In the book "Aiming On The Cutting Edge" written by Todd Leveck, (Great, Great book, btw) he highlights a very high number of
different aiming systems and goes into great detail on what to SEE and how to execute them. Some you've heard of...many you've never heard of...but there are still others that are out there and not in the book. The book has 574 pages and is just a wee bit smaller in length and width than "Center Pocket Music" by Stan's 429 pages. I've never heard anyone whine and complain about the size and number of pages in the Leveck book as has been done with the 429 page one by Stan. But then again, everything associated with Hal and Stan gives reason to whine, bitch, moan, and cry even for their existence on Earth from a certain segment of the pool playing population which is minute to begin with and always has been.
Each aiming system has a different way of visualizing the CB/OB orientation to the pocket and using the imagination to see something that's
NOT there to assist linking the CB to the OB to the pocket. An example of this would be contact points or fractions. The only time I've ever seen something showing VISIBLE contact points is the Joe Tucker training balls for the OB and CB. But they aren't allowed to be used in actual play. You have to revert back to IMAGINATION.
Fractions can be and are done very nicely with 2D drawings. Mathematically and geometrically, it makes a lot of sense on paper up to a point which is "real life" when you have to start using the imagination for the fractions in outer space as well as the fact that neither ball has markings on it to use for learning and training purposes. Fractions, like contact points are approximately between 2.5-3mm between each one. This is NOT the easiest thing to be imagining, especially if the eyes and body are a hair off in the alignment process to begin with. You end up with an incorrect link and missing the shot and that's even with a perfect stroke which very few amateurs have to begin with. But before you take the shot, bells, whistles, and horns start going off in the head like a submarine dive horn that creates self-doubt calling for a correction and that is all called FEEL TO THE RESCUE with visual and manual manipulations to CORRECT what looks off. Sometimes it works and sometimes it doesn't.
So, what can be done to get it right from the start every time?
For some players, their head and eyes can go from side to side or up and down like a lizard to home in on the two imaginary marks on the OB and CB to get that perfect link on the cut angle to pocket the ball regardless of the aiming method.
But there is ONE ASPECT of each of them that is NEVER acknowledged or discussed for each of them when the PERFECT alignment has been achieved and I don't care WHAT the aiming method is. Right before you're ready to pull the cue back for practice strokes and then the real
stroke is...WHERE IS THE EDGE OF THE CB and CENTER of the CB in relation to the OB? CHECK IT OUT...LOOK AT IT.
On a dead straight in shot the CB edges are dead aligned to the OB edges and the center of the CB is dead aligned to the center of the OB.
Most importantly IT'S ALL CLEARLY VISIBLE. NO IMAGINATION.
If you have a minor or medium cut to the left or right after doing ALL of the imagining for the two contact points, fractions, or whatever else before pulling the trigger...look down and make note of where center cueball and cueball edge is in relation to the OB. It will have changed from the straight in shot. But they will be as clear as can be.
If you have a medium cut and major cut to the left or right after doing ALL of the imagining for the two contact points, fractions, or whatever else with head bobbing, fidgeting, adjusting the feet, etc...look at where center cueball and cueball edge is in relation to the OB.
It is there clearly seen and identifiable with its position on the OB for EVERY shot and cut angle.
I never asked Hal how he came up with centers and edges for aiming but the only thing I can think of is he saw it for himself over and over and over again regardless of the aiming system and REVERSE ENGINEERED it to eventually use it alone and get rid of all the other happy horseshit because ALL of them end up with a CENTER and EDGE in clear 3D VISION overlaid and connected to each other the same as a well-aimed on the money system of any other kind. You just don't have to work as hard to get there by imagining one tiny spot on each ball. You just go to the end result of where the center and edge WILL BE.
It isn't VOODO, MAGIC, or anything else. It's ALL right there, a CENTER and an EDGE clearly seen with ANY AND ALL AIMING SYSTEMS! Again, it's clearly visible. NO IMAGINATION! THEY DO HAVE TO BE SEEN AND USED SIMULTANEOUSLY.
