cue ball.
On the shot on the v i d e o , y o u can see that
the first b o u n c e is a b o u t
the d i a m e t e r of the c u e
tip, a n d on each s u b s e quent b o u n c e the cue ball
leaves t h e c u s h i o n less
and less. Since there are
nine
bounces
before
threading the g a p , the cue
ball is g u a r a n t e e d to be
very close to the c u s h i o n
at that instant.
T h e r e is a similar shot
by t h e great J a p a n e s e pool
trick-shot artist Yoshikazu
K i m u r a in w h i c h he h a s a
line of balls near the c u s h ion, he m a s s e s the c u e ball
off an object ball, a n d the cue ball p a s s e s
b e t w e e n the line of balls and the c u s h i o n , not
touching any of t h e m . After the shot, he
demonstrates that there is less t h a n a p l a y i n g
card's thickness of m a r g i n for the c u e ball to
pass. On YouTube, search for " K i m u r a p o o l
s h o t s " to see s o m e o t h e r great shots.
A r e there points h e r e to put into y o u r
g a m e ? M a y b e , but not on my table.
BD • FEBRUARY 2007
31
TECHTALK
Bob Jewett
Derby City Shootout
A few desperation shots were highlights in this 14.1 straight pool event.
O t h e r a r t i c l e s i n this m o n t h ' s issue
should already have c o n v i n c e d you of this;
If y o u ' r e interested in pool in the U . S . , y o u
have to see at least o n e D e r b y City Classic
in L o u i s v i l l e , Ky. It is a n i n e - r i n g circus.
B e s i d e s the s t a n d a r d three events of b a n k
p o o l , o n e - p o c k e t and 9-ball. there are m i d n i g h t m i n i - t o u r n a m e n t s , b a r table c o m p e t i tion, r i n g b a n k pool a n d 10-ball m a t c h e s on
the T V table, all-night action w h e r e v e r you
look, a n d even qualifiers for the N a t i o n a l 3C u s h i o n
C h a m p i o n s h i p s . It w a s
ray privilege to help run
the 14.1 C h a l l e n g e for
t h e s e c o n d year.
t o o k t o p h o n o r s with an 8 9 , followed by
D a n n y H a r r i m a n at 85 and Niels Feijen at
62. T h e y got the daily p r i z e s of $ 3 0 0 , $ 2 0 0
and $ 1 0 0 respectively. T h e r e w e r e n o r u n s
of 100.
O n M o n d a y , the p a r t i c i p a t i o n a n d perform a n c e s got m u c h stronger. J o h n n y A r c h e r
had a 107 a n d a 7 1 ; R a l f S o u q u e t a n s w e r e d
with a 137, p l u s an 84 a n d a 70 after
s c r a t c h i n g on t h e first of his four tries.
M i k e D a v i s t o o k first prize for the day with
Championships a couple
of years ago with multiple 100-ball runs.
Archer continued the
fast pace as he p o s t e d a
129 on the third d a y of
p r e l i m s and a 114 on the
final d a y . H e c l e a r l y
s e e m e d t o b e the o n e t o
beat. He confided that
m o s t of his p r a c t i c e t i m e
these d a y s is spent p l a y ing 14.1.
The
format
was
slightly c h a n g e d from
last year. A $ 1 0 0 entry
got y o u a total of 12
t r i e s s p r e a d out o v e r
three of the four d a y s of
the preliminaries. A
few p l a y e r s d o m i n a t e d
t h e e v e n t last y e a r w h e n
there were unlimited
r e - e n t r i e s , so 12 w a s
the m a x i m u m n u m b e r
of tries any o n e player
could have. A budget
o p t i o n of four tries for
S50 w a s also available.
T h e p r e l i m s started off slowly with only
15 p l a y e r s on t h e first day. J o h n S c h m i d t
BD • MARCH 2007
D i s a p p o i n t m e n t s in the preliminary
rounds were Cory Deuel, w h o was one of
the strongest players in 2 0 0 6 , and
Thorsten H o h m a n n , who is the current
world champion, having
won the World
14.1
Straight
Pool
Championship in New
Jersey in June 2006.
H o h m a n n averaged 50 in
the European straight
p o o l c h a m p i o n s h i p s but
c o u l d not g e t p a s t 4 3 i n
12 tries in L o u i s v i l l e . He
also d o m i n a t e d t h e N e w
Jersey
State
The
Challenge
is
strictly a h i g h - r u n c o m petition with j u s t o n e
c o m p e t i t o r at t h e table
at a l i m e . You b e g i n
w i t h a b r e a k shot of
y o u r c h o i c e (cue ball
and 15th object ball "in
h a n d " ) , a n d see h o w
m a n y y o u can run b y
standard straight-pool
rules. A m i s s or foul
e n d s y o u r try.
The
eight
players
with t h e h i g h e s t r u n s in
the p r e l i m i n a r i e s a d v a n c e d to the finals on
T h u r s d a y w h e r e t h e y had f i v e tries each.
T h i s w a s also a c h a n g e from last year,
w h e n t h e n u m b e r of tries in the finals
d e p e n d e d o n y o u r high run, and there w e r e
a lot of finalists with j u s t o n e or t w o tries.
finals. D a r r e n A p p l e t o n from the U . K .
p l a y e d s u r p r i s i n g l y g o o d straight pool for
s o m e o n e from a c o u n t r y with no k n o w n
14.1 tradition. L u c Salvas nearly m a d e t h e
cut, as did F a b i o P e t r o n i . D e n n i s O r c o l l o ,
the o n l y F i l i p i n o entrant, s n a p p e d off a 93
to get a spot in t h e finals.
a n a m a z i n g 1 5 1 . M i k e h a d failed t o get
into the s e c o n d rack on a n y of his first-day
tries.
Other notable entrants included Larry
Nevel, w h o s e 14.1 g a m e e x u d e s p o w e r a n d
c o n f i d e n c e . His 38-ball per i n n i n g average
w a s o u t s t a n d i n g , but his h i g h e s t run of 80
d i d n ' t m e e t the 8 5 n e e d e d t o m a k e the
Then Mika Immonnen
g o t off t h e a i r p l a n e . H e
w a s p l a n n i n g to p l a y in
t h e 9-ball e v e n t t h a t w a s
a b o u t t o start u p , b u t h a d
s o m e t i m e t o try t h e
14.1. He put his cue
t o g e t h e r a n d r a n 127 o n
h i s first try. T h i s w a s
f o l l o w e d by a 1 ( b a d roll
on t h e b r e a k s h o t ) , a 54
a n d a 99 for a 7 0 . 2 5 a v e r a g e .
As the finals b e g a n , D a v i s ' s
looked to h a v e a g o o d c h a n c e
u p for the $ 1 , 1 0 0 h i g h e s t run
tables had the standard D C C
p o c k e t s of barely 4.5 i n c h e s at
with a d e e p shelf, and a light
near j a w e n d e d a lot of r u n s .
r u n of 151
of s t a n d i n g
bonus. The
tournament
the o p e n i n g
hit o n t o the
In t h e finals, H a r r i m a n , D a v i s , O r c o l l o
and S o u q u e t all failed to get past 50 in five
tries. A r c h e r m a n a g e d a 5 6 , a n d C h a r l i e
W i l l i a m s , w h o a d m i t t e d that 14.1 w a s not
his best g a m e , g o t a 6 7 . S t e a d y J o h n
S c h m i d t h a d a 71 as well as a 6 9 , 5 5 a n d 4 3 ,
but only t h e h i g h e s t r u n for e a c h p l a y e r
c o u n t e d . Surprisingly, his 7 1 w o n h i m s e c o n d place.
O n e of the nice things about attending
tournaments, as opposed to watching them
o n T V o r D V D , i s the f a s c i n a t i n g p e o p l e
y o u get t o m e e t . O n e o f t h e m a n y s u c h personalities p r e s e n t a t D e r b y C i t y w a s 9 2 year-old George Rood, w h o was there to
a c c e p t a l i f e t i m e a c h i e v e m e n t a w a r d from
O n e P o c k e t . o r g . You m a y n o t h a v e h e a r d o f
G e o r g e , since h e s t a y e d o u t o f the l i m e light d u r i n g his h e y d a y , b u t h e p l a y e d
a b o u t even w i t h L u t h e r L a s s i t e r a t 9-ball.
H e a l s o p l a y e d straight p o o l and o n c e ran
100 balls 11 t i m e s in o n e d a y w h e n p l a y i n g
5 0 n o - c o u n t . (In n o - c o u n t , you h a v e t o run
at least the n u m b e r specified or y o u r run
d o e s n 't c o u n t a t all.)
S h o t B is a s t a n d a r d o u t - o f - t h e - r a c k shot.
T h e c o r n e r b a l l i s b a n k e d s t r a i g h t b a c k the
l o n g w a y . H i t a s m u c h o f the ball a s y o u
can. Inside English may help, depending
on the rack and the cloth. The one time it
w a s p l a y e d d u r i n g the c o m p e t i t i o n d i d n o t
go w e l l , d u e to a t o o - t h i n hit.
D i a g r a m 2 s h o w s t w o s h o t s that y o u
might not play if you had an opponent
w h o w a s g o i n g t o r u n a few r a c k s o n y o u
if y o u m i s s e d . S h o t A w a s at t h e start of
J o h n S c h m i d t 's s e c o n d - p l a c e r u n o f t h e
finals. A f t e r t h e b r e a k , h e h a d n o t h i n g b u t
the d r a w - c a r o m , a s t h e c u e ball h a d g a t h -
e r e d w i t h b l o c k e r s b y t h e c o r n e r . T h i s shot
is n o t as h a r d as it l o o k s , if y o u t a k e c a r e
about the angle and speed. T h e r e are syst e m s t o p l a y this k i n d o f c a r o m .
S h ot B w a s all that I m m o n e n w a s left
w i t h e a r l y i n h i s 160 r u n i n t h e finals. T h e
b a n k is n o t that difficult if y o u are in b a n k
p o o l s t r o k e , b u t it is n o t a shot m o s t
straight p o o l p l a y e r s w o u l d risk. T r y it, b u t
also p l a y p o s i t i o n b y b r i n g i n g t h e c u e ball
three cushions to the m i d d l e of the table.
I'll s e e y o u n e x t y e a r i n L o u i s v i l l e . I f
y o u get t h e r e e a r l y y o u m a y g e t a c h a n c e
t o k e e p s c o r e for t h e s t r a i g h t p o o l .
G e o r g e w a s n e x t t o m e w a t c h i n g t h e 14.1
finals. T h e s h o o t e r at t h e table w a s clearly
n o t a n e x p e r t a t 1 4 . 1 , a n d G e o r g e w a s surp r i s e d h e w a s i n t h e finals. T h e n M i k a
I m m o n e n started t o play. S m o o t h s t r o k e,
s m o o t h b r e a k s j u s t h a r d e n o u g h t o scatter
the balls w e l l a n d g e t t h e c u e ball l o o s e but
n o t t o o far a w a y . G e o r g e c o m m e n t e d ,
" N o w this i s h o w straight p o o l s h o u l d b e
p l a y e d . " H e w a s p r o v e n right, a s M i k a p r o c e e d e d to r u n 160 in his s e c o n d try a n d an
86 t w o tries later. In his n i n e tries ( p r e l i m s
a n d finals), h e h a d a n a v e r a g e o f 6 2 . 3 3
balls p e r i n n i n g . W i t h the daily p r i z e , the
h i g h e s t r u n b o n u s a n d first p r i z e i n the
finals, he g o t a total of $ 3 , 6 0 0 . T h e o n l y
thing he m i s s e d was the special $1,000
bonus
offered
by
D i a m o n d Billiard
P r o d u c t s for the first r u n o v e r 2 0 0 . M a y b e
n e x t year.
T h e p l a y e r s this y e a r s e e m e d m o r e familiar with the rules than last year, w h e n several ball-in-the-rack opportunities were
m i s s e d . (See m y April 2 0 0 6 c o l u m n available at http://www.sfbilliards.com/artic l e s / B D _ a r t i c l e s . h t m l . ) T h e r e w e r e a few
desperation shots that were notable.
