So how do you improve cue ball control?

There are some drills and books, as others have mentioned, that will help you get the rudimentary stuff down. Beyond that, a highly precise stroke is required for highly precise cueball movement, so an inconsistent or inaccurate stroke is going to be a limiting factor. (Edit: Sorry Randy, didn't mean to parrot your post. That's what happens when I start a post, walk away, then finish it two hours later, LOL.)

What I tell people who I feel are ready for the next level are the two techniques that are reinforced by most of the drills, games, books, etc. on the subject:

The first is to set precise position goals for yourself on each shot, a target if you prefer. If you are playing position into a 2' x 3' zone, which you land in, you will count that as a success when you actually should be making note of how badly you missed ideal position. This kind of laziness is easy to fall into in games like 9-ball, where "just anywhere over there" position is often good enough. We condition ourselves to hit these huge zones and then we kick the table and cuss when we hook ourselves trying to hit a 6" x 6" spot. Give yourself a smaller target on every shot by defining a circle, perhaps a foot in diameter in the beginning, and trying to land in it. This will not only provide a measurement of your success/failure on each position shot, it will at times allow you to see a position route you hadn't previously considered.

The second key to better cueball control is to really pay attention to what is happening when you fail to meet your position goals. One of the marks of a good road player is that he can adjust quickly to unfamiliar equipment. The way he does this is by a) setting precise position goals, and b) extracting the maximum amount of information from each shot. He is never going to consider hitting a 2' x 3' zone a success, instead he is going to know that he overran his spot by 4", and he's going to use that information to shape his understanding of the table. Every shot we shoot tells us something, and the better we are at using that information, the better we will be at tuning our strokes and adjusting to different conditions.

Best of luck,
Aaron
 
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Thanks Bob,
I don't read billiards digest so I found all of your articles in the PDF to be informative and entertaining. Are there more links to your writings in PDF format like that? Really good reading. What happened to your avatar in July of 08? Looks like you aged 20 years from June :)

JC
Here are some other articles: Articles from Billiards Digest

As for the June/July discontinuity, I made the mistake of reviewing all of the aiming threads.
 
Volumes could be written on cueball control and how to get position.

I think one of the most import things is to pick the exact spot you want the cueball to stop at. Many people skip this step and get in trouble because they get the wrong angle on the next ball. Getting too much angle or not enough can end a lot of runouts. How are you going to get the correct position if you don't know where that position is? Along with this you want to play at least 2 balls ahead.

You need an accurate hit on the cueball and the object ball to make the cueball go exactly where you want. If you hit the wrong side of the pocket you can end up on the other side of the table on some shots. Playing closer to center ball can help with this.


Always play the percentages. Don't go for a 5 inch window when you have a 6 foot window by going an extra rail or a different path. Try to play position into the line of the shot as this gives you the most margin for error.

One thing to keep in mind when playing shape is there are many different ways to get to the same position. So which way gives you the most margin for error? Let's take the straight in, follow 1 ball width example. You could shoot this with a firm stroke with center ball. You could shoot it medium speed with drag draw. You could also shoot it softly with a rolling ball.

Another example, draw 1 foot on a straight in shot. You could shoot hard with a tip below center or you could shoot medium speed with a tip and a half, or you could shoot soft with full draw. I've found the softer you can shoot the more margin of error you have so long as you don't shoot it so soft that you allow table roll to come into effect.

Exact spot!
You've given up one of my "secrets" to improving cue ball control! I've seen hundreds (thousands?) of above average players, some of which have been playing for 40 years or more, who play "general area" position. And they wonder why their cue ball control doesn't improve! Go for an exact spot on every shot and you will be amazed at how rapidly your control improves!
Donny L
BCA/ACS Instructor
Gainesville, Fl
 
There are some drills and books, as others have mentioned, that will help you get the rudimentary stuff down. Beyond that, a highly precise stroke is required for highly precise cueball movement, so an inconsistent or inaccurate stroke is going to be a limiting factor. (Edit: Sorry Randy, didn't mean to parrot your post. That's what happens when I start a post, walk away, then finish it two hours later, LOL.)

What I tell people who I feel are ready for the next level are the two techniques that are reinforced by most of the drills, games, books, etc. on the subject:

The first is to set precise position goals for yourself on each shot, a target if you prefer. If you are playing position into a 2' x 3' zone, which you land in, you will count that as a success when you actually should be making note of how badly you missed ideal position. This kind of laziness is easy to fall into in games like 9-ball, where "just anywhere over there" position is often good enough. We condition ourselves to hit these huge zones and then we kick the table and cuss when we hook ourselves trying to hit a 6" x 6" spot. Give yourself a smaller target on every shot by defining a circle, perhaps a foot in diameter in the beginning, and trying to land in it. This will not only provide a measurement of your success/failure on each position shot, it will at times allow you to see a position route you hadn't previously considered.

