power draw?

Cicerone88 said:
If you don’t have a power draw stroke in your arsenal, your game isn’t complete. Sometimes it is the better option.
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I think the word 'power' could be removed from the name of the shot... it's where most people make a hash out of it... It's not about 'power' - it's about the timing of the stroke, and the precision of where you are making contact with the cueball. You can draw the length of the table with not much more than a standard stroke. I do agree that it is an essential shot.
 
billiards_watch said:
No need to power draw. It's a worthless shot but great to showoff.

If you need to power draw then that means there are other ways to get to a ball that you're not seeing.

If the "power draw" is the end all and it means you can draw anything from the Mona Lisa to a cue ball then that is false. You don't need to learn a power draw in order to make a simple draw.

Skip the complicated and often hard-to-execute power draw and go straight to learning just how to draw a stick figure and cue bal. If you can draw back 12 inches then you're good to go.
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Say you’re playing one pocket and you want to scramble balls out of your opponents hole and draw all the way up table. Or you’re dead straight on the 8 down the rail and the 9 is on the other rail. It comes up and if you can’t do it it’s a leak in your game
 
If you need to power draw then that means there are other ways to get to a ball that you're not seeing.
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This just seems blatantly false. If you're straight in on a shot at one end of the table and the next OB is on the rail at the other end, what's the other way I'm not seeing?
 
Monti said:
Could that be why the original post mentions a shorter bridge. The idea being that you still do your normal follow through so actually go past the cue ball?
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It's different than deliberate follow through if that's what you mean. The stick has already hit the ball before you can tense up on the act of hitting it. Same principle as the release stroke draw except you never let go of the stick.
Can't speak to the OPs stroke. He's probably taller than 6 ft too.
Other factors that come to mind are the "boing" of the stick. You get different resonances holding the stick on the butt cap than you do at the front of the wrap. This might be what he's talking about. If you hold the butt cap and bridge way forward you get maximum cue length and "boing" on the ball at contact. Still, the amount of juice it transfers depends on the stick and how it's made. IDK. I can barely get the burn rubber effect to happen from more than 4, 5 feet so no real analysis about what's at work.
 
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straightline said:
It's different than deliberate follow through if that's what you mean. The stick has already hit the ball before you can tense up on the act of hitting it. Same principle as the release stroke draw except you never let go of the stick.
Can't speak to the OPs stroke. He's probably taller than 6 ft too.
Other factors that come to mind are the "boing" of the stick. You get different resonances holding the stick on the butt cap than you do at the front of the wrap. This might be what he's talking about. If you hold the butt cap and bridge way forward you get maximum cue length and "boing" on the ball at contact. Still, the amount of juice it transfers depends on the stick and how it's made. IDK. I can barely get the burn rubber effect to happen from more than 4, 5 feet so no real analysis about what's at work.
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Interesting take.

My bridge to the cue ball is quite far and I usually hold my cue on the very back. I'm tall but I don't have a problem drawing at all but you brought up some interesting points I may like to try like holding the cue differently.
 
I'm just waiting for the thread to die off, then read from who I think have something to say that advances Discovery.

I don't have too many years left to perfect new discoveries.

Sure having fun chasing that ball although.

Slow and controlled back swing is what I'm discovering at the moment.

I think perfecting that will help me with both, follow and tip draw positions. Not to mention left and right positions.

Gotta deliver the tip where you aim and pay attention to results.

There's the big thread about looking at the CB Last. My stance is, if English is the most important thing for this shot, then YES look at the CB last.
 
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measureman said:
I just came across something that allegedly Buddy Hall said regarding how to power draw.
He said to grip the cue a little farther back and move the bridge hand a little closer to the cue ball.
What do you think?
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I say harder shots, hand goes back.
Lighter shots, hand goes forward.

I'd further add that this is a known adjustment in the 3c world and I think it has to do with the elbow position at impact.
 
Flakeandrun said:
I think the word 'power' could be removed from the name of the shot... it's where most people make a hash out of it... It's not about 'power' - it's about the timing of the stroke, and the precision of where you are making contact with the cueball. You can draw the length of the table with not much more than a standard stroke. I do agree that it is an essential shot.
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Come play in America.

You got 2 tries to go 15 feet! Metric conversion unavailable.
Screenshot_20230222-111637.jpg
 
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