In
this f o r m o f c o m p e t i t i o n , the p l a y e r m i g h t
as w e l l go for a s h o t that h a s o n l y a 1 percent c h a n c e , if t h a t 's t h e o n l y o p t i o n . In
D i a g r a m 1, S h o t A is a b r e a k shot that
C h a r l i e W i l l i a m s m a d e after failing t o
b r e a k t h e n e w r a c k at a c o u n t of 14. If y o u
hit the t w o b o t t o m balls o n that s i d e s i m u l t a n e o u s l y , the c o r n e r ball o n t h e o t h e r side
h a s a c h a n c e to go in. It did. To go i n , it
n e e d s t o b e s t r u c k b y b o t h o f t h e b a l l s it'
s
t o u c h i n g . T h a t h a p p e n s o n l y if t h e r a c k is
pretty tight, s o e n e r g y will b e t r a n s m i t t e d
to b o t h b a l l s at t h e s a m e t i m e . T a k e 10
tries to s e e if t h i s s h o t if w o r t h p l a y i n g
when desperate.
BD • MARCH 2007
31
TECHTALK
Bob Jewett
The controversy has existed since the early 1900s, and continues to "vex.'
T h e r e is
a controversy in the
billiard world that has b e e n
simmering
and
sometimes
boiling over for the last hundred years. You would think
that in all that time, s o m e o n e
w o u l d h a v e been able to get to
the b o t t o m of the matter and
shut up the idiots on the other
side,
but the controversy
r e m a i n s : Is it possible to transfer sidespin from the cue ball to
the object ball?
lot like c a r o m billiards but is
p l a y e d with small balls on a 6by- 12-foot table with pockets. In
his 1923 b o o k , " H o w to Play
Billiards," Tom N e w m a n , w h o
w a s a six-time world c h a m p i o n ,
firmly staked out a practical,
middle-of-the-road position:
"[...] Last, and least, I p r o p o s e
to touch u p o n the vexed question
o f t h e t r a n s m i s s i o n o f side.
E n o u g h has been written to fill a
b o o k bigger than this, simply to
p r o v e that a side-laden cue-ball
c a n or c a n n o t transmit side to the
object-ball. I am not disposed to
argue about it, but if a n y o n e can
s h o w me h o w to transmit an
effective a m o u n t of side from the
cue-ball to the object-ball, I shall
be very m u c h indebted to h i m : it
will help me to solve m a n y little
p r o b l e m s [...] Please m a r k my
w o r d s carefully, I do not wish for
' p r o o f that side can or c a n n o t be
transmitted. I want to s e e such
m e a s u r e of effective transmission of side as m a y be of real
playing value. Until I see this, I
shall not bother about the transmission of side w h e n playing
billiards."
I t h i n k t h e continuing confusion is d u e to the fact that if the
effect exists, it is w e a k . You
can shoot the cue ball with
heavy sidespin directly into an
object ball and the cue ball will
sit a n d spin like a top, so no
o n e will deny that the cue stick
can p u t sidespin on the cue
ball. You c a n n o t , h o w e v e r ,
m a k e an object ball spin similarly. B u t can you m a k e it spin
at ail?
28
T h e earliest reference I've
found for the question is also
o n e of the easiest early billiard
b o o k s . " D a l y ' s Billiard B o o k "
w a s first published in 1913, but
is n o w widely available as a
D o v e r reprint. In it, Maurice
Daly describes a class of shots
in w h i c h an object ball is driven m o r e or less straight into a
cushion and is banked with
precision b a c k to where it started. (This is a standard shot at
simple
carom
billiards.)
M a u r i c e c o m m e n t s : "In this
shot ( a n d its variations are
n u m e r o u s in close play near
the e n d rail) o n e must pay strict
attention to the English on the
cue hall. That imparted to the driven object
ball affects t h e course of the latter on its
return from the cushion. This driven ball may
be "thrown' o n e side or the other as m u c h as
three inches."
cue ball is not, to any appreciable degree,
transferred to an object ball, not e n o u g h to
'throw' the object ball off a true angle from
the cushion. T h e writer [Harris] is convinced
he is right [...]"
Slightly later, we find t w o prop o n e n t s o f the p h e n o m e n o n
claiming to s h o w such shots.
T h e t w o authors were Walter
Lindrum and Willie Smith.
L i n d r u m w a s the best English
Billiards
player
who
ever
played, and arguably the best c u e m a n of all
time. In one c h a m p i o n s h i p , he h a d to give the
other three players a head start of about 30
percent in w e e k s - l o n g m a t c h e s and he still
won. Smith w a s twice a world c h a m p i o n .
This s e e m s like a pretty clear statement, but
the editor (W.W. Harris), had said earlier in
the book: "Mr. C . C . Curtis, of N e w York, has
m a d e many interesting experiments with billiard balls, and contends that the spin of the
It would have been helpful if the author a n d
the editor h a d gotten their stories straight.
Transferred side was quite a heated topic in
England during the 1930s. T h e g a m e being
discussed w a s English Billiards, which is a
D i a g r a m 1 and D i a g r a m 2 are from
L i n d r u m ' s 1930 b o o k "Billiards." T h e goal is
to scratch off the black ball from behind the
line. T h e sub-goal is to control the return
point of the black ball. L i n d r u m claims that
BD • APRIL 2007
N e w m a n ' s approach is quite
reasonable: He is asking for specific e x a m p l e s that will help his
g a m e , a n d is w i t h h o l d i n g his
j u d g m e n t on the matter until
then.
in D i a g r a m 1, right E n g l i s h puts e n o u g h left
on the black ball to k e e p it on the left side of
the table. In D i a g r a m 2, he h a s c h a n g e d to
left English, w h i c h h a s w o r k e d the red w a y
over to the right side of the table.
I n d i s c u s s i n g t h e shot, L i n d r u m a l s o
laments about t h e forests wasted in printing
opinions on the matter, saying, "I have yet to
meet a m a n w h o c a n play any better for all
this spilling of ink."
He c o n t i n u e s : " B u t get away from theory,
put the balls on the table, and I will p r o v e to
you that the influence of side on the cue-ball
is transmitted to the object-ball to such an
extent that you c a n n o t play billiards without
allowing for it. [You m a y call w h a t h a p p e n s
in the d i a g r a m s whatever you want] but
please give me my point that t h e effect of the
side is transmitted to an extent, w h i c h could
scarcely be surpassed if you were putting
side on the object-ball with your cue."
T h a t 's a b o u t as clear as you can get. But do
his e x a m p l e s really s h o w that the object ball
has spin that affects its angle off the c u s h i o n ?
Smith, in his 1934 b o o k "Billiards in Easy
Stages," s h o w s the shot i n D i a g r a m 3 .
Again, the goal is to scratch off the black ball
and to control the path of the black ball off
the cushion. You can try it yourself on a pool
table with the object ball about t w o balls off
the e n d cushion and the c u e ball n e a r the side
pocket. Adjust the cue-ball position so that a
half-ball hit with follow and m e d i u m speed is
a g u a r a n t e e d scratch. Smith says about the
shot: " T h e r e is no stroke on the table w h i c h
proves so clearly that side can be transmitted.
Playing it half-ball, without side, the [black
ball] will c o m e down the centre of the table.
But, if the [other object ball] should happen
to lie in its course, it is quite an easy matter
to g u i d e the [black ball] past that ball on
either side. If you want the [black ball] on the
right-hand side of the table, use left-hand
side on the cue-ball, and vice versa to bring
the [black] ball to the left-hand side of the
table."
T h e big gun of British billiards writers,
R i s o Levi, fired against these t w o c h a m p i o n s .
To Levi, w h o h a s the distinction of having
written the most w o r d s on billiards of any
author, there w a s no such thing as transmitted side. A n y effect that w a s observed could
be explained by the normal curving of the
cue ball due to the sidespin, w h i c h is easily
d e m o n s t r a t e d and explained.
In his 1935 b o o k , "Billiards for All T i m e , "
he said: "I have written so m u c h in the past
on the question of transmitted side — I was
the first to treat the subject at all exhaustively — that I thought I h a d done with it forever. Willie Smith has, however, revived the
question in his latest book, "Billiards in E a s y
Stages," and though I h a v e a great liking for
him as a m a n and a t r e m e n d o u s admiration
for h i m as a billiards player, I feel bound to
pick up the gauntlet, which he has again
thrown down."
T h e book is only a small one, and, of its 91
pages, 32 are full-page diagrams. It is, h o w ever, a very readable little v o l u m e , but five
different ridiculous statements concerning
transmitted side m a r it.
"[...] W h e n y o u play a slow or m e d i u m p a c e stroke with side y o u give the object
ball a different line of travel from w h a t it
w o u l d take in a stroke p l a y e d w i t h o u t side,
but this is simply b e c a u s e side pulls the cue
hall out of the line of aim before contact is
m a d e with the object ball. T h e object ball is
taken t h i n n e r or fuller than w o u l d have b e e n
the c a s e with a plain-ball stroke. T h a t is all.
It is p a s s i n g strange to me that a great c u e m a n like S m i t h c a n n o t realize this, but
s o m e t i m e s w h e n a m a n gets t h o r o u g h l y
o b s e s s e d with a certain idea, he c a n n o t see
w o o d for trees."
Frankly, I d o n 't think I w o u l d h a v e liked
t o b e around R i s o . B u t w a s h e right? Mull
on this a w h i l e . You m a y w a n t to refer to
D a v i d A l c i a t o r e 's recent articles in BD that
discuss the p h y s i c s of spin transfer. C a n y o u
c o m e u p with better d e m o n s t r a t i o n s than
L i n d r u m 's and S m i t h 's ? N e x t m o n t h I'
ll
p r o p o s e s o m e shots that s h o u l d clear things
u p , since Levi d o e s n 't s e e m to have finished
the j o b .
BD • APRIL 20D7
29
TECHTALK
Bob Jewett
Let's Twist Again
Putting to rest a controversy that has existed since the early 1900s.
Last m o n t h I w e n t over s o m e ancient
history of this controversial q u e s t i o n : C a n
sidespin be transferred from the c u e ball to
the object ball? E v e n t h o u g h this p o i n t has
been d e b a t e d for m o r e t h a n 100 years, there
still s e e m s to be no general a g r e e m e n t . I
hope that 2 0 0 7 will finally e n d the d e b a t e .
First, l e t ' s look at the m e c h a n i s m that
purports to transfer sidespin from one ball
to another. In D i a g r a m 1 is a collision
b e t w e e n the c u e ball and an object ball.
D u r i n g the collision, there are t w o k i n d s of
forces. F o r c e s have to act at the c o n t a c t
point, since that is the only w a y the cue ball
can influence the object ball. T h e two
forces act in t w o separate directions.
T h e first is the usual force that acts to
p u s h t h e object ball a w a y from the cue ball.
It's called the " n o r m a l " force by p h y s i c i s t s ,
but this is not the n o r m a l " n o r m a l . " In this
case, n o r m a l m e a n s p e r p e n d i c u l a r to the
surfaces of t h e balls or along the line j o i n ing their centers at the m o m e n t of impact.
The force is quite high,
and very short — p e r h a p s
1,000 p o u n d s of force for
2 0 0 millionths of a second.
If that w e r e the only
force d u r i n g the collision,
playing pool would be
m u c h simpler than it is.
For better or w o r s e , there
m a y a l s o be a tangential
force. T h i s acts a l o n g the
tangent line b e t w e e n the
balls at the instant of c o n tact, and it's a result of the
surface of t h e cue ball r u b bing a c r o s s t h e object ball.
Since the t w o balls are not
perfectly slippery, there
will be s o m e friction a n d ,
consequently, s o m e force
at the e d g e of the object
ball.
T h e tangential force is
fairly c o m p l i c a t e d , and can
take quite a w h i l e to c o m p l e t e l y u n d e r s t a n d . In a
future article, I'll show y o u
s o m e related shots that I
only learned in the past
m o n t h , after 40 years of
p l a y i n g the g a m e .
