Billiard Break Shot Control

Billiard Break Shot Control

"It's not all the power you can muster, but all the power you can control that really makes the difference in 8-ball and 9-ball."
How to Control Your Break Shot

A good break shot determines the outcome of a 9-ball game or an 8-ball game to a large degree, and often influences the chances you have of running the rack, or of stringing consecutive racks. Just how important is your break shot? Without question, the opening break shot is the most important part of any 8-ball or 9-ball game. But it looks so simple, doesn't it? Just splatter the balls with one monstrous, earth-shattering blow, right? Wrong.

A successful break is much more complex than casual observation reveals. Just how good can your break shot be if you don't get the most from each segment of the shot? And how good can it be if you don't control the cue ball to land in the middle of the table for your next shot? It is obvious now that the best players are increasing their percentages in the 9-ball game by approaching the breaking of the balls as an exact science which deserves, even demands, much more concentration and attention.

There are several key factors for making a consistent and efficient break shot

1. Watch the balls carefully as they are racked. - You may spot some occasional movement in the rack that can affect the performance of your break. You are allowed to check the rack from above. Look for spaces and contact points that can affect the transfer of energy to these balls, as well as their relative speeds and paths.

2. The mental game is important in preparing yourself. - Before you make your break shot stroke, and after you have paused in your stance, relax, take several warmup strokes, then stop the cue tip close to the cue ball before you give it your final stroke and follow-through. In your "mind's eye", you must be able to "see" the cue ball hit the precise point of your aim. (when you do these mental exercises before such a shot, be sure not to leave out any details in this creative imagery....."see" the proper path and control of the cue ball, "see" the object balls exploding out of the rack and heading for certain areas of the table, "watch" yourself chalk up and take your stance, and "watch" yourself use all the critical fundamental mechanics, "see" the hit, and "watch" the cue ball land right where you want it, in the center of the table after the break, with no hits from any other balls, giving you the ultimate control that every successful game needs.

3. Your stance. - The right stance for breaking not only gives you the right balance, but used properly, can find you a little more speed, allowing you to concentrate on your cue ball control. Keep your feet spread apart, slightly weider than your shoulders -- no less, no more. This will help to give you a stable stance that will survive the "shove" test, and give you a stronger, more consistent break. (The shove test: If someone can shove on your shoulder when you are down in your playing stance, and can push you off your balance, then you'd better square up and find a more stable stance.) Remember to stand with your feet at about a 45 degree angle from the imaginary line of the cue ball and the head ball or 1-ball. Relax. You know that you'll see the center of the cue ball better now, since your proper break shot stance allows you to position your head, and your dominant eye, directly over the cue stick, though usually higher above the cue stick than your head is during the game. You may prefer to bend both knees slightly, so your weight can be easily shifted toward the shot on the follow-through. I don't want to encourage you to "lunge" at the cue ball, because you'll likely lose the very control we're trying to find here. Don't push off the back foot (let the baseball pitchers do that), but instead concentrate on the proper follow-through. You may find this weight-shifting from the back foot forward to the front foot can find you some extra power without sacrificing the cue ball's accuracy and control. You really don't need to get your stance "down" for a break shot. Some players do that, just like they are carefully sighting a critical shot during the game, but they lose power which they will need for the break. The lower stance and head position is really best suited for those smoooth, accurate game shots, not for the break. For the break, though, a more erect stance can actually help give you more freedom of movement, and help you collapse your body weight into the stroke to build cue speed. You already know that drawing the cue stick back quickly does not make your cue speed any faster, and it will usually have a negative effect on your accuracy and control. Because of this, you should concentrate more on your stroke and follow-through, with cue speed. You can do all this without any excessive head movement and lunging, and you'll do very well because of that, since we do not want such massive, uncontrolled power, but rather controlled, increased cue speed.

4. Placing the cue ball. - Occasionally I will move the cue ball to another point along the line (the head string) to place it for the break, though I often break from the right near the middle of the head string. I only move the cue ball if I feel that the rack will "open" better with the cue ball coming at it from a different angle. Like many other players, I am looking for the "sweet spot", that mystical point of contact from which the rack will explode and give me a pocketed ball or two and the cue ball control I need. No matter where I place the cue ball, I will still shoot directly at the middle of the 1-ball with a center ball hit on the cue ball. Since I want to transfer all the cue ball's energy to the rack of balls, a full hit is needed, and a glancing blow won't do the job. So I will try to strike the closest point of the 1-ball that is on the imaginary line of the centers of the cue ball and 1-ball, which gives me that full hit. There are some players who like to break with the cue ball placed near the rail on the head string, feeling that they can increased their percentages of popping the 1-ball into the side pocket on the break, or perhaps try to finesse the corner ball of the rack into the corner pocket, but this is strictly preference and not gospel, and you may also find something else with your own personal experimentation.