The second key to better cueball control is to really pay attention to what is happening when you fail to meet your position goals. One of the marks of a good road player is that he can adjust quickly to unfamiliar equipment. The way he does this is by a) setting precise position goals, and b) extracting the maximum amount of information from each shot. He is never going to consider hitting a 2' x 3' zone a success, instead he is going to know that he overran his spot by 4", and he's going to use that information to shape his understanding of the table. Every shot we shoot tells us something, and the better we are at using that information, the better we will be at tuning our strokes and adjusting to different conditions.

Best of luck,
Aaron



I think any one who has answered in this post is trying to say the same thing.
randyg
 
Try freezing the cb to balls that are fairly close. Don't even worry about shooting the ball in. As you get better, try to predict where the ob is headed. This is one pocket practice..... do that for a month and you'll get some serious benefits.
 
... If the only consideration is controlling the cue ball, what resources are the best to help with this?
Excellent resources (online videos, instructional articles, summaries, etc.) on this topic, from me and others, can be found here:

If you learn and practice with all of this stuff, your cue ball control should improve dramatically.

Which books, DVD's etc. that a person can acquire and take home are best for cue ball specific improvement? ...
I humbly suggest the book:

and the DVD series:

especially:

Regards,
Dave
 
I too, would like to improve my cueball control. Mostly what I see being said here is good stroke, speed control, knowing where you want to go. Those are all essential. One element that I don't think has been stressed here is pure knowledge of the shot. You can have the best stroke in the world, but until you understand how a cueball will come off a ball or rail in different types of shots, you won't be getting there as quick as you could.

How do you attain this knowledge? Shooting thousands of shots is one way to get there, but I like to read and get a head start on how a cueball is going to react to a shot, and then work on speed, english, etc. to adjust that shot.

For instance, lets say an object ball is one inch off the rail about one diamond from a pocket. You shoot that shot at 45 degrees with a medium forward rolling speed. The cueball hits the shot, then hits the rail straight on. Now, how is the cueball going to come off that rail?

Some may guess that 45 degrees in, 45 degrees out. That is wrong! And shooting this shot a thousand times, your brain will eventually work that out on its own. But the real information is here: the cueball should follow a path roughly 15 degrees off of the path into the rail.

45to15.png


If you come into the shot at 30 degrees, the path will be 30 degrees out. If you come in at 15 degrees, it will be 45 degrees out. Notice it always adds up to 60 degrees.

Now that I know the exact path of a medium forward rolling shot, I can make adjustments to this with english. So say I want to come straight up the table. I'd try a half-tip of left-hand english, learn where it goes and adjust. It is this kind of stuff that propels my game forward in moments, as opposed to thousands of shots. So in conclusion, I think shot knowledge is a huge factor in learning cueball control. I always look for these kind of gems in books, online, in forums like this, whatever I can find.
 
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If you come into the rail at 30 degrees, the path will be 30 degrees out. If you come in at 15 degrees, it will be 45 degrees out. If you come in at 25 degrees, it will be 35 degrees out. Notice it always adds up to 60 degrees.
FYI, this is a direct consequence of the 30-degree rule. If you use the peace sign to visualize the expected angle off the OB (if the rail were not there), and mirror this off the rail, you can visualize the final CB direction off the rail for any rail cut shot (over a wide range of cut angles), without any numbers (although, it is an interesting fact that the numbers always add to 60, because 90-30=60).

Regards,
Dave
 
FYI, this is a direct consequence of the 30-degree rule. If you use the peace sign to visualize the expected angle off the OB (if the rail were not there), and mirror this off the rail, you can visualize the final CB direction off the rail for any rail cut shot (over a wide range of cut angles), without any numbers (although, it is an interesting fact that the numbers always add to 60, because 90-30=60).

Regards,
Dave

Dave thanks for the info! And this is a perfect example how showing this information applied to given shots accelerates the understanding and utility of this knowledge. Just telling me most shots come off at 30 degrees makes me think of the path off the OB, but doen't really convey the information I gave above until I actually see it applied. Knowledge is power!
 
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FYI, this is a direct consequence of the 30-degree rule. If you use the peace sign to visualize the expected angle off the OB (if the rail were not there), and mirror this off the rail, you can visualize the final CB direction off the rail for any rail cut shot (over a wide range of cut angles), without any numbers (although, it is an interesting fact that the numbers always add to 60, because 90-30=60).
Dave thanks for the info! And this is a perfect example how showing this information applied to given shots accelerates the understanding and utility of this knowledge. Just telling me most shots come off at 30 degrees makes me think of the path off the OB, but doesn't really convey the information I gave above until I actually see it applied. Knowledge is power!
Does this help:
rail-cut_peace_sign.jpg

FYI, I've added a quote from you (including your image) on my rail cut-shot 60-degree rule resource page.