A
28
first
complication
BD-MAY20Q7
is
h o w the surface of the
cue ball c o m e s to be
m o v i n g on t h e surface of
the object ball. If the cue
ball is not s p i n n i n g at all
but is cutting the object
ball, its surface will be
m o v i n g relative t o the
object ball at the point of
contact, and the friction
will tend to d r a g the surface of t h e object ball in
the direction t h e cue ball
e n d s up m o v i n g as it
leaves the collision.
A s e c o n d w a y to have the surface of the
cue ball m o v i n g relative to the object ball is
for the c u e ball to be s p i n n i n g . T h e r e are
several c a s e s t o r this. T h e cue ball m i g h t hit
the object bail full, but with sidespin. It
could be cutting the object ball with inside
English (left sidespin for a cut to the left),
w h i c h w o u l d increase the relative m o t i o n
c o m p a r e d t o the c a s e
a b o v e with no spin on
the c u e ball. Or, there
might
be
outside
E n g l i s h on the cue ball,
which could perfectly
cancel the friction d u e
to the m o t i o n of the c u e
ball a c r o s s the object
ball, or it m i g h t even be
e n o u g h t o r e v e r s e the
direction of the r u b on
the surface of the object
ball.
To c o m p l i c a t e things a
little m o r e , you a l s o h a v e to c o n s i d e r any
follow or d r a w that the c u e ball m i g h t have.
T h e first effect of this r u b b i n g s i d e w a y s
of the c u e ball on the object ball is throw. If
there is throw, the object ball will not travel a w a y from the collision along t h e line
j o i n i n g the centers of t h e t w o balls at the
instant of t h e collision, but i n s t e a d will
m o v e at an a n g l e of up to six
degrees for r e a s o n a b l y c o m m o n c o n d i t i o n s . (If you have
brand new, w a x e d balls, you
likely w o n ' t see that m u c h
throw, but y o u will see some.)
T h r o w is not u n e x p e c t e d if
you agree that the cue ball can
r u b s i d e w a y s on the object
ball. If t h e r e is a rub to the
right, there pretty m u c h has to
be
some
corresponding
m o t i o n to the right. In n o r m a l
collisions, the " n o r m a l " force
is m u c h larger than the r u b b i n g or tangential force, so
while there is throw, it's small
e n o u g h that the careless player m i g h t not notice it.
Conversely, if you observe
throw, there m u s t hav e b e e n
s o m e r u b to the side of the
surface of t h e c u e ball on the
object ball. T h e t w o are perfectly tied together. You cannot have one without the
other. If you see no throw,
there w a s no rub.
W h a t is not so o b v i o u s is a
p o i n t t h a t e s c a p e d m e for
a b o u t 35 y e a r s . If there is
throw, t h e r e m u s t a l s o b e
transferred s i d e . F u r t h e r , the a m o u n t of
side will be directly p r o p o r t i o n a l to the
a m o u n t o f t h r o w . B o t h o f t h e m c o m e from
the s a m e s i d e w a y s force of the c u e ball
r u b b i n g o n the object b a l l . You c a n 't r u b
s i d e w a y s on the c u e ball and not m a k e it
spin. P h y s i c s can tell us h o w m a n y R P M of
sidespin we will hav e if there is one d e g r e e
of t h r o w (for a particular s p e e d ) , b u t that is
not as interesting as the f o l l o w i n g m e a surement.
Spot t w o object balls on the foot spot, as
s h o w n in D i a g r a m 2. P u t a third object ball
near t h e m so it forms a line with a spot
about t w o d i a m o n d s from a far c o r n e r
p o c k e t , s h o w n a s spot X . Place t h e c u e ball
a l o n g that s a m e line, so that you are shooting the third ball straight into t h e s e c o n d
ball. T h e ball on the spot will be driven to
the end rail, but not the m i d d l e of t h e end
rail. It will be t h r o w n to the right, thanks to
the s e c o n d ball r u b b i n g across its surface.
S h o o t the shot a few t i m e s until you get the
speed right to d r i v e the ball to the h e a d rail
and b a c k to the foot rail with a little
b o u n c e . Take several shots t o m e a s u r e
w h e r e the ball hits on the h e a d rail and
w h e r e it r e t u r n s to the foot rail.
W h e n 1 did the test, and c o n v e r t e d the distances to a n g l e s , it tunned out that the object
ball initially threw off the centerline by 5.1
d e g r e e s for t h e c o n d i t i o n s I h a d . T h e
r e b o u n d a n g l e off t h e far c u s h i o n w o u l d be
equal to that, but I m e a s u r e d it as 10.3
d e g r e e s . T h e angle out w a s t w i c e the angle
in! As it turns o u t , this angle c a u s e s the
b a n k e d ball to go into a c o r n e r p o c k e t at the
foot of t h e table. Spin has clearly b e e n
transferred to the object ball, but can it be
done from the cue ball?
S o m e r e a d e r s will think i t 's pointless t o
set up a test with the c u e b a l l , since the
object balls are e x p e c t e d to h a v e the s a m e
reactions with e a c h other as they do with
the c u e ball, but let's be c o m p l e t e and figure out a w a y to test w i t h the c u e ball transferring side directly to t h e object ball.
A first test h a s already b e e n d o n e . In
D e c e m b e r 2 0 0 2 , 1 p r o p o s e d a test to see if
sidespin on the cue ball c o u l d t h r o w the
object b a l l . In April 2 0 0 3 , I r e p o r t e d the
results as d o n e by you r e a d e r s . T h e largest
a m o u n t o f t h r o w r e p o r t e d w a s slightly
m o r e than five d e g r e e s . T h e test h a p p e n e d
to a l s o be set up from the spot, and the
object ball h a p p e n e d to a l s o go in the corner p o c k e t w h e n i t c a m e b a c k d o w n the
table.
But that's not s o m e t h i n g t h a t 's likely to
m a k e you m o n e y . H e r e 's a proposition shot
that m i g h t . P u t an object ball on the foot
spot a n d , with t h e cue ball in h a n d , b a n k the
object ball back to the foot p o c k e t hitting it
full and w i t h o u t side spin. Find the spot on
the h e a d rail that you h a v e to hit to m a k e
the ball. P u t a b l o c k e r ball at that exact
location, as in D i a g r a m 3. N o w , bet that
you can b a n k a ball off the s p o t , back to the
foot p o c k e t a n d land either to t h e left or the
right of the blocker ball. Of c o u r s e , the only
way this can be d o n e is by getting s o m e
sidespin on the object ball. I h o p e y o u
k n o w w h i c h side to use for each side of the
blocker.
W h y d o s o m a n y p e o p l e get this stuff
w r o n g ? I think the m a i n p r o b l e m is that the
effect of the transferred sidespin is fairly
s m a l l , and it's only really visible on b a n k
shots. M o s t p e o p l e k n o w b a n k s s o poorly
that t h e y a r e w i l l i n g to w r i t e off five
d e g r e e s of u n e x p e c t e d increase in b a n k i n g
angle to their o w n erratic stroke or a funny
rail. A n o t h e r factor is that you d o n 't a l w a y s
see that m u c h twist (that's w h a t b a n k e r s
call transferred s i d e s p i n ) . If the balls are
w o r n or dirty, you will see q u i t e a bit m o r e
t h r o w and twist than if the balls are n e w
and polished or w a x e d .
Is five d e g r e e s important in p l a y ? In the
length of the table, t h a t 's a l m o s t nine inche s , or well o v e r half a d i a m o n d . If y o u are
g o i n g to shoot long b a n k s , y o u h a v e to
c o m p e n s a t e for this effect. Shor t b a n k s t o o ,
since 4.5 inches (half of the long w a y for
the shorter travel to the p o c k e t ) is about the
width of the p o c k e t .
BD • MAY 2007
TECHTALK
Bob Jewett
Degrees of Difficulty
The laws of physics were meant to be broken. Here's how.
If y o u h a n g a r o u n d p o o l h a l l s — and w h a t
well-educated, adventurous person does
n o t ? — y o u will h e a r a b o u t p r o p o s i t i o n
shots that s e e m to be i m p o s s i b l e . Efren or
C l e m o r W i m p y i s said t o have m a d e the
c u e ball d a n c e in a star p a t t e r n or to have
j u m p e d an object ball o v e r five tables to go
five m o r e c u s h i o n s into t h e s i d e p o c k e t .
I f y o u r u n into s o m e o n e c l a i m i n g t o b e
able to do s u c h a s h o t , if the m o n e y ' s right
and a t t e m p t s plentiful, y o u s h o u l d b e fairly c e r t a i n that the shot is to be m a d e . T h e
only q u e s t i o n i s w h e t h e r t h e e n t e r t a i n m e n t
is w o r t h the p r i c e . K e e p a firm h a n d on
y o u r w a l l e t and r e m e m b e r the a d v i c e Sky
A c a u t i o u s p h y s i c i s t will a s k a few q u e s tions before p u t t i n g d o w n his m o n e y . Is the
c u e ball g o i n g to be j u m p e d off the table to
hit the b a c k e d g e of the 3 b a l l ? N o , t h e shot
will be p l a y e d w i t h a n e a r l y level c u e stick,
and there will b e n o a p p a r e n t j u m p .
M a y b e s o m e t h i n g i s not r i g h t w i t h t h e
c u s h i o n , o r i t h a s b e e n t a m p e r e d w i t h . Will
the object b a l l b e w e l l p a s t t h e side p o c k e t
on the flat p a r t of the c u s h i o n , or will it be
partly on t h e c o r n e r of the p o c k e t w h e r e it
c a n be deflected b a c k up the t a b l e ? T h e 3
b a l l will b e frozen t o t h e c u s h i o n s o that
point n e a r e s t to t h e c u e ball will be even
w i t h t h e e d g e of the p o c k e t . It c a n o n l y hit
M a s t e r s on recalls his
father g i v i n g h i m i n
"Guys and Dolls":
"One of these days
in y o u r travels, a g u y
is going to come to
you and show you a
nice, brand new deck
o f c a r d s o n w h i c h the
seal h a s not yet b e e n
broken. This man is
g o i n g to offer to b e t
you t h a t h e can m a k e
the j a c k of spades
j u m p out o f the d e c k
and squirt cider in
y o u r ear. N o w s o n , d o
not b e t this m a n , for
as sure as you stand
t h e r e , y o u are g o i n g t o
w i n d up with an earful of cider."
O n e such shot t h a t c o u l d b e used
to bankrupt anyone w h o understands a little p h y s i c s is o u t l i n e d in
D i a g r a m 1. T h e cue ball is frozen to
the s i d e c u s h i o n o n t h e h e a d string.
T h e 3 ball is frozen to t h e s a m e side
c u s h i o n j u s t p a s t t h e s i d e pocket.
T h e g o a l is to b a n k the 3 ball o n e
c u s h i o n into the o t h e r side pocket.
A n y p h y s i c i s t will tell y o u that the
shot is i m p o s s i b l e — a n y c a r e l e s s
p h y s i c i s t , that is, a n d t h a t ' s the k i n d y o u
can b a n k r u p t . In t e r m s of cut a n g l e for the
shot, this c l e a r l y r e q u i r e s a cut of m o r e
than 90 degrees. (It's about 95.58 degrees,
d e p e n d i n g o n h o w far b e l o w t h e s i d e the
o b j e c t ball is.) A n y cut angle g r e a t e r than
90 d e g r e e s is — s u p p o s e d l y — p h y s i c a l l y
impossible.
28
BD • JUNE 2007
the p r o p e r p a r t of t h e c u s h i o n , not t h e corn e r of t h e p o c k e t .
B u t t h e t h o r o u g h p h y s i c i s t m i g h t not
trust this table. M a y b e this p a r t i c u l a r c u s h ion h a s p r o b l e m s . A r e y o u w i l l i n g t o p l a y
the s h o t on a n y table in t h e p o o l h a l l ? Yes,
and y o u c a n c h e c k t h e c u s h i o n s for the old
trick o f i m b e d d i n g p i n s o r n e e d l e s t o
c h a n g e t h e b a n k i n g a n g l e . (This little trick
is said to be v e r y effective w h e n p l a y i n g
o n e - p o c k e t , leaving an o p p o n e n t a relatively e a s y b a n k that h a s to hit a n e e d l e previo u s l y p l a c e d in t h e rubber.)
