Close Encounters Tape - A Lesson With Lynn

[YodasLuke]

I am 70 yrs old and have been a low single digit player for over 50 yrs. I have played and socialized with the very best professionals and amateurs in the world. I have had instructions from U.S. open winners to teaching only pro's.

I took lessons from Luke at "the swamp". I paid for the 5 lesson plan, took 2 and have not returned in 6 months. I learned so much in those 2 lessons that one morning, plus what I learn on LynnBlakeGolf.com that I don't feel the need to go back.

Last week I viewed the "close encounters-a lesson with Lynn. It is without a doubt the finest piece of golf instruction i have ever benefited from. I have no special allegience to Lynn B. or Ted Fort, as I hardly know them. But, I feel indebted to them for what I have learned from LynnBlakeGolf.com. They could make a lot more money for themselves without out these free lessons on tape. They are a proven quality now and worth paying for!

Thank you, Frank. We truly appreciate your kind words.

[EdZ]

A wonderful series Lynn - great stuff!

hinge action with an open hand
hinge action with a fist

A classic! - EdZ

[lagster]

Or Yoda maybe 4' 2"!

Again, another tribute to a fantastic job of putting together all the pieces that make up this website- well done Lynn! Great stuff!

Here's a perfect situation to apply golfing machine principles and take all the discussion in regards to the concepts in the book that are discussed on these forums and see it happen in action- with a good player. This is a textbook case of a good player who has pivot controlled hands- not a good thing - but a very common problem and fortunately not a death sentence but just another opportunity to get better.

In the full swing from the end of the backswing to halfway down- if you go frame by frame- you’ll see the hands come out more than down as Colin has maintained the lag in relation to the body and not the plane line (see 5-0).

Halfway down this “roundhousing” creates a situation where the hips didn’t need to slide out of the way to create the weight shift and prevent the elbow hip collision- therefore the right foot is flat and slightly less rolled-in as a result.

At halfway down (hands roughly hip /mid body height), he’s really in a tough position and his mind knows he’s in trouble, so being athletic- he works from that point in the downswing to impact to adjust the motion in order to hit the shot appropriately- usually a common way to correct from that position is to raise the shaft angle steeper than intended to “make it happen” i.e. since the hands have come to much out- the plane angle needs to be steeper from that point to impact. That raising effort shows up in his follow-through/finish. However from that point half-way down you just can’t consistently do it- that is - plane angle shifting through the release interval- so you get the slight pull shot, or the straight shot, or the slight push shot/ push fade shot- you never know for sure which one. You never get in that groove where you’re money!

It’s also a perfect example of a situation where when you have these pre-programmed issues- that although you could just think of directing the lag at the plane line, you might never really get better or accomplish it. You really need to understand the problem and de-program some of the ingrained faults while you’re trying to perform the procedure of directing the lag at the plane line.

Of course, when you make the change starting with start down waggles- the start down is a lot steeper- and a whole new set of joint sequencing and timing issues come into play that take time to work through- but it’s worth the effort.

Again, great presentation Lynn- neat to see the machine in motion!

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Not many people would see the hands coming out TOO much, and the resulting actions and compensations for that action("roundhousing" etc.)... good observations mikeo! His stroke LOOKS excellent in many ways, however, and I think you would agree.

I believe I have heard this called... "coming over the bottom."
He does an excellent job of compensating, if in fact this is the case.

It sounds like the "Downstroke Waggle" is how you would go about correcting something like this. You mentioned also "Hands Controlled Pivot" vs. "Pivot Controlled Hands".

Maybe a picture sequence can be posted(I don't have the ability to do so) that shows the hands coming down in relation to the Plane Line, as you describe, and the resulting Hip Action, weight shift ,and Foot Action that occurs from this change.

[rchang72]

Just curious. In the basic motion, what distinguishes the swinger from the hitter? It looked like he was starting from impact fix and then picking the right forearm up and bringing it back down.

[Mike O]

Just curious. In the basic motion, what distinguishes the swinger from the hitter? It looked like he was starting from impact fix and then picking the right forearm up and bringing it back down.

In the basic motion (12-5-1) or in any motion- the acceleration method is what differentiates the swinger from the hitter- that's it. A close 2nd would be the hinge action/rhythm- as that's normally a result of the acceleration method- but the hinge action does not differentiate hitting from swinging. Otherwise, the basic motion for both is identical.

[jim_0068]

Someone correct me if i'm wrong, but a swinger has a startup swivel somewhere in the backswing correct? Where as the hitter doesn't? I thought that was one of more the "visual cues" to a swinger/hitter. Obviously the power source is the main key, but i thought this was a close second.

[Mike O]

Jim,
You'd see that in the acquired motion (12-5-2) but not in the Basic motion (12-5-1).

Of course, 6-H-0 covers the overall general differences between the two, again with the same issue that the only one that fundamentally differentiates the two is the acceleration method i.e. you can have a backswing swivel for hitting and add any necessary compensations for it.

[Mike O]

////////////////////////////////////////////////////////////////

Not many people would see the hands coming out TOO much, and the resulting actions and compensations for that action("roundhousing" etc.)... good observations mikeo! His stroke LOOKS excellent in many ways, however, and I think you would agree.

I believe I have heard this called... "coming over the bottom."
He does an excellent job of compensating, if in fact this is the case.

It sounds like the "Downstroke Waggle" is how you would go about correcting something like this. You mentioned also "Hands Controlled Pivot" vs. "Pivot Controlled Hands".

Maybe a picture sequence can be posted(I don't have the ability to do so) that shows the hands coming down in relation to the Plane Line, as you describe, and the resulting Hip Action, weight shift ,and Foot Action that occurs from this change.

Lagster,
Not sure how I can help further. However, absolutely looks like Collin can really play! As far as sequences, I would just say go frame by frame in the first swing of Chapter 10 for Collin and then go frame by frame with Els or Hogan in the Gallery. One of the points I was making in my post was that the body shows through amplification- what the hands and club have done- therefore it's part of the information that you use to determine what the clubshaft, face and head have done throughout the movement- that detective work combined with TGM knowledge can help you figure out what's going on with the club and hands and therefore what the club and hands need to do differently and likewise what the body needs to do differently to support that movement.

[lagster]

Lagster,
Not sure how I can help further. However, absolutely looks like Collin can really play! As far as sequences, I would just say go frame by frame in the first swing of Chapter 10 for Collin and then go frame by frame with Els or Hogan in the Gallery. One of the points I was making in my post was that the body shows through amplification- what the hands and club have done- therefore it's part of the information that you use to determine what the clubshaft, face and head have done throughout the movement- that detective work combined with TGM knowledge can help you figure out what's going on with the club and hands and therefore what the club and hands need to do differently and likewise what the body needs to do differently to support that movement.

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Thanks MikeO!

The student obviously has talent. The information presentet in the videos is an excellent opportunity for people to learn. The old "picture is worth a thousand words" is evident here.

I just think that even with a stroke of this quality, one can learn. That is why I was(AM) curious about the obsverations you(MikeO) made.

Tiger Woods, for example, has a great technique, but is constantly IMPROVING it. He could have very easily assumed that he must have nearly perfect technique... since he is the best player, at least for now. But he does not do that. He and his teachers are looking for subtle little things... to make his stroke even better.

Thanks to Yoda and his crew for the video!