5. Doing the deed. - Now you are ready to make it happen. Visualize a line directly through the 1-ball from the center of the cue ball. Take your stance, with your front elbow bent just slightly (about 150 degrees, not the 180 degree straight arm), shift your weight to your back leg, and then shift forward into the stroke, getting more speed. Please don't try to kill the cue ball! Instead, use only about 75% of your normal power, and concentrate on an accurate and solid hit on the 1-ball. You will maintain your accuracy by keeping your cue level. Now hit the 1-ball in the center, and stay away from using spin or english. No follow, no draw, just center ball. This will help the cue ball slam into the rack and jump back with no energy left after your solid hit on the 1-ball absorbed the cue ball's energy. The cue ball then "dies" in the middle of the table, and is usually in the best position to avoid hits from other balls, and to get you the best look at your next shot.

6. A helpful break shot aiming hint. - You may not feel totally comfortable or confident in hitting the 1-ball full in the face to get your best results. If you want to be sure to hit the 1-ball as squarely as possible, maybe this method is for you: Aim at the bottom (or base) of the 1-ball where it touches the cloth. This can help becuase you may feel it is easier to see that small target, instead of trying to focus on the center of the 1-ball. The results will be the same, since you will hit the 1-ball full in the face, and will transfer the cue ball's energy to the rack. In this situation, the final point you should see when you begin your swing is the point where the 1-ball touches the cloth. After a few successes, you will no doubt feel very com-fortable and confident with this technique.

7. Break Cue sticks. - Some cuemakers, in the past several years have sold a lot of heavier "break cues" to amateur players, allowing them to keep on believing that a heavier cue was just what they needed for a crunching break shot. Dear friends, this is just not true. Happily enough, nowadays, the scrupulous cuemakers, armed with new knowledge and logic, are changing their position on break cues. Most top players prefer to use the same weight cue, or a lighter-weight cue for their break shots. They have found that a stable and rigid joint and forearm can withstand the force of the break's impact, and that a separate tip used just for the break can save the "game tip" and its accuracy by helping to keep the game tip from losing its important shape because of high impact contact. These are the main features which go with the latest innovations for breaking cues. Using a lighter cue, rather than a 25-30 ounce "warclub", will help you find more cue speed. A bigger, heavier stick will be slower, and more sluggish, though it may not be noticeable to the naked eye. It may give you a lot of power, but it is uncontrolled power, since you may be just a bit more erratic with your stroke using the added weight. Remember, the ball you are hitting is only 6 ounces, and is moved very well, thank you very much, with a lightweight cue. You are NOT hitting all 9 balls in the 9-ball rack, or all 15 in the 8-ball rack, with your cue stick! Therefore, bigger and heavier is just not better. Give up your heavy break cues in favor of the lighter cue, and find that you'll have greater cue speed and better control. That alone is much more important than the weight behind your heavy stick.

8. Transfer the full force of the cue ball to the rack. - Hit it solidly, square in the face of the 1-ball. A glancing blow here is only a waster of energy, and doesn't solve anything no matter how hard you hit it. Not only is it inefficient, but you may lose control of the cue ball, and you certainly don't want that, or you wouldn't be reading this article! How good can your break shot be if you make 4 or 5 balls on the break, but also cut the cue ball loose to fly around the table, possibly leaving you "hooked" or without a decent starting shot? So take care of your game, and that of course starts with your break shot. Control is ultra-important, which is why we often say, or should say, "Your break shot is only as good as your next shot!"

As you have already probably noticed, this is one of the most complete break shot tutorial on the internet. Thanks to Paul for doing such a great job.

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Basic Tips for Playing Consistent Billiards

Too often we have the tendency to over-analyze our shortcomings at the pool table, and we overlook the simple, basic helpful hints that can help us play the game on a more consistent basis, and to avoid playing the game out of control.

Here are some critical hints, as simple as they are, which still bear repeating

1. Decide on how the shot should be made, and stick to your decision. - Shots are often missed because an alternative method is still in the mind, and this can interrupt or cloud your concentration on the shot ahead.

2. Fix your eyes (most likely your dominant eye) on the point of the object ball, and address only that spot. - Some players have the habit of moving the cue in some other line, and then shifting at the time they deliver the stroke. With this habit, you only increase your chances of failure, because you are allowing too many variables to come into play. Your cue should only move forward and back in a straight line. Don't stroke any shot harder than is really necessary to produce the desired result, hitting the object ball where you intend in order to pocket it, and to bring the cue ball and other object balls into position for your next shot. General hard stroking is sometimes followed by good position, but it is very often luck. Remember that it is much more difficult to strike the cue ball accurately when you use a hard stroke.