T h e s h o t r e q u i r e s m o r e t h a n o n e try. as is
u s u a l w i t h m a n y p r o p o s i t i o n b e t s that
r e q u i r e skill. V e r n o n Elliott, a great r o a d
p l a y e r w h o w a s r e c e n t l y i n d u c t e d into t h e
O n e - P o c k e t Hall of F a m e , is said to hav e
a c c e p t e d 20 tries. I d o n ' t p l a y as well as
V e r n o n , so I w o u l d n e e d an hour.
If y o u w a n t to try it yourself, y o u will
n e e d a lot of s i d e s p i n to o v e r c o m e t h e
"impossible" angle. The technique is to
just
brush
the
object ball with
t h e c u e ball, w h i c h
h a s s o m u c h outside spin that t h e
surface of the cue
ball
is
moving
b a c k w a r d s as it
t o u c h e s t h e object
ball. T h i s is illustrated in D i a g r a m
2 . T h e spin d o e s
t w o t h i n g s : First,
it
changes
the
angle of t h e cut.
Perhaps
it
can
b r i n g an 8 4 - d e g r e e
cut to 90 d e g r e e s
— six d e g r e e s of
throw
is
not
i m p o s s i b l e with old, dirty balls. I
w o u l d not w a n t to shoot this shot
w i t h n e w l y p o l i s h e d , w a x e d balls.
T h e s e c o n d effect i s t r a n s f e r r e d
sidespin o n t o t h e object ball.
In my M a y article, I m e a s u r e d the
r e l a t i o n s h i p b e t w e e n t h r o w and the
effect t h a t t r a n s f e r r e d s i d e s p i n h a s on
the c u s h i o n . T u r n s out, if y o u have 5
d e g r e e s of throw, the b a n k a n g l e will
also c h a n g e by about 5 degrees,
b e c a u s e t h e a c t i o n o f t h r o w i n g the
ball p u t s s i d e s p i n o n the object b a l l . T h i s
m e a n s that if y o u h a v e 6 d e g r e e s of t h r o w
o n t h e object b a l l , y o u w o u l d get a n a d d i t i o n a l 6 d e g r e e s of c h a n g e in a n g l e from
the rail. T h e result is a net c h a n g e in the
d i r e c t i o n of the o b j e c t ball of 12 d e g r e e s .
T h e o r i g i n a l 8 4 - d e g r e e cut turns into a 9 6 d e g r e e b a n k . T h e object ball g o e s into the
h e a r t o f the p o c k e t , a n d t h e p h y s i c i s t
s c r a t c h e s his h e a d and h a n d s o v e r the
money.
If y o u are g o i n g to offer p r o p o s i t i o n
shots, you n e e d to h a v e several available,
because you might
not h a r v e s t all of
the l o o s e c a s h w i t h
just one. D i a g r a m
3
shows
another
shot that can be
played using the
same technique as
the cross-side bank.
T h i s t i m e , the 3 ball
is on t h e foot spot,
and t h e c u e ball is
straight out from
o n e of the foot
p o c k e t s . B e sure the
c u e ball is directly
in t h e m i d d l e of the
line b e t w e e n the
pocket and object
ball. T h e shot is to sink the object ball
straight into t h e o t h e r foot p o c k e t .
T h i s i s a n o t h e r cut a n g l e g r e a t e r than 9 0
d e g r e e s . It w o u l d be e x a c t l y 90 d e g r e e s if
the 3 ball w e r e m o v e d one ball d i a m e t e r
t o w a r d the i n t e n d e d p o c k e t , a l l o w i n g the
c u e ball to be on t h e foot spot w h e n it c o n -
tacts the object ball. Since the c u e ball h a s
to be shot a b o u t o n e b a l l a w a y from the
foot spot, t h e c u t turns o u t t o b e a b o u t 9 4
degrees.
A s w i t h t h e first shot, y o u will n e e d m o r e
sidespin t h a n m o s t pool p l a y e r s are norm a l l y w i l l i n g t o put o n the c u e ball. T h e
shot d o e s not hav e to be p l a y e d with great
s p e e d , but the e x t r e m e sidespin is e s s e n tial. A l s o , r e m e m b e r that clean, p o l i s h e d
balls a r e not helpful w i t h shots like t h e s e .
A l t h o u g h I h a v e m a d e this shot in t w o
tries, I'd prefer to have an h o u r w i t h it as
well.
F o r shots like t h e s e , s e e i n g is b e l i e v i n g .
J o e T u c k e r h a s offered a v i d e o on t h e
Y o u T u b e W e b site in w h i c h he s h o o t s the
b a n k shot four t i m e s
and m a k e s it three. On
o n e a t t e m p t t h e object
ball is p l a c e d a full
ball lower than in
Diagram 1 and misses
on t h e h a r d side of the
side pocket. (Note
that Joe is using a special a i m i n g fixture he
invented.) A l s o , he is
s h o o t i n g t h e c u e ball
into
the
cushion,
w h i c h m a y h e l p with
the
amount
of
sidespin. Regardless,
it is a g o o d e x a m p l e
of h o w to e x e c u t e this
trick. If you would
like to see t h e v i d e o , s e a r c h for J o e 's h a n dle, " J T 1 0 B A L L , " o n Y o u T u b e .
P r o p o s i t i o n shots vary from s i m p l e trickery to r e m a r k a b l e skill to a m a z i n g mirac l e s . If y o u c h o o s e to bet a g a i n s t t h e m ,
r e m e m b e r t o k e e p w i t h i n y o u r entertainment budget.
BD • JUNE 2007
29
+ T E C H
T A L K +
BY Bob Jewett
DIVIDE AND CONQUER
Feel your way to better aiming with some simplified fractions.
O
NE OF the oldest and m o s t c o m -
'Pointer'" w h i c h was published in 1911.
hits, since hitting half the object ball is
m o n ways of aiming shots is the
In this diagram, he s h o w s the i n c o m i n g
the s a m e as m i s s i n g half the object ball.
fractional-ball system. T h e idea is
p a t h s for t h e c u e b a l l i n i n c r e m e n t s o f
T h e u p p e r left fan o f W e s t e r n ' s d i a g r a m
t h a t for a n y p a r t i c u l a r s h o t o n a p o o l o r
o n e - s i x t e e n t h of a ball. T h e object ball
represents the exit angle of the object
billiard table, y o u i m a g i n e the c u e ball
is at the center of the double-fan shape.
ball. F o r a o n e - e i g h t h cut with the c u e
o v e r l a p p i n g the object ball by a certain
T w o c u e b a l l s a r e s h o w n , o n e for a h i t
b a l l c o m i n g i n a l o n g l i n e S-A, t h e o b j e c t
a m o u n t a s s e e n f r o m t h e tip's e y e view,
t w o s t e p s f r o m full b a l l a n d t h e o t h e r
b a l l l e a v e s a l o n g l i n e R - C , a n d for t h e
a n d t h e n you m a k e the cue ball m a t c h
t w o s t e p s from barely g r a z i n g the edge
T-B s h o t , t h e o b j e c t b a l l i s d r i v e n a l o n g
that overlap.
of t h e object ball. T h o s e t w o c u e balls
line R-D. F o r small a m o u n t s of cut, each
A recent b o o k that covers the idea very
a r e t r a v e l i n g a l o n g l i n e s S-A a n d T-B i n
increment causes nearly the same angle
well is Freddy Bentivegna's " T h e G o s -
the d i a g r a m , c o m i n g u p from the bot-
o f c u t o n t h e o b j e c t b a l l . You c a n s e e t h i s
P o o l o f B a n k P o o l . " D i a g r a m 1 i s a n il-
t o m of the page.
for t h e c u t s f r o m z e r o t o o n e - h a l f .
lustration from that b o o k . T h e fraction
b e i n g discussed is the
five-sixths
full
W e s t e r n n u m b e r s his fullnesses o p p o -
T h e m o d e r n versions of fractional-ball
site to t h e s t a n d a r d w a y of n a m i n g these
a i m i n g s y s t e m s h a v e several pitfalls y o u
s h o t . F r e d d y g e t s a lot o f t h i n g s
right
in
his
description
that
o t h e r a u t h o r s t e n d t o d o badly.
He shows the two-dimensional
overlap picture, w h i c h is standard, b u t he is careful to s h a d e
the
overlap
and
show
the
centers of the two balls. T h e
smaller view from
above
the
t w o balls also s h o w s the overlap as the s h a d e d area on the
o b j e c t b a l l . Finally, h e s h o w s a
v e r y s p e c i f i c s h o t for w h i c h a
f i v e - s i x t h s full hit i s n e e d e d t o
p o c k e t the object ball.
Freddy
also
covers
full,
t h r e e - q u a r t e r , t w o - t h i r d s , half,
one-third a n d one-quarter hits
with
similar
diagrams.
Wil-
lie H o p p e , i n " B i l l i a r d s A s I t
Should
Be
Played,"
divides
t h e ball i n t o e i g h t h s . F o r b o t h
Freddy
and
Willie,
a
major
reason to talk a b o u t fractionalball c o n t a c t is that n e i t h e r h a s
a target to s e n d t h e object ball
toward in
the normal sense.
Hoppe is talking about threecushion billiards, and the exact p a t h of
shots. His n u m b e r s correspond to the
n e e d t o l o o k o u t for. T h e first i s b e i n g
the first object ball is not as i m p o r t a n t
cut r a t h e r t h a n the fullness of the shot.
able to project the cue ball forward o n t o
as the p a t h of the c u e ball. Bentivegna's
T h u s his zero shot h a s the cue ball hit-
the object ball to get t h e right overlap.
b o o k o n b a n k i n g o f t e n h a s n o d i r e c t tar-
t i n g t h e o b j e c t b a l l full, o r w i t h z e r o c u t .
This is m a d e h a r d e r b e c a u s e the cue ball,
g e t for t h e o b j e c t ball.
A c u t of o n e c o r r e s p o n d s to barely graz-
b e i n g closer to you, a p p e a r s to be sever-
T h e m o s t c o m p l e t e d r a w i n g I've s e e n
ing the e d g e of the object ball. T h i s w a y
al times the size of the object ball, w h i l e
of fractional-ball hits is D i a g r a m 2, from
o f n u m b e r i n g i s m o r e n a t u r a l a s far a s
the system wants you to overlap equal
Charles
book,
t h e g e o m e t r y g o e s , b u t it's a g a i n s t t r a d i -
disks. This can be overcome by aiming
" T h e P r a c t i c a l S c i e n c e o f B i l l i a r d s a n d Its
t i o n . T h e t w o s y s t e m s m a t c h for h a l f - b a l l
the c u e ball a l o n g a p a r t i c u l a r line, as
34
Maximilian
BILLIARDS DIGEST
Western's
July
2 0 0 7
s h o w n in Diagram 2, rather than trying
offered w i t h a v e r y s m a l l n u m b e r o f a n -
for a p a r t i c u l a r a m o u n t o f o v e r l a p .
gles, w i t h the justification that t h e p o c k -
are about 15 degrees, only about two of
ets allow several degrees of s l o p in either
which can be accommodated by sloppy
pockets. A practical a n d c o m p l e t e sys-
A s e c o n d p r o b l e m is t h e a c c u r a c y of
a half-ball a n d a quarter-ball cut, there
the angle. T h e systems are nearly always
d i r e c t i o n . W h i l e t h i s m a y b e t r u e for o b -
s t a t e d w i t h o u t a c c o u n t i n g for f r i c t i o n .
ject balls that are w i t h i n a d i a m o n d of
t e m n e e d s several c u t s from a q u a r t e r to
T h e t y p i c a l a m o u n t o f t h r o w o n a half-
t h e p o c k e t , i f t h e ball i s f o u r d i a m o n d s
a halt to w o r k .
ball s h o t is two or three degrees, b u t this
from a corner pocket, the m a r g i n of error
O n e thing to notice in D i a g r a m 3 is
the same thing that was noted in
d e p e n d s on spin and speed. I think
t h a t t h i s w i l l m o s t l y t a k e c a r e o f it-
D i a g r a m 1 : F o r s h o t s n e a r a full-ball
self. S h o t s m a y v a r y a f e w d e g r e e s
hit (small c u t s ) t h e angle c h a n g e s
from the exact m e a s u r e m e n t s in the
nearly
system, but you learn to compensate
But a r o u n d an 8 0 - d e g r e e c u t , a v e r y
proportionally
to
the
cut.
for t h r o w .
small variation in c u t fraction or hit
With some systems, the statement
fullness causes h u g e c h a n g e s in the
of the angle m a y not be exact. For
cut angle. This is the m a i n reason
example,
some
systems
a q u a r t e r - b a l l full h i t
state
(or a
that
that thin cuts are so hard; any error
three-
is greatly multiplied c o m p a r e d to
e r r o r s w i t h n e a r l y full h i t s .
quarters c u t ) , results in a 45-degree
a n g l e . T h a t 's n o t q u i t e r i g h t ; w i t h o u t
1 think that fractional-ball systems
throw, the angle is 48.6 degrees. Is
can be very useful to beginners a n d
that
intermediates w h o are just begin-
difference
really
important?
