I see L.O. as being on one end of the spectrum for transitioning between on plane to vertical club face. the other end of the spectrum may be Bobby Clampett and there is a progression order. from the Clampett end Ernie Els, Elkington, Fred Couples, VJ, Tiger all with progressivly slower club face transitions. That does not mean they have earlier releases just different club face alignment change rates. The L. O. end of the spectrum is almost simultaneous because it starts so early-club head at shoulder level. I have taught myself to be closer to the Bobby Clampett end of the spectrum but that has some problems. small variations in pivot or shoulder (I know! this is all zone 1) can leave the clubface open at contact .(This is Horizontal hinging) I have also learned that at the L.O. end of the spectrum It is possible to roll the face perpendicular to plane early and by leaving the elbow outside the hip hitting becomes available with angled hinge action- this can be much more consistant because I can out run CF and drive (#1 acc. only) down the plane to First Base. But I don't want to hit (personal stubborness!!!). So again, how to get to the "textbook" sequenced release? I realy like the feel of #3 on top an sequencing to behind the shaft but all to often it doesn't play well. ???
I equate club face to left wrist so if I have a picture of your club face I assume that to be FLAT to your left wrist and that is why I used clubface positioning in the above comments. I think I can get my hands to do it better I just don't know what to tell them now.
The Bear
Last edited by HungryBear : 08-18-2010 at 08:40 AM.
OK
I get it.
All thes differences are ok.
The sameness is there.
1-J
It is impossible to build a machine with human configurations that duplicate "text book" transition and release without compensations.
Just meet the imperatives. and get good compression
and all else is a difference.
As most pilots know. Just stay on the selected side of the power curve. Pull back to go up, pull further back to go down.
Linear Mode
