Hit and Feedback
rcarson said:
Hey guys, sorry for butting in (no pun intended) but I am looking at having a cue built and I was asked to describe what kind of hit I like/want the cue to have. So in thinking about that question I asked to play with some of his cues and several of my friend's cues. So I played with serveral cues for a few hours that night and noticed some things. One of the cues I tried felt hollow, I don't know if that makes sense but thats how it felt. My cue, feels like a home thats missing the furniture, has nice soft hit but it seems to be missing something (its a Predator), actually it doesn't feel like anything honestly. I think it is missing the 'feel'. Another cue I tried felt hard like a rock no bounce and no boing and definitely couldn't feel the cue ball or my bridge or anything. All the other cues I tried were a veriation of the three hits described above. So I am wondering, the hit I am looking for is soft, but I want to feel the contact with the ball, I want to feel the shaft sliding through my bridge. That feels like what I want but I don't know because I have never hit a cue that felt like that. Also how much does wood play to the hit of the cue. I have to assume that when you talk about the forearm, butt cap, butt sleeve, handle, etc. that your speaking about the materials they are made of. So what woods give a more sensitive feel to a cue and what woods give a harder feel, etc. Can you combine woods to give sensitivity and softness/hardness?
What you're talking about is 'feedback' my friend. I understand what you're talking about with predator and I along with a lot of people will agree when you say there is no feedback there. Players use them not for the feedback, but the performance. Wherever you aim, that's what you get. Custom shafts, though have deflection, especially when you have ivory ferrules. Experienced players love the way they hit but they also know how to manipulate the deflection over continual play which allows for muscle memory.
The old Runde cues and even some of his new ones have 'micarta' ferrules providing a hit that is crisp, firm, yet allows for feedback. When I say feedback, I mean the type of vibration or 'energy' transmitted back into the cue and up your arm, and into your body. It's the same feedback 'good golfers' get when they hit the ball purely. Ben Hogan describes this 'sweet feeling' quite nicely in his book '5 lessons'. My cue maker has an old Runde with an ivory ferrule, but the wood of the shaft plays an important role too. There are tighter grain shafts, and shafts that were cut without care. There's a grade of wood quality a lot like you have at the lumber store. White pine #1, #2 and so on. With maple, it's AAAA+, AAA, and so on. Cue makers often take their time when cutting shafts down so that it will not warp. Some cue makers tell you they do that, and don't. Most of these production cues out there, will not take care in producing their shafts. They just cut em, slap em together, and sell em, practically, right out of the tree. So, in essence, you're playing with a green, tree branch! Don't get me wrong, there are a ton of good production cues out there, like Schon or Mezz, or even the old Falcon line.
The joint is responsible for mating the upper and lower parts of your stick. It plays an important role in the transfer of energy into the butt. Why do you think Mike Lambros created his 'Ultra Joint'? Why do most players consider a 'flat faced' joint to be superior? Players want to feel like they're holding one piece of wood. Not two separate pieces. Ultimately, you want there to be total fusion between all the parts when stroking the cue ball. The shaft-butt and you.
There is really not enough room here to talk about woods and the combination or usage of. I am not a cuemaker, but I have read and studied a lot. Cue makers like to use certain woods in part because of the look and the properties, but also how easy it is to work with and paint. Some of the porous woods are extremely difficult to sand, and paint. Other woods are heavy, and other woods are really expensive like snakewood. Purple heart, ebony, bird eye maple, curly maple, the rosewood family, pretty much all have that stable quality that will produce a long lasting, good looking cue. Notice the words 'long lasting'. If you take care of your cue and keep it room temperature, you should have a cue that will last you for ever.
Get a Petree sneaky, a Diveney sneaky, and maybe a Scruggs sneaky. You will have played, in my book, among the top hitting cues in history and you will then, be able to judge more firmly, what you're looking for and be able to explain the 'hit' you're looking for.
BTW, you're not alone, young padowan. There are many others like you, and like me who are walking down this path of the 'perfect cue'. But beware of getting a bad deal on ebay, or on this forum :duck: Do your homework, get a blue book, and read, read, read. Always look both ways or ask :help: before crossing the street. :wink: GL