M a y b e n o t , b u t i t d o e s n 't h u r t for
ning to learn h o w to aim. They put
system promoters to speak accurate-
shots into a reference framework,
ly. S i n c e W e s t e r n h a s t h e n u m b e r s
d o w n to a b o u t o n e - h u n d r e d t h of a de-
a n d give y o u a w a y to c o m p a r e t h e
to e i t h e r s i d e is o n l y 1.3 d e g r e e s — that's
c u r r e n t s h o t w i t h s h o t s y o u 'v e p l a y e d
g r e e , h e d o e s n 't h a v e t h i s p r o b l e m . Fie
the m o s t you can cheat the p o c k e t and
before. But b e c a u s e
does, however, ignore throw, and even
still h o p e t o m a k e t h e b a l l . D i a g r a m 3
t h e y d o n 't c o v e r , y o u w i l l n e e d t o s u p p l y
s t a t e s t h a t i t d o e s n 't e x i s t .
S o m e t i m e s fractional-ball systems are
there is so m u c h
i s a p l o t o f t h e c u t a n g l e v e r s u s t h e frac-
t h e c o r r e c t i o n s — s o m e o f w h i c h I'
ve
tional cut, a n d you can see that b e t w e e n
p o i n t e d o u t a b o v e — b y feel.
July
2007
BILLIARDS DIGEST
35
+ T E C H
T A L K +
BY Bob Jewett
MANY QUESTIONS?
Solve the riddle of close combinations with these experiments.
W
HEN I w a s first l e a r n i n g to play,
p u n c h and some thick paper or a sheet
combination
o f t r a n s p a r e n c y film a n d p u n c h
shots
were
quite
holes
T h e e x p e r i m e n t is to place the object
balls apart at a certain distance a n d then
a p u z z l e . If t h e t w o object balls
at various distances apart. Tape or just
see
i n v o l v e d w e r e a fair d i s t a n c e a p a r t , t h e
place the p u n c h e d sheet on the table
d i r e c t i o n t h e s e c o n d ball goes. In the
shot s e e m e d m o r e or less n o r m a l except
pointing in the direction you want, and
p r e l i m i n a r y stages, s h o o t t h e 1 ball w i t h
g r e a t e r d i s t a n c e s m a d e i t m o r e difficult
roll balls i n t o t h e holes.
a full h i t so it a r r i v e s at t h e 2 b a l l for
how much
off-line
and in which
to p o c k e t the final ball. But
a half-ball hit, as s h o w n in
w h e n t h e balls were close
Diagram
together,
things
a
throw,
so the ball b a n k s back to
strange
started to happen.
The
is
main
easily
two
balls
That's
angle
about
of a p -
proach. Use m e d i u m speed,
effect,
most
the
2.
30-degree
seen
a b o u t w h e r e y o u start.
when
touch-
(Before y o u start e a c h test,
ing. This m a k e s the appar-
it's g o o d t o f i n d o u t w h e r e
ent
"cut"
are
mechanics work
"straight ahead" is by plac-
b a c k w a r d s . See D i a g r a m 1.
i n g t h e c u e ball a l o n g t h e
If y o u hit t h e 1 b a l l full, t h e
line of the object balls a n d
2 b a l l i s n o t c u t t o t h e left,
s h o o t i n g full i n t o t h e c o m -
but
bination
instead
is
thrown
to
so
there
can
be
the right, as in the Shot A.
neither t h r o w n o r cut. Mark
If the object balls are sepa-
on
rated by an inch, as in Shot
object ball arrives — that's
B, and y o u play the same
y o u r reference.)
full h i t o n t h e f i r s t b a l l , t h e
balls
behave
the
far
rail
where
the
At a certain d i s t a n c e be-
"normally"
t w e e n the object balls, y o u
a n d t h e s e c o n d ball is c u t to
will f i n d t h a t t h e s e c o n d o b -
t h e left.
ject ball goes exactly along
the reference line. This is
To repeat: W h e n the object
balls
are
touching,
the
throw
"magic
distance,"
as
the second
one on-line personality has
ball is t h r o w n to the right.
d e s c r i b e d it. ( T h e b a l l s ' b e -
dominates and
At an inch apart, cut domi-
havior will d e p e n d o n h o w
nates a n d the s e c o n d ball is
sticky they are. 1 h o p e the
c u t t o t h e left. W h a t h a p -
balls
p e n s in b e t w e e n ? Is there a
ing are in s t a n d a r d playing
you
have
been
us-
distance b e t w e e n the object
condition.)
N o w that you have found
b a l l s w h e r e t h e t w o effects
t h e m a g i c d i s t a n c e , let's t r y
c a n c e l ? L e t ' s f i n d it.
you
a few other variables. T h e
will n e e d to set up the balls
first is to vary the angle of
For
this
experiment
at very repeatable distanc-
approach.
es.
when
You
can
tap
the balls
What
happens
the first object ball
into t h e table, b u t the cra-
approaches
ters don't last l o n g on t h i n
15 degrees? H o w about 45
the
second
at
c l o t h . You c a n u s e s e l f - a d -
degrees a n d 60 degrees? At
hesive paper reinforcements
s o m e p o i n t t h e " m a g i c " will
— those w h i t e d o n u t s from
go, a n d cut will d o m i n a t e .
the
Of c o u r s e , at large angles,
office
supply store.
A
third way that allows you to
you
repeat distances across ses-
magic by lessening the gap.
s i o n s is to get a p a p e r h o l e
T h e s e c o n d t h i n g to try at
32
BILLIARDS DIGEST
August
2 00 7
could bring back
the
the magic distance is to vary the speed.
direction. C a n y o u see w h y ? H o w d o e s
have in the reactions from clusters of
F r o m p r e v i o u s tests w e k n o w that balls
t h e t h r o w r e a c t i f all t h r e e o b j e c t b a l l s
balls. T h e m o s t c o m m o n s u c h cluster
t h r o w less
are frozen?
you encounter is the break shot. Every
hold
up
for h a r d s h o t s .
here?
For
Does
that
four-table-length
T h i s p a r t i c u l a r s h o t h a s baffled m e a n d
s p e e d , h o w m u c h c u t can y o u get? H o w
has cost me m o r e than a lew g a m e s over
g a p i s i m p o r t a n t , s o r a c k tightly.
If y o u r e r e a d t h e a b o v e , y o u will see
m u c h do you have to decrease the gap
t h e l a s t 4 0 y e a r s . I t a k e p r i d e i n the. fact
t h a t I'
ve a s k e d a l o t m o r e q u e s t i o n s t h a n
t o g e t b a c k t o t h e m a g i c ? D o soft s h o t s
t h a t I'
ve l e a r n e d a n e w t r i c k , b u t t h a t 's
I'
ve a n s w e r e d . T h a t 's i n t e n t i o n a l .
s h o w m o r e t h r o w t h a n for y o u r refer-
t e m p e r e d b y t h e fact t h a t i t t o o k m e 4 0
have to get to a table a n d do the experi-
ence speed?
y e a r s to sec w h a t w a s right in front of
m e n t t o g e t t h e a n s w e r s for y o u r s e l f u n -
me.
der your conditions. Trying these sorts
N e x t , t r y s o m e t h i n g o t h e r t h a n a full
You
"inter-
o f s h o t s i s t h e o n l y w a y t o g e t a feel for
b a l l i n l i n e w i t h t h e c o m b o , b u t h i t half-
fered w i t h " c o m b i n a t i o n p o i n t s o u t is
t h e m , s o y o u 'll b e r e a d y t o u s e t h e m i n
b a l l o n t h e left o r r i g h t s i d e . I s t h e m a g i c
the major influence even small gaps can
competition.
hit on the first object ball. Put the cue
An important thing that
this
still t h e r e ? You m i g h t e x p e c t t h a t t h e
first object ball w o u l d pick up a little
spin
from h a v i n g b e e n struck on
the
side, and that spin might move the seco n d b a l l o v e r a l i t t l e , b u t d o e s it?
T h e n e x t t h i n g t o try i s s i d e s p i n o n t h e
c u e b a l l , u s i n g e i t h e r a full h i t f r o m a n
angle or straight on, or with a cut shot
on the first object ball.
Finally, y o u c a n m e s s w i t h the friction
b e t w e e n t h e t w o o b j e c t b a l l s . Saliva i s a
h a n d y — if n o t a b i t t o o n a t u r a l — s u b s t a n c e to r e d u c e t h e friction. J u s t apply
it to the s e c o n d object ball at the c o n tact point. C h a l k is a w a y to increase the
friction.
Chalk the p a d of your finger
a n d t h e n roll y o u r finger p r i n t —
just
l i k e w h e n y o u 'v e b e e n b o o k e d —
onto
the ball.
How m u c h do
these change
t h r o w ? Finally, if y o u are in t h e h a b i t of
occasionally w a x i n g y o u r object balls,
try d o i n g t h e test b e f o r e a n d after w a x ing.
S o m u c h for t h e b a s i c s o f t h r o w a n d
c u t i n c o m b i n a t i o n s . N o w for a w r i n k l e .
In D i a g r a m 3 is a c o m b i n a t i o n w i t h t h e
1 and 2 balls very close but not touching. A third ball ( t h e 3 ball) h a s b e e n
a d d e d to the mix. T h e exact position of
t h a t t h i r d b a l l i s c r i t i c a l . T h e 1-2 c o m bination is lined up so that it just barely
goes into the right side of the pocket
with no throw.
First try the s h o t w i t h the 3 ball t o u c h ing the 2, with a larger gap b e t w e e n the
1 a n d 3 t h a n t h e 1 a n d 2. D o e s a halfball h i t on t h e r i g h t s i d e of t h e 1 ball p u t
the object ball close to the c e n t e r of the
p o c k e t ? It d o e s on my table. T h r o w is
c r i t i c a l h e r e for t h e s h o t . I f t h e b a l l s a r e
p o i n t e d a little farther to t h e right, y o u
m u s t have throw to m a k e the shot.
Set t h e s h o t u p j u s t a s before, b u t n o w
m o v e t h e 3 ball so it is t o u c h i n g t h e 1
ball a n d is a small g a p a w a y from the
2. O n e m i l l i m e t e r is sufficient to m a k e
a b i g d i f f e r e n c e o n a s h o t l i k e t h i s . Try
t h e s h o t a g a i n . 1 t h i n k y o u will f i n d t h a t
the combination throws in the w r o n g
August
2007
BILLIARDS DIGEST
33
+ T E C H
T A L K +
BY Bob Jewett
KILLER GEOMETRY
The "Semicircle of Death" can help you avoid cue-ball peril.
L
Digest
ball into either p o c k e t , t h e c u e ball will
t w o s i d e p o c k e t s . C a n y o u d r a w t h i s for
m a y r e m e m b e r a series of techni-
scratch in the other pocket, as long as
yourself a n d place the cue ball a n d object ball appropriately?
ONG-TIME R E A D E R S
of Billiards
cal c o l u m n s b y G e o r g e O n o d a , w h o
the contact point b e t w e e n balls is on the
d i d r e s e a r c h for I B M . I n F e b r u a r y 1 9 9 2 ,
semicircle (assuming y o u use s t u n a n d
he covered a neat geometrical concept
cut to the appropriate side).
about scratching that deserves a n e w
viewing — with some extension.
