I won't give the order, but I will give about how many diamonds the cue ball moves after each shot: 0 - 1 - 2 - 3 - 2 - 0 and break with the 8. Can anyone run these with less than 8 diamonds of cue ball motion? The distance is counted between contacting each object ball and rolling to a stop, so the length of the shot doesn't count against you. I could have made the "3" a 1 or even a 0, but the next shot would have been unreasonably long.bluepepper said:
Bob Jewett said:I won't give the order, but I will give about how many diamonds the cue ball moves after each shot: 0 - 1 - 2 - 3 - 2 - 0 and break with the 8. Can anyone run these with less than 8 diamonds of cue ball motion? The distance is counted between contacting each object ball and rolling to a stop, so the length of the shot doesn't count against you. I could have made the "3" a 1 or even a 0, but the next shot would have been unreasonably long.
My order was slightly different from that. I generally don't like balls in the rack area at the end of the rack unless there is clean, easy way to finish them. For example, if the 8 were not my break shot, I could go 8-12-5 with minimum motion. The transition from the 2 to the 5 requires some precision over a fairly long distance and off a cushion. So, I'd shoot 9-stop, 5-float-towards-the-13, and then the 12 to get down for the 2. If I get straight on the 12 or slightly on the wrong side, I'll go forward; if I get more above the 12 (towards the center of the table), I'll stun to the left for the 2 in the top left pocket. The key to my pattern is that a stop on the 9 leaves a shot on the 5 and is not blocked by the 12.Marop said:You nailed it Bob, 9, 2, 5, 12 to center of table for the 14 and draw back to center for a stop shot on the 13 in the side. ...
Bob Jewett said:My order was slightly different from that. I generally don't like balls in the rack area at the end of the rack unless there is clean, easy way to finish them. For example, if the 8 were not my break shot, I could go 8-12-5 with minimum motion. The transition from the 2 to the 5 requires some precision over a fairly long distance and off a cushion. So, I'd shoot 9-stop, 5-float-towards-the-13, and then the 12 to get down for the 2. If I get straight on the 12 or slightly on the wrong side, I'll go forward; if I get more above the 12 (towards the center of the table), I'll stun to the left for the 2 in the top left pocket. The key to my pattern is that a stop on the 9 leaves a shot on the 5 and is not blocked by the 12.
Marop said:9, 2, 5, 12 to center of table for the 14 and draw back to center for a stop shot on the 13 in the side. That is the perfect example of minimal cue ball movement. To bad the last 6 balls can't always end up that way.
Bill
bluepepper said:I see the simplicity of your runs. Probably a lot easier. When I did my run I was thinking that getting to the 14 was going to be tough, so I wanted to get to it early and accept the beneath the rack break shot. So this is what I did. 8,14,13,9,12,2,5
Marop said:The biggest difference is that you had to go to the cushion 4 times and control the speed of the cueball and that includes the last two shots before the breakball. I only went to the cushion once and had a stop shot on the key ball. In my opinion you have to keep the last two balls as simple as possible. John keeps beating that into my head and I believe that is Blackjacks prefered way also. John usually picks out the last 3 balls right after the breakshot and 90 percent of the time it works out, I just sit and watch in amazment.
Some small changes. By my measurement, you can play a stop shot on the nine and still see the 5. Over that distance, I would not fear backing up by accident. With a straighter shot on the 5, it's easier for me to control the cue ball going sideways for the 12. My preference would be to get straight on the 12 and then follow for the 2. If I get a little above, I'd still play follow; a lot above and I'd draw/stun the cue ball to the left from the 12. If I end a little below the 12, I can go the rail with some left. I might be tempted to leave the cue ball on the foot cushion for the 2, so I can go to the 14 without a rail, but leaving a half-ball shot to come off the cushion is the surer way to go.bluepepper said:Bob, I made a visual of your run. It took a while for me to visualize your description, so I figured I would help others to see it more quickly. I've gotten pretty fast with the cuetable, so if a run warrants it, I don't mind creating the sequence. If it needs editing let me know.
Here it is:
I think that by the 3:1 draw angle rule, the first shot you show is impossible. Try the shot and see if you can hold the angle on the 13 from the 14.bluepepper said:Just to be thorough here's another possible way: ...
Bob Jewett said:I think that by the 3:1 draw angle rule, the first shot you show is impossible. Try the shot and see if you can hold the angle on the 13 from the 14.
Bob Jewett said:Some small changes. By my measurement, you can play a stop shot on the nine and still see the 5. Over that distance, I would not fear backing up by accident. With a straighter shot on the 5, it's easier for me to control the cue ball going sideways for the 12. My preference would be to get straight on the 12 and then follow for the 2. If I get a little above, I'd still play follow; a lot above and I'd draw/stun the cue ball to the left from the 12. If I end a little below the 12, I can go the rail with some left. I might be tempted to leave the cue ball on the foot cushion for the 2, so I can go to the 14 without a rail, but leaving a half-ball shot to come off the cushion is the surer way to go.
As for using the rails, yes they can let you maneuver the cue ball by using side spin, but cushions hide surprises. Cranfield -- who played pretty sporty himself -- said that the greatest display of 14.1 skill he had ever seen was a just a 60-ball run by Greenleaf, but in that run the cue ball hit the cushion only twice. I like to try to run nine ball racks without going to any cushion. It's good practice for getting exactly the right angle on the next ball -- you can't be lazy or careless.