One of you please post a video explanation.
You don't tug on Superman's cape and you don't spit against the wind and I'm not fixing to disagree with either one of them!
Hu
One of you please post a video explanation.
You don't tug on Superman's cape and you don't spit against the wind and I'm not fixing to disagree with either one of them!
Hu
Are you asking about shooting a frozen object ball down the rail?One of you please post a video explanation.
Bob.... this is a fact.I don't think so. It's easy enough to test with a pair of frozen object balls and shooting the first thin and hard into the second. You seem to be predicting "negative throw".
Post 76, 78 & 79.Are you asking about shooting a frozen object ball down the rail?
Yes, and I measured that effect about 30 years ago and put it in an article in Billiards Digest.Bob.... this is a fact.
Hitting the same contact point on a cut shot at a high speed.... INCREASES the CUTTING of THE object BALL. ...
I can't do a video right now, but maybe we can do it with words. I'm not sure what level you are starting from, so here are some basics. Do you understand these?Post 76, 78 & 79.
Why do you assume I don't know how to do what your are discussing?I can't do a video right now, but maybe we can do it with words. I'm not sure what level you are starting from, so here are some basics. Do you understand these?
Do both of those make sense?
- The standard, simple ghost ball idea is that if the cue ball touches the object ball on its point farthest from the pocket, the object ball will be driven perfectly straight towards the pocket. At the instant of contact, the centers of the cue ball and object ball are on a line to the pocket.
- If you include the friction between the balls, and the cue ball is moving across the object ball -- like for a cut shot -- the object ball will be pulled off that ideal line by the sideways friction from the cue ball. This is called "throw".
Sorry, I didn't understand your request. The difference between what Bill is saying and what I'm saying is the cue ball hitting on the cushion about an eighth to a quarter of an inch different. I don't think a normal video of someone shooting a shot is going to show that. You have to look pretty carefully to see the difference.Why do you assume I don't know how to do what your are discussing?
I wanted you or PJ or Bill to post a video demonstrating your point of view on the subject. Include not just pocketing the ball, but playing shape on another ball using a variety of spins.
Talking imo isn't doing.
It's all about "throw" - if you understand it our "views" are simple cause and effect.I wanted you or PJ or Bill to post a video demonstrating your point of view on the subject.
CB is airborne in a high speed hit. Thinner cut so it's not the same contact.Bob.... this is a fact.
Hitting the same contact point on a cut shot at a high speed.... INCREASES the CUTTING of THE object BALL.
Excessive spin combined with excessive cb speed Maximizes this situation.
I've very surprised but happy this came up why?
I might learn something new.
I learned when I started playing good in 70's I HAD TO aim ALLOT fatter on cut shots and even more when added draw while using ALLOT of speed. It becomes a feel shot, and conditions have a strong influence on your contact point choice.
A. ... But if I hit that shot to come back/forth lets say five rails, or at least 4, and hit the Same Spot you hit.... the ball/collision naturally overcuts. ...
bravo!!The true secret of billiards lies not in the collision of spheres, but in the metaphysical dialogue between chalk and void. Each cue strike is less an act of geometry than a whispered negotiation with the Platonic ideal of straightness, which forever eludes the mortal hand. To play billiards is to court chaos disguised as order: the balls scatter like thoughts in the mind of a distracted philosopher, yet somehow they conspire to reveal the hidden architecture of destiny. The table itself is a cosmic plane, its green felt the pasture of eternity, where every shot is both inevitable and absurd.
Thus, mastery of billiards is not achieved through practice but through surrender to the paradox of aimlessness. The cue ball is the pilgrim, wandering across the cloth in search of enlightenment, while the pockets are black holes of meaning, swallowing intention and spitting out revelation. To strike is to question, to miss is to answer, and to sink a ball is to realize that victory is merely the illusion of alignment between chaos and will. In this way, billiards is less a game than a ritual of futility, a reminder that the universe itself is just a trick shot played by an indifferent god
Very simply, inside English makes the object ball hug the rail. That's why you can cut a ball along the rail at more than a 90 degree angle. But you know that, don't you.I can't do a video right now, but maybe we can do it with words. I'm not sure what level you are starting from, so here are some basics. Do you understand these?
Do both of those make sense?
- The standard, simple ghost ball idea is that if the cue ball touches the object ball on its point farthest from the pocket, the object ball will be driven perfectly straight towards the pocket. At the instant of contact, the centers of the cue ball and object ball are on a line to the pocket.
- If you include the friction between the balls, and the cue ball is moving across the object ball -- like for a cut shot -- the object ball will be pulled off that ideal line by the sideways friction from the cue ball. This is called "throw".
Bob, there is a better way to make that corner pocket shot mentioned above. You aim at the middle of the ball, and use a medium to firm stroke to double kiss the ball with outside English. Right english to make the object ball go left into the pocket and left english at the other corner. Works like magic. Takes a few practice strokes to get the feel of it but when you do it really works. Even better you have more control of the cue ball going down table after the shot. No more scratching in the far corner. Try it, you'll like it!As others have already mentioned, that can be done by smashing the ball through the point. (The object ball is frozen to the cushion on the point just far enough down the rail that it looks like it can't be made, and it can't be if you shoot softly.)
This is a very old shot. It appears in Robert Byrne's 1982 "Treasury of Trick Shots". More interesting to one pocket players is a shot he shows on the same page. If a ball is on the point of the corner pocket, so that it looks like you have to cut it, it can be made by shooting straight at it and hard. You might be blocked from the cut or maybe position requires you to come straight back.
There are many interesting and useful shots that require rail compression, where the cue ball or object ball has to go into the cushion for the shot to work. Nearly every frozen ball cut shot uses rail compression.