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Billiards Secrets




"... In every play makes use of a set of principles underlying the theory of billiards. Knowledge of this theory and its successful implementation will greatly help to analyze, understand and master the balls to play better."

1. A) A Ming slides (no effect without completely rotate forward to full contact with the ball. This move is called "buffered".

B) A Ming slides (without turning forward or backward) but effective (left or right) stops completely when full contact is a ball and rotating on its vertical axis (live ball).

2. A Mingo slipping by contacting a ball very near its center (left or right) stops completely after "move" a few millimeters (to the left or right) on the "tangent".

3. The angle that bounces mingo (or ball) after contacting another off-center depends on "both" ball given, but always be on the "tangent". The tangent is the imaginary line through the point of contact between two balls, this line is 90 degrees (perpendicular) of the imaginary line (and through) the centers of two balls (center line). The pool is called "offset" to the path of the balls when traveling on the "tangent".

4. The effect (left or right) does not affect the angle at which the cue ball bounces after contacting a ball, the angle is influenced only by rotation about its horizontal axis. A) If the cue ball (or ball) is "natural rolling" (or often), when it hit another ball from the side, move laterally and then describe a curve (parabola) before continuing its path forward. B) If the decline takes Domingo, this will "move on the tangent" before describing the parabola and back.

5. The effect is used:
A) To control the reflective mingo ámgulo bouncing off of the band.
B) to transmit the ball with the purpose of controlling the angle of reflection bouncing off of the band. Generally used in the plays of "double".
C) to cause a "send" to the object ball. No matter how small the effect transfer Ming ball, it is sufficient to produce the "sending".
D) For minga, after being attacked from above to below, describe a curve during his career on the surface of the table.

It is worth mentioning that the curves do not describe object balls as they are not hit from the top down.

6.In the "mass" the straight line that travels minga after describing the curve (slip) is parallel to the line formed between the point where the Ming and rested on the cloth point where "target" cue .

7.If the "layup live" object ball tied to the band, the band should contact minga first, the "focal point" depends on the shock and the "corner cutting". Band hit the ball and simultaneously cause the ball off the band due to the "phenomenon of shipment."

8.The positional play, after contacting the ball "turn" it is easier to determine where the Minga be resting when used often (natural bearing) than when using regression. This is important to remember, especially when you have "ball in hand."

9.The "phenomenon of shipment" is most obvious in the plays of combination, when the object balls are linked, because the direction of the "center line" that links can be seen clearly, but the "send" is also produced on a smaller scale, each time a ball hits another side, regardless of the distance between them.

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