O n e thing to note is that the geometry
i s v a l i d for e x a c t p o i n t s , b u t t h e balls are
An example is s h o w n in Shot B. The
quite a bit larger t h a n points. If the ob-
o b j e c t b a l l i s off t h e s p o t , b u t it's s t i l l
ject ball is exactly on the semicircle, the
In D i a g r a m 1, S h o t A s h o w s a typical
on the semicircle. Again, the right angle
cue ball will be outside the semicircle
problem. T h e object ball is on the h e a d
f o r m e d b y its p a t h t o t h e p o c k e t p u t s
at contact a n d will t e n d to be slightly
spot, a n d the cue ball has a g o o d c h a n c e
the cue ball into the other pocket.
outside the p a t h to the pocket. But take
to scratch in the side
caution,
pocket.
is still close e n o u g h to
Remember
the
geometry
the first principle of
tell y o u t h a t y o u h a v e
position
a p r o b l e m , since a little
the
play:
When
cue ball hits
spin
an
on
the
cue
ball
object ball, the initial
m a y still p u t i t i n t o t h e
p a t h of the
pocket.
forms
a
cue ball
right
angle
Besides w a r n i n g you
w i t h the path of the
of
object ball.
this rule can also assure
Because
the
possible
scratches,
y o u w h e n a scratch is
object
ball will be going at
impossible.
a 45-degree angle to-
B , for e x a m p l e , i f t h e
ball
In
Shot
ward the pocket, the
object
c u e ball will c o n t i n u e
the semicircle, any cut
is
at a r i g h t a n g l e from
shot with either stun or
cannot
within
this line, w h i c h h a p -
follow
p e n s to be directly to-
since the cue-ball path
w a r d the side pocket.
must go
If t h e c u e ball h a s ei-
r a i l . S i m i l a r l y , if a b a l l
ther
draw,
is on the spot, as long
t h e s p i n will pull it
as you shoot with any-
follow
or
to
scratch
the
short
off t h a t i n i t i a l p a t h . If
thing b u t stun — a nat-
it has neither, w h i c h
urally rolling cue ball
is
called
a
is
"stun"
straight
and
the
easiest
choice
— there is no w a y to
shot, it will c o n t i n u e
s c r a t c h . Try a few s p o t
scratch.
The starting location
shots
of the cue ball is n o t
on the table. As long as
important;
scratch
you
on
any
from
anywhere
can
the cue ball is rolling
cut
w h e n it hits the object
ball, y o u can't scratch.
t o t h e left, a s s h o w n .
You c o u l d a l s o a v o i d
W h e n y o u see t h e o b -
scratching
ject ball in this posit i o n , r e d flags s h o u l d fly t h a t y o u n e e d
A third situation is s h o w n in Diagram
on
a
spot
s h o t w i t h d r a w on the cue ball, b u t if
to take s o m e k i n d of evasive action to
2 w h e r e t h e semicircle is twice as large.
the cue ball has a long w a y to go to the
avoid scratching.
This u s u a l l y p r e s e n t s less of a p r o b l e m ,
object ball, k e e p i n g b a c k s p i n on the cue
since the pocket you might scratch in
ball takes a g o o d stroke.
D r a w n w i t h S h o t A is a semicircle w i t h
at each of the two pockets.
is a l o t f a r t h e r a w a y . A f o u r t h s i t u a t i o n
T h e amazing result — thanks to geom-
( t h a t i s a l o t m o r e c o m m o n ) i s for t h e
can be
etry — is that if y o u s h o o t the object
t w o feet o f t h e s e m i c i r c l e t o b e i n t h e
shots. T h e challenge is to k n o w the an-
its "feet"
32
BILLIARDS DIGEST
September
2 007
T h e c o n c e p t of a "semicircle of d e a t h "
extended
to
draw
and
follow
gle f o r m e d b y t h e p a t h o f t h e object ball
circles d r a w n above,
a n d the p a t h of the cue ball, since d r a w
c e n t e r of t h e circle w a s in a c o n v e n i e n t
or follow will m a k e it larger or smaller
p l a c e , s u c h as t h e m i d d l e of a rail. F o r
The hard part about using this exten-
than 90 degrees.
the p a r t of a circle t h a t gives the s c r a t c h
sion of the idea is to m a k e the angle be-
One
was
good
as needed, a n d that you use your best
m e d i u m - s p e e d draw.
example
mentioned
another
the hypothetical
of
tween the p a t h s of the
in
two balls
O n o d a 's
120 degrees.
W h i l e this can be done
articles. If y o u s h o o t
w i t h a half-ball hit a n d
a 30-degree cut shot
y o u r b e s t d r a w , it'
s also
w i t h t h e "best" draw,
possible
the cue ball e n d s up
a n g l e w i t h a fuller hit
g o i n g at a r i g h t an-
a n d l e s s d r a w . H e r e 's a
to
get
that
gle to its o w n origi-
drill
nal path, not to the
idea: W i t h t h e 3 ball as
path
shown (a diamond and
of
the
object
to
practice
this
ball. T h a t is, t h e c u e
a ball from the e n d rail),
ball
try to scratch as s h o w n
of
—
with
backspin
make
a
plenty
will
from various approach
90-degree
—
angles. C a n y o u get to a
t u r n after a half-ball
cut of m u c h m o r e than
hit on t h e object ball.
30
Since the object ball
the shot m o r e reward-
i s b e i n g c u t 3 0 d e g r e e s a n d t h e c u e ball
i s t u r n i n g 9 0 d e g r e e s t h e o t h e r way, t h e
angle b e t w e e n the two balls is 120 degrees. Is there a semicircle that w o r k s
for t h i s c a s e ?
l o c a t i o n s for a
120-degree spread, the
c e n t e r i s a b o u t a d i a m o n d off t h e t a b l e .
degrees?
To
make
ing, p u t the 9 ball in the j a w s of the cue
ball's p o c k e t .
T h e r e s u l t i n g arc b e t w e e n t h e t w o cor-
W h i l e the object ball will n o t always
n e r p o c k e t s is o n l y a b o u t a t h i r d of a
be on o n e of the arcs d e s c r i b e d above, it
circle. Try t h e s h o t s h o w n i n D i a g r a m
i s o f t e n fairly c l o s e . B e i n g f a m i l i a r w i t h
T h e r e is, t h o u g h it is slightly different
3 . Before y o u s h o o t , m a k e s u r e t h a t the
the danger zones will h e l p y o u decide
f r o m t h e f i r s t e x a m p l e s . I n all t h e s e m i -
cut is 30 degrees by m o v i n g the c u e ball
o n t h e best w a y t o m o v e t h e c u e ball.
September
2 0 0 7
BILLIARDS DIGEST
33
+ T E C H
T A L K +
BY Bob Jewett
ACTIVE SPECTATING
Learn from watching how top players approach the game.
H
a r e l o t s o f v a r i a t i o n s , a n d s o m e a r e far
m o r e stable t h a n others. Is the heel of the
front of h i m , like a soldier d o i n g "present a r m s " on a drill field. His stick w a s
in the minority of spectators. In
my experience, people watch what the
h a n d o n the table? F o r t h e o p e n bridge,
is t h e r e a s h a r p
along the line of the shot from the cue
ball to the ghost
balls are doing a n d rarely w a t c h w h a t
the players do. T h e y check the goal
"V" g r o o v e t o
guide the stick?
— ball into pocket — and ignore the
method.
T h e next time you go to a tourna-
W h e r e is the
player's
head?
That
is,
does
m e n t , start w a t c h i n g w h a t the better
players do. And, if y o u are going to do
this properly, y o u have to be m e t h o d i cal a n d detailed. Prepare a n o t e b o o k
for y o u r o b s e r v a t i o n s . O n e p a g e p e r
the player have
o n e eye over the
shot or is it the
nose, or is the
stick outside of
Another major
part of the PSR
is adjusting one's
player ought to be enough with spots
for t h e d a t e a n d l o c a t i o n o f y o u r o b s e r -
the span of the
eyes?
In
par-
gested that you
should stop with
v a t i o n s . You m i g h t a s w e l l i n c l u d e t h e
standard biographical and equipment
ticular,
notice
w h e t h e r t h e left
the c u e tip n e a r
t h e c u e b a l l af-
i n f o r m a t i o n available, s u c h as n a m e ,
birth date and residence. Under equip-
eye is over the
s t i c k for a r i g h t -
ter s o m e w a r m up strokes, and
ment, include cue brand, weight, length
a n d style, type o f w r a p , shaft b r a n d a n d
diameter, tip b r a n d a n d a n y t h i n g that
s e e m s u n u s u a l a b o u t the stick. Does the
player w e a r a glove?
NOTE WORTHY
a p a r t i c u l a r way.
S o m e t o p players are very m e t h o d i c a l i n all o f t h e m o t i o n s
that o c c u r before the final p o w e r
s t r o k e . O t h e r s a r e far l e s s c o n s i s tent in what h a p p e n s before they
h i t t h e b a l l . You m a y a l s o d i s c o v e r
w h e n watchin g y o u r f a v o r i t e player:
> EQUIPMENT: C u e b r a n d , w e i g h t ,
s h a f t d i a m e t e r a n d tip b r a n d .
> PSR: C o n s i s t e n c y in v i e w i n g the
shot, chalking, getting into position a n d
practice strokes.
> STANCE: T y p e of bridge and w h e r e
that s o m e players are s o m e of each
the player's head is over the cue.
— w h i c h way do they play better?
W h a t kind of bridge does the
player use? In pool, m o s t top
> SHOT MOTION: W h e r e t h e tip is
before the final s t r o k e , p a u s e s b e f o r e
players use b o t h o p e n a n d closed
or after the b a c k s w i n g and any elbow
b r i d g e s . Are t h e r e specific k i n d s or
speeds of shots where one kind of
bridge is preferred? H o w g o o d is
the player's closed bridge? T h e r e
drop after contact.
32
BILLIARDS DIGEST
October
ball
from
the
time he stepped
up to the table
until
the shot
was finished.
aim. In an earlier
column, I sug-
Routine: Souquet prefers the ball's-eye view.
then
decide
handed
player,
whether you should change something
a n d vice versa. T h a t c o m b i n a t i o n can
in the shot. Does the player you're chartcause stroke problems.
ing h a v e a n y o b v i o u s time to m a k e corO n e p a r t of a very m e t h o d i c a l PSR
rections? Some players pause at the cue
that I n o t i c e d a few y e a r s b a c k at t h e
ball, a n d s o m e are a c o n t i n u o u s b l u r of
Reno O p e n was the way Corey Deuel
motion until the shot is done.
a p p r o a c h e d t h e t a b l e for e a c h s h o t . H i s
T h e m e a t of the matter is in h o w the
player approaches and executes shots.
cue w o u l d always be vertical a n d in
Is there a consistent p r e - s h o t r o u t i n e , or
PSR? T h i s c a n i n c l u d e v i e w i n g the
s h o t from the line of the object ball
to the pocket, c h a l k i n g in a specific w a y a n d a t a p a r t i c u l a r t i m e
in t h e PSR, s t r o k i n g a p a r t i c u l a r
Look for t h e following information
n u m b e r of times before shooting,
and adjusting the aim or English in
LAWRENCE LUSTIG
AVE YOU ever w a t c h e d t h e players at
a t o u r n a m e n t ? If y o u have, y o u are
t> R E C O R D Y O U R S E L F : N o w l o o k f o r
these things with your o w n PSR.
2 00 7
W h e n a d d r e s s i n g the c u e ball — that
is, w i t h t h e t i p s t o p p e d n e a r t h e c u e b a l l
— d o e s the player have the tip at the
final i n t e n d e d contact point? That's the
c o m m o n way, b u t s o m e p l a y e r s h a v e a
habit of lining up one place and hitting
another.
Notice the speed and n u m b e r of the
practice strokes. Some players have
none. Some m a t c h the speed to the
speed of the final stroke. Some players
vary the n u m b e r , a n d s o m e stick w i t h
a s i n g l e n u m b e r , r e g a r d l e s s o f t h e difficulty of t h e s h o t .