He also determined how it can be affected with the stroke when aimed a certain way and adding a NEW shaft orientation to the shot line AKA PIVOT or BACKHAND ENGLISH when done dynamically. But that's for another time and another discussion.
different aiming systems and goes into great detail on what to SEE and how to execute them. Some you've heard of...many you've never heard of...but there are still others that are out there and not in the book. The book has 574 pages and is just a wee bit smaller in length and width than "Center Pocket Music" by Stan's 429 pages. I've never heard anyone whine and complain about the size and number of pages in the Leveck book as has been done with the 429 page one by Stan. But then again, everything associated with Hal and Stan gives reason to whine, bitch, moan, and cry even for their existence on Earth from a certain segment of the pool playing population which is minute to begin with and always has been.
Each aiming system has a different way of visualizing the CB/OB orientation to the pocket and using the imagination to see something that's
NOT there to assist linking the CB to the OB to the pocket. An example of this would be contact points or fractions. The only time I've ever seen something showing VISIBLE contact points is the Joe Tucker training balls for the OB and CB. But they aren't allowed to be used in actual play. You have to revert back to IMAGINATION.
Fractions can be and are done very nicely with 2D drawings. Mathematically and geometrically, it makes a lot of sense on paper up to a point which is "real life" when you have to start using the imagination for the fractions in outer space as well as the fact that neither ball has markings on it to use for learning and training purposes. Fractions, like contact points are approximately between 2.5-3mm between each one. This is NOT the easiest thing to be imagining, especially if the eyes and body are a hair off in the alignment process to begin with. You end up with an incorrect link and missing the shot and that's even with a perfect stroke which very few amateurs have to begin with. But before you take the shot, bells, whistles, and horns start going off in the head like a submarine dive horn that creates self-doubt calling for a correction and that is all called FEEL TO THE RESCUE with visual and manual manipulations to CORRECT what looks off. Sometimes it works and sometimes it doesn't.
So, what can be done to get it right from the start every time?
For some players, their head and eyes can go from side to side or up and down like a lizard to home in on the two imaginary marks on the OB and CB to get that perfect link on the cut angle to pocket the ball regardless of the aiming method.
But there is ONE ASPECT of each of them that is NEVER acknowledged or discussed for each of them when the PERFECT alignment has been achieved and I don't care WHAT the aiming method is. Right before you're ready to pull the cue back for practice strokes and then the real
stroke is...WHERE IS THE EDGE OF THE CB and CENTER of the CB in relation to the OB? CHECK IT OUT...LOOK AT IT.
On a dead straight in shot the CB edges are dead aligned to the OB edges and the center of the CB is dead aligned to the center of the OB.
Most importantly IT'S ALL CLEARLY VISIBLE. NO IMAGINATION.
If you have a minor or medium cut to the left or right after doing ALL of the imagining for the two contact points, fractions, or whatever else before pulling the trigger...look down and make note of where center cueball and cueball edge is in relation to the OB. It will have changed from the straight in shot. But they will be as clear as can be.
If you have a medium cut and major cut to the left or right after doing ALL of the imagining for the two contact points, fractions, or whatever else with head bobbing, fidgeting, adjusting the feet, etc...look at where center cueball and cueball edge is in relation to the OB.
It is there clearly seen and identifiable with its position on the OB for EVERY shot and cut angle.
I never asked Hal how he came up with centers and edges for aiming but the only thing I can think of is he saw it for himself over and over and over again regardless of the aiming system and REVERSE ENGINEERED it to eventually use it alone and get rid of all the other happy horseshit because ALL of them end up with a CENTER and EDGE in clear 3D VISION overlaid and connected to each other the same as a well-aimed on the money system of any other kind. You just don't have to work as hard to get there by imagining one tiny spot on each ball. You just go to the end result of where the center and edge WILL BE.
It isn't VOODO, MAGIC, or anything else. It's ALL right there, a CENTER and an EDGE clearly seen with ANY AND ALL AIMING SYSTEMS! Again, it's clearly visible. NO IMAGINATION! THEY DO HAVE TO BE SEEN AND USED SIMULTANEOUSLY.
He also determined how it can be affected with the stroke when aimed a certain way and adding a NEW shaft orientation to the shot line AKA PIVOT or BACKHAND ENGLISH when done dynamically. But that's for another time and another discussion.
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