Right you are, asleep. The Closed Plane Line -- not merely a Closed Stance -- causes the Clubhead to approach the Ball more from the 'inside' the Target Line. When you reduce the Downward (but not the Outward) element of the Three-Dimensional Downstroke, you automatically produce a shot with less spin.
Why would you reduce the downward?
I assume the clubface is point at the target or slightly right (normal) despite the closed/closed?
The 'down' is 'Ball related' and in contrast to the Clubhead orbit achieved with a Square Plane Line. There is no deliberate attempt to reduce the 'down'in the Stroke itself. There simply is geometrically less 'Down' -- and more 'Out' -- in the Inside-Out Stroke (10-5-E) with respect to the Target Line. Similarly, there is more 'Down' -- and less 'Out' -- in the 'steeper' Outside-In Stroke (10-5-D). Again, these phenomena relate to the Target Line and not to the selected Inclined Plane itself.
Could it be said that closing the plane line during the swing instead of address may lead to flattening out the plane excessively coming down and perhaps with that momentum or clockwise torque on the shaft the clubface will open slightly and then through impact be square or open to this new plane line rather than closed slightly? It seems to me a bit like a Lee Trevino move only instead of aiming left , swinging right (down the line geometrically but right relative to inclined plane) and walking straight it is aiming straight and swinging right but without the strong grip and slide Lee used to balance things out.
I haven't given too much thought to Lee until I watched a Shell's tape of him the other night. I bought the tape just to see him and was a bit annoyed when he pulled out after a couple of holes due to a knee injury! Because of that injury the few holes he played probably weren't indicative of his swing either. Especially since he was hitting snap hooks. From what I have seen his compensations all relate to keeping things going pretty straight and keeping the clubhead chasing the flag (or should that be clubhead lag chasing the flag?).
It starts from his open stance and outside takeaway then looping back to the inside during transition he uses his strong grip to stop the ball following his new plane line to the right. Then, with grip stronger than the compensation required, he uses a lateral lower body move to allow him to swing straight down the line with the arms leaving the body and the clubhead chasing his target.
How does this relate to the current thread? Instead of adjusting his plane line Yoda has said that Brian likes to start open or square to hit a draw. Although this requires compensations, it may be a less violent way to hit a draw. As Yoda has alluded to, the draw, especially with driver, can be a volatile shot and so by starting square this adds a slight blocking tendency to the mix and perhaps calming the shot down a little bit. Any shot requiring a closed clubface will have a slight pull tendency and when you add to this the reduced loft there is every possibility of the ball flight being quick with a topspin look to it. Much different to the gentle feathered look of a fade (unless you play with open clubs that retain their natural loft, like that Ben guy). However, Brian was looking for that volatility and speed so the ball would scamper down the hill. He wanted all the draw characteristics without any censorship. A dirty x-rated draw.
Similarly, I think the old advice of aiming right and setting the clubface at the target is one of the biggest and most damaging myths for the good player. When doing so a good swing will probably miss left. Instead of adjusting the clubface to less closed the young upcoming star may think they would then be straying from what is correct and that if they do that they'll then be aiming right and not getting it to come back. Also, stubbornness dictates that the player will only play a draw if they can do it correctly and without compensations. So, then they spend their time trying to play a fade as their stock shot and lose the many benefits of a controlled draw.
The moral? Don't always play the standard varieties. Play a few different combinations to find yourself a soft draw to add to your hard draw and perhaps too a hard fade to add to your soft fade. Also, playing with a compensation or 2 may give you something to lean on when you need some predictability in your game. It's sometimes easier to take the back streets to get to where you want to go. You don't have to take the freeway, if you do you might fall asleep and leave the road when it matters... impact.
The 'down' is 'Ball related' and in contrast to the Clubhead orbit achieved with a Square Plane Line. There is no deliberate attempt to reduce the 'down'in the Stroke itself. There simply is geometrically less 'Down' -- and more 'Out' -- in the Inside-Out Stroke (10-5-E) with respect to the Target Line. Similarly, there is more 'Down' -- and less 'Out' -- in the 'steeper' Outside-In Stroke (10-5-D). Again, these phenomena relate to the Target Line and not to the selected Inclined Plane itself.
Is this also changing the effective ball position in relation to the plane line?
I have only had a chance to watch one of the videos-great stuff.
Looking forward to watching them all.A BIG THANK YOU TO ALL CONCERNED FOR THE INSIGHT INTO THE PROS WORLD.
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