On the final p o w e r stroke, there are
m a n y t h i n g s t o w a t c h for. I s t h e r e a
pause at the start of the final stroke with
the tip near the cue ball? H o w m u c h of
a gap is there? I k n o w o n e player w h o
left l e s s t h a n a t e n t h o f a n i n c h b e t w e e n
tip a n d ball — he m u s t h a v e h a d better d e p t h p e r c e p t i o n t h a n I have. If y o u
see a p a u s e at the cue ball, try to notice
w h e r e the player's eyes are. I t h i n k m o s t
will be focused on t h e c u e ball w h i l e de-
t h a t it'
s n e e d e d on only a small fraction
percent.
ciding whether the spin is right or not.
of shots. Does this theory correspond
l e n g t h of a dollar bill) a b o v e t h e tip,
Do y o u see w h y a small gap is better
well w i t h reality?
t h a t 's s i x d e g r e e s o f e l e v a t i o n .
If the butt is six inches (the
than never getting the tip closer than
H o w m u c h is the stick elevated? It is
O n c e y o u 'v e o b s e r v e d all t h e s e c h a r -
five or six inches from the cue ball dur-
a l m o s t a l w a y s e l e v a t e d a little b e c a u s e
acteristics on top players, try looking at
the rails are in the w a y of perfection, b u t
y o u r o w n technique. Either get a video
ing the warm-ups?
As the player brings the stick back, is
s o m e p l a y e r s s e e m t o p l a y w i t h far m o r e
camera yourself or hire
the m o t i o n always the same speed or
elevation t h a n the rails require. Here is
w h o has a video setup. Record 15 min-
is it m a t c h e d to the speed of the shot?
a w a y that y o u c a n easily m e a s u r e the
u t e s o f p r a c t i c e play, a n d a l s o r e c o r d
Does
elevation
many
s h o t s from specific a n g l e s t h a t will al-
T h e r e are m a n y players w h o will c o m e
inches higher the butt is compared to
l o w y o u t o s e e t h e a b o v e p o i n t s easily.
to one side as they bring the stick back
the tip. T h a t n u m b e r of i n c h e s gives the
H o w do you compare to the players you
and then return to "centered" as they
elevation a n g l e in d e g r e e s w i t h i n a few
w o u l d like to beat s o m e day?
the
bring
the
stick
come
stick
straight
forward.
How
back?
angle:
Estimate
how
an instructor
much
s w e r v e is there? T h i s is m o s t easily seen
w h e n y o u h a p p e n to be sitting directly
along the line of the stick a n d b e h i n d
the player.
Is there a p a u s e at the e n d of the backstroke? F o r Allison Fisher, that is the
time that h e r eyes m o v e from the cue
ball
to
t h e object ball.
Other players
have no noticeable pause at the end of
the backstroke; their arms become m o t i o n l e s s o n l y for a n i n s t a n t , l i k e a p e n d u l u m a t t h e p e a k o f its s w i n g .
With
or
without
a
distinct
pause,
where is the player looking w h e n the
tip hits the ball? T h e o r t h o d o x teaching
is that y o u m u s t be looking at the object
b a l l e x c e p t for s o m e v e r y s p e c i a l s h o t s .
O n t h e f i n a l , forward s t r o k e there are
lots of things to check. Does the stick
come
straight
through?
Some players
have learned to p u t sidespin on the ball
by s w e r v i n g to the side of the i n t e n d e d
E n g l i s h at t h e last instant. C a n y o u find
a top player w h o does this?
Does the elbow drop, and if so at what
point in the stroke? Most players have a
perfectly still e l b o w o n v e r y soft s h o t s ,
b u t m a n y will d r o p the elbow a bit as
a natural finish to p o w e r shots. W h a t
does the subject of your observations
d o ? You w i l l n e e d t o c h e c k this o v e r
a r a n g e of speeds a n d positions at the
table. T h i s i s o n e o f t h e m o s t difficult
t h i n g s to o b s e r v e , b e c a u s e , if t h e r e is a
d r o p , t i m i n g is critical.
Is
there
motion
of the
upper body
during the shot? The first time I saw
R a y m o n d C e u l e m a n s , the great threec u s h i o n player, my impression w a s of
a n o a k tree. All t h a t h e m o v e d d u r i n g
the stroke w a s his right arm.
Does
shot?
the
Does
player
stay
down
on
the
the stick stay out in the
follow-through position or is it jerked
b a c k after c o n t a c t ?
There are s o m e other things to note
d u r i n g play. H o w o f t e n d o e s t h e p l a y e r
use
sidespin?
Various
authors
opine
October
2 0 0 7
BILLIARDS DIGEST
33
+ T E C H
T A L K +
BY Bob Jewett
SCRATCHED TO DEATH
More geometry to keep your cue ball free from a dangerous fall.
N MY S e p t e m b e r c o l u m n , I d i s c u s s e d
parts of circles (arcs). O g d e n ' s d i a g r a m s
t h e fact t h a t c e r t a i n o b j e c t - b a l l p o -
have t w o n e w features. First, o n e e n d
h o w full t h e o b j e c t b a l l i s s t r u c k , s o for
sitions on the table were very likely
of the arc is at the c u e b a l l s location.
a large r a n g e of cut angles on t h e object
grees. This angle is very insensitive to
to lead to scratches. O n e example was
T h i s isn't o b v i o u s from t h e balls s h o w n
ball, t h e c u e ball will deflect close to 30
a semicircle t h a t sits s p a n n i n g t h e e n d
in the diagram, but you can m o v e the
degrees to the other side.
rail. If a ball is on that arc (or n e a r it),
object ball closer a n d closer to the cue
a n d y o u p o c k e t it in o n e of the foot
b a l l a n d still h a v e a m o r e o r l e s s a u -
coming
p o c k e t s w i t h n o d r a w o r follow, t h e c u e
tomatic scratch with the right kind of
w h a t is n e e d e d at E n g l i s h Billiards. If
ball is s u r e to scratch in the o t h e r foot
c u e i n g a n d c u t a n g l e . T h e o t h e r differ-
the cue ball h a p p e n s to be in the right
pocket.
ence is the total curve of the arc or the
position, or you can place it in the right
a m o u n t o f a full c i r c l e t h a t i t i n c l u d e s ,
position because it is in hand, you can
After s u b m i t t i n g
that
column,
I
re-
This constant angle
off t h e
of the cue ball
object ball
is
exactly
m e m b e r e d seeing some oth-
play a half-ball hit a n d be
er d i a g r a m s a b o u t a similar
sure
idea. In the 1925 book "Eng-
h e a d for t h e p o c k e t .
lish
Billiards
Easy,"
It turns out that the angle
Dia-
t h e c u e ball is deflected for
g r a m s 1 a n d 2. In Diagram
a half-ball hit is n o t q u i t e
James
Made
that t h e cue ball will
Ogden
shows
1, he s h o w s various places
30 degrees but rather 35 de-
from w h i c h t h e cue ball c a n
grees
scratch if it starts in the " D "
a degree).
(within a
on a s n o o k e r table. (In those
depends
d a y s , t h e y w e r e called "bil-
istics
liards"
weights,
tables,
because
the
fraction of
T h e exact angle
on
the
of t h e
character-
balls —
how
smooth
their
the
m a i n game played on t h e m
surfaces are, h o w elastic the
professionally
billiards
plastic is — a n d y o u h a v e to
In E n g l i s h Billiards, o n e of
b e p r e c i s e . You'll n e e d t o d o
was
and not snooker.)
e x p e r i m e n t on the table to
the main ways to score is to
that anyway, once you finish
s c r a t c h off o n e o f t h e o t h e r
t h i s article, to get a feeling
two
balls.
You
get
two
for t h e a n g l e . W i t h t h e c u e
or
t h r e e p o i n t s for t h a t , a n d g e t
ball
to take y o u r c u e ball to the
on a s h o t , g e o m e t r y tells us
deflected
35
degrees
D a n d shoot again. R e m e m -
that the resulting arc will be
b e r that this is on a table
twice thai, or 70 degrees out
that is 6-by-12-feet in size.
of a c i r c l e .
F o r a ball sitting in the right
F r o m this idea, O g d e n pro-
place, the scratch is much,
duced the figure in Diagram
m u c h easier than pocketing
2. T h i s l o o k s like the chalk
o u t l i n e of a large, w i n g e d ,
t h e ball.
aquatic space alien w h o was
T h e real trick to that part
of English
Billiards,
m u r d e r e d on a s n o o k e r ta-
called
"in-offs" b e c a u s e the c u e ball goes i n t o
which turns out to be 70 degrees. W h y
a p o c k e t off a b a l l , is to r e c o g n i z e t h o s e
is that?
special l o c a t i o n s that are nearly certain
b l e , b u t it's a c t u a l l y m u c h m o r e u s e f u l
t h a n t h a t . I t i s t h e r e g i o n o f all p o s s i b l e
Those of you who have been reading
to scratch. That knowledge is exactly
Dave Alciatore's
(and
c a n set up an easy half-ball scratch from
what you need to avoid scratching w h e n
m y c o l u m n s a n d Bob Byrne's c o l u m n s
t h e D . T h e a l i e n ' s feet a r e m a d e u p f r o m
playing pool.
before that) s h o u l d k n o w about the 30-
two 70-degree arcs that have their o t h e r
degree rule. If the cue ball strikes the
ends at the corners of the D. As an ex-
I n D i a g r a m 1 , O d g e n s h o w s s h o t s for
recent
columns
locations of an object ball w h e r e you
w h i c h a scratch is not only possible, b u t
o b j e c t b a l l a b o u t h a l f full a n d i s r o l l i n g
a m p l e , n o t e that the foot s p o t , w h a t the
easy. J u s t a s w i t h S e p t e m b e r ' s d i a g r a m s ,
s m o o t h l y at contact, it will be deflected
British call t h e p y r a m i d s p o t o r t h e p i n k
the locations of the object balls form
from its o r i g i n a l p a t h b y r o u g h l y 3 0 d e -
spot, is within
32
BILLIARDS DIGEST
November
2 00 7
the body.
This means
t h a t t o s c r a t c h off a b a l l a t t h a t l o c a t i o n ,
t h e y m e e t at a p o i n t
6 inches
a slowly rolling c u e ball a n d n o t s c r a t c h .
the c u e ball is placed s o m e w h e r e w i t h i n
a b o v e t h e foot s p o t . F o r t h e p u r p o s e s
T h e e x a c t p o i n t m i g h t b e a l i t t l e for-
the D a n d played with s m o o t h , rolling
o f play, t h i s m e a n s t h r e e t h i n g s . I f t h e
ward or back from the illustrated spot,
f o l l o w w i t h a h a l f - b a l l h i t off o n e s i d e o r
object ball is on the other side of the
b u t there is s u c h a p o i n t . T h e last t h i n g
t h e o t h e r of the object ball.
a r c s ( o n t h e f o o t s p o t , for e x a m p l e ) , i t
to n o t e is that if the object ball is on the
is hard to scratch as long as you shoot
centerline of the table b u t on y o u r side
G o t o a table n o w a n d find w h e r e y o u
about
cue ball
of the p o i s o n e d p o i n t , it
on the h e a d string to easily
is again h a r d to scratch
have
to place
the
s c r a t c h off a b a l l o n t h e f o o t
while m a k i n g the object
spot.
I f O g d e n 's d i a g r a m i s
ball, as t h e c u e ball will
r i g h t e n o u g h for a p o o l t a b l e ,
always land on the side
that spot s h o u l d be within a
cushion.
few i n c h e s of t h e h e a d spot.
At
English
Billiards,
Try c o n s t r u c t i n g y o u r
own
one
say,
w a y to r u n up a lot of p o i n t s
scratching
for
the
arc,
cue
ball
w a s t o s c r a t c h off a b a l l i n
near a head pocket and
the scratch area a n d drive the
scratching
b a l l off s o m e c u s h i o n s b a c k
pocket.
into
players
always try to hit the o b -
got very good at doing that
j e c t b a l l h a l f full a n d let
that area.
repeatedly,
Top
always
a
foot
to
the cue ball roll on the
bringing
the object ball b a c k to
into
Remember
cloth with just a
the
little
same spot, so the rules were changed
slowly a n d the cue ball is rolling w h e n it
m o r e speed than required to get to the
to require s o m e o t h e r s h o t from time to
gets to the object ball. T h e c u e ball will
pocket. T h a t will e n s u r e a true half-ball
go to the foot rail. T h e s e c o n d is that
carom angle.
time.