Good work with your illustration and explanation! And thank you for encouraging me to create the illustration above to better explain how the 30-degree-rule fits in. I had actually planned to write an article on this topic for Billiards Digest in the near future, so you helped me get my work done a little early.

Thanks,
Dave
 
Thanks for all the input guys. I will buy Joe's DVDs on two recommendations. The Renfro, Paul Potier showed me that drill one time and called it "the wagon wheel" but for whatever reason it didn't click how powerful it is for exactly what I am asking today until you mentioned it. Duh!!

Scott Lee, I think my term "system" wasn't exactly what I meant. It was more like productive information/practice combos. I know I can't buy a stroke or I would have a killer one by now. Isn't buying instruction kind of like buying skills? I mean if you take it serious and practice what you are taught. I have always struggled with pool. Lot's of bad habits and not much god given talent. Everything has come hard to me but I still love the game. I hate it when I see a kid pick up a cue for the first time and surpass me in skills within a few years. And I've seen it plenty at my age.

JC

I think that cueball control falls into 2 main categories: knowledge, and execution. I think you can progress MUCH faster by first obtaining the knowledge. It helps tremendously to know what the specific effects of follow, draw, speed, fullness of hit, english, etc. have on the path of the cueball. I found some of Phil Capelle's books useful as sort of an encyclopedia of pool knowledge. He shows well how hitting the cueball in different places on different shots will effect the path. I enjoyed "Play Your Best 8 Ball" and "Play Your Best 9 Ball".

I find a helpful drill is to put out 2 balls on the table. Place one in a particular location and leave it there. Your goal is to use the other ball to get position on this ball over and over. You can position the object ball randomly for each shot. Try to envision a pathway to the position zone and try it. Again. LOTS of times. I usually put my target ball 1/2 way between the foot spot and the end rail, because this is a super common location to get position for. I then toss out the other ball, and just map out all the routes to that area. It really helps. Also, sometimes you can try to put BOTH balls in the same place, but find different position routes. See what you can do with draw, follow, multiple rails, etc.

MASTER THE STOP SHOT. You MUST be able to deliver a stop shot at any distance on command. 100% of the time. A great drill is to set up a shot straight into the corner pocket. Have the cue ball on the head string and the OB 1 diamond away. Do several stop shots in a row. At this distance, it should be PERFECT. You want absolutely ZERO movement of the cueball after contact. Then move the object ball 2 diamonds away. Set a goal for yourself. 5 in a row, you move another diamond away. Miss, you move closer. See how far you can go in say 50 shots. Or if you want a mental challenge as well, do it until you finish!!

Once you do the stop shot drill, you can do the same with follow and draw. For follow, set up exactly as described above, with the cue ball 1 diamond from the object ball. Practice following 1 diamond forward, then 2, 3, etc. Once you can stop reliably 1 diamond from the pocket you are shooting into, move the cue ball another diamond away. So now you are still trying to follow 1 diamond, 2, etc., but the object ball is a little farther away.

For draw (and this is a KILLER...I have a tremendously accurate draw stroke these days as a result of all the hours spent on this one), do this: start with the OB 1 diamond from the corner pocket, and the CB 1 diamond away, straight in. Right handers will put the balls close to the left side rail. Draw back 1 diamond (to where the cue ball started). Then draw back 2 diamonds, 3, etc. Once you can *reliably* draw back to the last diamond, start with the CB 2 diamonds away from the OB. Still attempt to draw back 1 diamond, 2, etc. Now I am not talking about drawing back *at least* that much. I am talking about drawing back *exactly* that much, no more or less. I used to give myself a range of acceptability. I would place a piece of 8x11 notebook paper beside the line of my shot. I had 11 inches to stop the cueball (so like ON the diamond, + or - 5 inches.) I would only move on when I could do it 3 times in a row. I have spent whole afternoons trying to finish this drill. The result is that now on command, I can pretty much draw exactly how far I want, from any distance. This is a monster drill. It will take your game miles.

I also find it helpful to try to max out certain skills. I always tried to push my maximum draw, maximum follow, maximum break speed. The idea is that if you can draw a LOT, then drawing a little will be *easy*, and hence accurate.

Watch the pros. Learning the position routes that recur over and over is invaluable.

Above all, try to categorize your shots. In other words, learn to recognize that you are facing a particular *type* of shot. "Oh yeah, this is one of those xyz." This will quickly allow you to know the basic factors in playing shape, so you don't destroy your brain trying to invent a new artistic position route for every shot. For example, when you have a ball on the side rail closer to the corner pocket, and you have to draw across the table for shape, you have to learn when you are facing one of those shots in which your near max draw brings your cueball into the side pocket, and play shape accordingly. There are lots of examples of shots like this. Having those shots "categorized" really helps a TON in quickly knowing what route to attempt to play shape.

I feel like I could go on and on...I hope this much helps. What I've said could take years to implement. But you will come out of it a MUCH stronger player.

Here are some drills to try to improve cueball control:

1) Throw out all the balls. Make sure there are no clusters. Run out. Don't let the cueball touch another ball. (Teaches basic control)
2) Same thing, only run out without touching another ball OR a rail. Make sure the balls are all at least 6" or so from a rail. This drill is WAY harder than #1. (teaches pattern recognition--you have to play a long sequence of stop shots. It also targets your stop shot capabilities, pocket cheating, and very small cueball movements.)
3) Place 12 balls on the rails. you will have 4 on the short rails on the diamonds closest to the corners. You will have 4 on each side rail, at the 1st and 3rd diamonds from the corners. So that is 3 balls that get shot into each corner. No banks, no combos. Each of the 3 balls must go into the corner pocket they are closest to. Run out without missing. This will teach you TONS about how to play shape when a ball is on the rail. I do it so if I miss, I start over. I do the drill until I run out. Sometimes takes 1 try, sometimes 20. I like the mental aspect of the pressure of getting near the end, especially after many failed attempts.
4) Very tough shooting, small shape drill. Line up 15 balls across the head string. Make sure they are evenly spaced, and the 2 balls near the rails are off the rails. Run out, but don't let the cueball cross the line of balls. Shoot all balls into the 2 far corner pockets. You are getting shape with slight draw strokes. You are keeping the cueball in the kitchen so to speak, by playing position. It is VERY tough. Let me know if you run this one out. My best is 12 balls. I shoot until all the balls are gone. I leave my pocketed balls in the pocket, and put my missed balls in the pockets near where I am shooting. I consider over 10 very good.

Hope this helps, sorry for the lengthy post!

KMRUNOUT
 
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Wow

I am so glad I posed this simple question. The quantity and variety of useful information that has come forth is way more than I had hoped for. Especially all condensed in one place. Thanks everyone for all the input.

JC
 
If you really want to do it right employ a professional certified instructor. After that the books & videos will support/reinforce the lessons.
 
If you really want to do it right employ a professional certified instructor. After that the books & videos will support/reinforce the lessons.

I did employ a professional instructor last year and had to travel a long ways from here to do it. My game has come up a substantial amount since then which is what has me re energized about the game. I wanted to make a push while still young enough to improve my play. There's no one local that instructs or plays better than I do. I have been playing for over thirty years but studying the game for just the last few. I would love to have top notch instruction often but the reality is even though I can easily afford what the instructors themselves charge, the necessary travel away from my family plus lost earnings being self employed make it extremely expensive both financially and personally.

Dr. Dave: I do have your video encyclopedia and view them often. They're awesome. I usually get side tracked going downstairs to practice stuff. I realized while watching them why pool players have a hard time helping each other out. No one knows what the other guys already knows or doesn't making it hard to know how to help. When I first watched the set it was like "I know that", "I know that", "I know that", "Oh but I didn't know that". And it might be something so basic it's just assumed that you already know it by your pool peers. And if your beating them it would never occur to them you don't know some very fundamental things that they could tell you.

JC
 
...
Dr. Dave: I do have your video encyclopedia and view them often. They're awesome. I usually get side tracked going downstairs to practice stuff. I realized while watching them why pool players have a hard time helping each other out. No one knows what the other guys already knows or doesn't making it hard to know how to help. When I first watched the set it was like "I know that", "I know that", "I know that", "Oh but I didn't know that". And it might be something so basic it's just assumed that you already know it by your pool peers. And if your beating them it would never occur to them you don't know some very fundamental things that they could tell you.
Thanks. And good point about getting or receiving pointers from others.

Regards,
Dave
 
... If you come into the shot at 30 degrees, the path will be 30 degrees out. If you come in at 15 degrees, it will be 45 degrees out. Notice it always adds up to 60 degrees. ...
Actually, it only adds to something close to 60 degrees over a limited range of angles. For example, if you come in for a very thin cut, the sum is 90 degrees and if you have a nearly straight shot, the sum is also 90 degrees.

Also, for the other angles, 60 is close but not exact, since the actual angle (as you have defined it) varies from 55 or so to 90 on each end in a smooth fashion. There are only two cut angles for which it is supposed to exactly equal 60, and that depends on the table.

There is a simpler system that predicts the angle out for all of the angles in and can easily be adjusted for differences in the cushion. One case from that system was shown in Ralph Eckert's instructional video that was recently posted, which showed 4:1 in diamond ratios (or 45 degrees to about 15 degrees)
 
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