In D i a g r a m 3 is a s i m i l a r s i t u a t i o n for
if t h e object ball is at t h e i n t e r s e c t i o n ,
K n o w i n g t h e arcs a n d a n g l e s for t h e s e
a p o o l table. T h e cue ball is on the h e a d
m a r k e d as the "poisoned point of dou-
nearly certain scratches will h e l p k e e p
s p o t . T h e " a r c s o f d i s a s t e r " for s c r a t c h -
ble d e a t h , " there is no w a y to m a k e the
y o u — a n d y o u r c u e ball — o u t of t r o u -
ing in p o c k e t s A a n d B are m a r k e d a n d
object ball in either corner p o c k e t w i t h
ble.
November
2007
BILLIARDS DIGEST
33
+ T E C H
T A L K +
BY Bob Jewett
TRICKY TICKY TACTICS
See new safes using a shot borrowed from carom billiards.
P
y o u r c o n d i t i o n s . I've s h o w n t h e b l o c k e r
ART OF learning h o w to play well
o f 8 - b a l l . T h i s t i m e it's t h e o b j e c t b a l l
is d e v e l o p i n g a r e p e r t o i r e of s h o t s
that's d e s t i n e d for t h e p o c k e t , g o i n g in
three-fourths
and
months
off t h e b a c k o f o n e o f t h e b l o c k e r s . H e r e
p o c k e t . I s t h a t t o o far for c o n s i s t e n c y ?
s u b j e c t is t h e "ticky," w h i c h is a s h o t
you cannot use r u n n i n g English on the
S h o t C is a s l i g h t l y d i f f e r e n t 9 - b a l l s i t -
largely b o r r o w e d from c a r o m billiards.
object ball, b u t y o u can u s e follow on
u a t i o n . You c o u l d t r y t o t i c k y u n d e r t h e
shot
concepts.
This
of a
diamond
from
the
I n a ticky, t h e c u e b a l l s t r i k e s a c u s h i o n
i t t o h e l p i t h u g t h e c u s h i o n . T o g e t fol-
1 ball to p o c k e t the 8; a n d h a v i n g p r a c -
j u s t before it hits an object ball a n d t h e n
low, j u s t s h o o t fairly softly. A s t h e o b j e c t
ticed Shot A, you w o u l d be ready a n d
wonderful things happen.
ball slides across the c l o t h on the w a y
able. T h e problem is predicting w h e r e
S h o t A in D i a g r a m 1 is a sell-out at
naturally pick
t h e 1 will e n d u p . I t d o e s y o u n o g o o d
9 - b a l l . Y o u r o p p o n e n t left y o u n o d i r e c t
u p s o m e f o r w a r d roll. T h i s w o r k s b e t -
to use y o u r n e w toy (the ticky) if it just
s h o t at t h e 1 ball, b u t it is easy to hit
ter from farther back so the object ball
gets you into trouble.
using one or two cushions.
has m o r e time to get rolling, but even a
shown
has
The path
to the
cushion,
it will
I n s t e a d , a i m t o h i t t h e 1 b a l l full w h e n
the big advan-
the
cue
tage of p o c k e t i n g t h e 9 ball.
the
cushion.
This shot looks hard to be-
ball
should
g i n n e r s ; b u t w i t h the balls
o r i f i t h a s s o m e follow,
b a l l c o m e s off
The
stop
cue
dead,
in the position s h o w n , the 9
it will s t i c k to t h e rail as
becomes
automatic,
if it were glued. F o r this
w i t h the cue ball h u g g i n g
shot, the 4 ball b e c o m e s
the cushion on the way to
an asset since it will like-
the
important
ly block your opponent's
parts of the shot are that the
s h o t i f y o u kill t h e c u e
1 ball m u s t be a little m o r e
ball as p l a n n e d .
nearly
score.
The
than a ball from the c u s h -
on
old,
ion, a n d t h e c u e ball s h o u l d
sticky cloth, Shot
C is
c o m e i n t o t h e rail a t a n a n -
quite
gle of 30 to 45 degrees.
cause the cue ball loses
To
get
consistent
I
find
that
a
bit
harder,
be-
all its f o l l o w w h e n i t h i t s
action
o n t h e c u e b a l l , p l a y i t fairly
the cushion. This means
softly w i t h follow a n d r u n -
t h a t y o u will n e e d to try
ning
t h e s h o t u n d e r different
(right)
sidespin.
A
h a r d s h o t will t e n d t o m a k e
table conditions as well,
t h e c u e b a l l r i c o c h e t off t h e
or at least be p r e p a r e d
cushion and away from the
for a
9. Follow keeps the cue ball
you
on the cushion and the run-
table strange to you.
continue
target
if it
toward
returns
to
if
shot
a
the
but
the
problem
is
k e e p t h e c u e ball
with
the right action.
on
is a s i m i l a r safety s h o t ,
following
Practice Shot A until you
confident
surprise
the
l o n g rail.
are
the
Shot A in D i a g r a m 2
ning English helps the cue
ball
slight
try
its
to
from
natural
angle. W i t h the blocker
getting
as s h o w n , there's a g o o d
Try vary-
ing t h e a n g l e of the cue ball and
the
distance of the 1 ball from the c u s h i o n .
d i a m o n d or so gets useful follow on t h e
chance of hitting the
object ball.
sliding into the corner pocket with the
1
ball t h i n a n d
T h e r e a r e s y s t e m s for a i m i n g t h e h i t o n
Again, you need to practice Shot B so
t h e 1 , b u t t r y t o d e v e l o p s o m e feel f i r s t .
you have s o m e idea of the percentages
typical ticky action. To avoid that p o s sibility, p l a y t h e c u e b a l l w i t h full d r a w
Most systems will be rendered inaccu-
involved. Change the angle and the dis-
a n d a s o m e w h a t f i r m e r s t r o k e . You c a n
rate b y t h e follow, the r u n n i n g E n g l i s h
t a n c e o f t h e b l o c k e r off t h e c u s h i o n , b u t
get the c u e ball to pull to a stop from
a n d t h e fairly s o f t s p e e d o f t h e s h o t .
also vary t h e s p e e d . T h e goal is to find
surprisingly steep angles. As you prac-
w h a t m a k e s t h e shot the easiest u n d e r
tice this s h o t , n o t e the p a t h s y o u c a n get
Shot B s h o w s an e x a m p l e from a g a m e
34
BILLIARDS
DIGEST
December
2007
o n t h e c u e ball. Reverse (left) E n g l i s h
clearly. R a y M a r t i n , i n h i s " 9 9 C r i t i c a l
" A P r a c t i c a l T r e a t i s e o n t h e G a m e o f Bil-
will h e l p to kill t h e c u e ball, especially
Shots in P o o l , " m o r e or less s h o w s the
l i a r d s . " W h i t e s e e m s t o h a v e lifted t h e
if it gets b a c k to t h e c u s h i o n after hit-
a c t i o n i n s h o t s 5 0 a n d 7 5 b u t d o e s n 't
s h o t from an earlier F r e n c h b o o k w h i c h
t i n g t h e 1 b a l l . If n e c e s s a r y w i t h a fairly
n a m e it as a special shot. Mike S h a m o s ,
is quoted, but White does not explain
t h i n hit, this s h o t can b e u s e d t o play
in the "ticky" entry in his " N e w Illus-
the details in English. (For those of you
w h o w o u l d l i k e t o h a v e a c o p y o f W h i t e 's
t h e 1 i n t o p o c k e t P w i t h o u t t h e risk of
trated
a scratch or o b v i o u s sell-out. Your best
ludes
Encyclopedia
Book
b o o k , t h e r e i s g o o d n e w s : I t h a s b e e n re-
b e t w o u l d b e s e n d i n g t h e 1 off t h e s h o r t
of Pool a n d Billiards," w h e r e it is illus-
p r i n t e d a n d w i l l b e a v a i l a b l e s h o r t l y for
to
Bob
of
Billiards,"
B y r n e 's " S t a n d a r d
al-
rail, l o n g rail a n d t h e n u p - t a b l e , b u t this
trated b o t h in the pool a n d carom sec-
far l e s s t h a n t h e $ 6 0 0 t o $ 1 , 2 0 0 t h a t i t
is d e p e n d e n t on the layout of the rest of
tions. Byrne also covers various ticky
u s u a l l y s e l l s for. K e e p a n e y e o n t h e s e
variations in his "Advanced Technique"
p a g e s for t h e a d s . ) O K , y o u h a v e a n e w
the table.
S h o t B, or t h e C r e e p e r , is a 9-ball safe-
book. Shamos points out that 200 years
toy. H a v e f u n p l a y i n g w i t h i t a n d u s e i t
ty that not too m a n y pool players w o u l d
a g o , t h e s h o t w a s s h o w n i n E . W h i t e 's
w h e n appropriate.
t h i n k of, b u t it'
s a s t a n d a r d k i n d of ticky
in c a r o m billiards. If y o u try to cut the
1 b a l l s l i g h t l y t o t h e left t o m i s s t h e 4
b a l l , t h e c u e b a l l w o n 't b e w e l l h i d d e n .
T h e ticky trick is to hit the c u s h i o n very
s o f t l y w i t h r u n n i n g E n g l i s h a n d follow.
The
1 is driven near the side pocket,
while the c u e ball r e t u r n s to the c u s h ion, the right spin making it creep up
to nestle against the 4. R e m e m b e r that
y o u m u s t get the c u e ball b a c k to the
c u s h i o n ( s h o w n at X), or the shot is a
foul for lack of h i t t i n g a rail. If y o u r o p p o n e n t is the sort of person w h o is u n likely to recognize genius, y o u s h o u l d
a l e r t h i m t o w a t c h for t h e r a i l c o n t a c t a t
X after t h e hit.
T h e r e are t w o things you have to pract i c e for o n t h i s s h o t . T h e first i s t h e full
h i t on t h e 1 ball. If t h e 1 is b e i n g c u t
away from the side c u s h i o n m u c h m o r e
t h a n s h o w n a n d the cue ball i s r u n n i n g
t h r o u g h the 4 ball w i t h m o r e speed t h a n
the 1, you are hitting the cushion too
close to the 1. A i m at a s t e e p e r angle.
T h e s e c o n d i s t h e s p e e d o n t h e c u e ball.
Since y o u w a n t the cue ball to m o v e
o n l y a d i a m o n d o r s o after t h e hit o n t h e
1 ball, the s p e e d is less t h a n y o u w o u l d
n e e d t o s h o o t t h e 1 b a l l t o t h e far e n d o f
t h e t a b l e . S o f t l y d o e s it: I t a l m o s t s e e m s
l i k e c h e a t i n g t o p l a y safe l i k e t h i s .
F i n a l l y , S h o t C in D i a g r a m 2 is a s l i g h t
m o d i f i c a t i o n of B w i t h a m u c h s t e e p e r
angle into the cushion.
For me, it is
m u c h harder to j u d g e the cue-ball hit
t o m o v e i t a l o n g t h e rail a n d p u t i t v e r y
c l o s e t o t h e 4 b a l l . N o t e t h a t for t h e a n gle s h o w n , the 1 is n o t naturally h i d d e n
after c o n t a c t as in S h o t B, so the c u e - b a l l
speed m u s t be perfect. ( T h e e x c e p t i o n
w o u l d be if you used the right speed on
the 1 to s e n d it b a c k across the table to
e n d on the on the other side of the 4
b a l l . T h e n all y o u w o u l d h a v e t o d o —
besides j u d g e the speed accurately — is
kill t h e c u e ball.)
T h e general c o n c e p t of the ticky h a s a
l o n g history, b u t few a u t h o r s e x p l a i n i t
December
2 0 0 7
BILLIARDS DIGEST
35