3. Always chalk the cue before attempting any shot. - Since the cue's leather tip is curved, and the surface of the cue ball is curved, it is only logical that you use some kind of abrasive dust (like chalk) to create a little more friction to help avoid miscues. It also helps tremendously to keep your cue tip flush with the ferrule with the ferrule along the sides, and to keep a tip with a arc or curvature of a nickel, rounded to give more consistent play and better control.

4. Keep your bridge hand perfectly rigid and hold the cue lightly in the fingers of your power hand (gripping hand), slightly back of the balance point of the cue. - Close the forefinger loop around the cue (on the bridge hand) so that it rubs slightly, so that the cue ball may be struck without the danger of the cue slipping and causing a miscue or a miss. If you can reduce as many variables as possible in your bridge, as well as other facets of the mechanical fundamentals, you will increase your own enjoyment through better and more consistent play.

5. Let the weight of the cue do the work, and don't forget to "follow-through" on your stroke. - A forced, rigid poke at the ball only adds to the number of variables, and can frustrate you before you can see your successes.

6. Don't swing the cue sideways in imparting "english". - Keep the line of the cue's movement parallel to the line of aim, and please remember that a raised or elevated cue butt, especially in strokes which require english, will impart a masse effect which will curve the path of the cue ball, and likely cause you to miss your shot. Keep the cue stick level, and you'll increase your accuracy.

7. Practice the strokes of which you are uncertain. - Just set the balls in place on the table, and play each shot over and over again, until you have mastered the shot itself, and the variations of that shot. You should also strive to control the cue ball and object ball positions as well during this practice, after you have made the desired shot.

8. Advanced masse shots, complicated jump shots, and challenging draw shots should be learned from a competent instructor. It is often too easy to try to do it yourself, and end up only rehearsing your mistakes. Practice does not make perfect, but rather perfect practice makes perfect. Allow yourself plenty of time for practice drills, and techniques of each part of the game, including the all-important break shots. All deserve your undivided attention.

9. Take the pool games seriously, study them all carefully, and find out all you can about each game, its mathematics, its equipment, and its rules. Then its value as a recreation will be greater to you, and your appreciation of the skills required for consistent success will grow. A careless player not only does not improve, but also gets very little enjoyment out of it, except as a means of wasting time.

Yes, there is an element of chance in pool just as there is in all affairs of life, but if you are a player who depends on luck you will seldom improve your game. Rather you should try hard to control as many of the variables of each shot as possible.

Remember that chance (luck) is the common enemy of all champions, and is the alibi for a loser's deficiency of execution. These are but a few helpful hints which you should keep in mind as you practice, and for your tournament events at any level. They should be added to the fundamentals you already learned from the basic books about pool playing. While this list may never be complete as your game grows and becomes more technical, it is a very good foundation for the growth of your game, and will help you improve and appreciate the game more each time. Now your own pleasant and positive attitude will help you approach the game situations better, and will help make it easier to share the joys of this great game.

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Caroms Three Bands Rules

1. Carom tournaments three bands should be governed by the following rules. Any exceptions must be mentioned at the meeting of players before the start of the tournament, which will be discussed and approved by a majority of the participating players. In some cases, exceptions or variations of these rules may be established by the organizers or by the tournament director.

2. A three-band carambola is valid and counted as one point in each of the following cases:
(A) The cue ball hits the first object ball and then hit three or more cushions before contacting the second object ball;
(B) The cue ball hits three or more bands and then contacts with the two object balls;
(C) The cue ball hits a band, then an object ball and then plays two bands or more and then comes into contact with the second object ball;
(D) The cue ball hits two bands, striking the first object ball and then play one or more bands before contacting the second object ball.

3. A count of three bands means three hits against the band. These impacts need to be in three different bands to be valid. The count is valid even if the shooter hit the same band three times or you get three buddies from the band in two different bands as a result of the slingshot effect inferred.

4. Pulling the band to define the output.
(A) Each player selects a ball which is placed on each side of the exit at the head of the table, or the narrow band where is the mark of the table. Each player hits his ball toward the opposite side of the table with enough force to cut back toward the sideline where he started the play, and stop the ball closer to the band will give the player the right to start the game running carambola output.
(B) The ball may well play the long strips of the table, but if both balls in contact, the player with stick and ball with the ball went out of his way and hits the other ball loses the right to exit. Similarly lose "out" if the ball jumps off the table.
(C) The winner of the output has the right "exit" or assign the output to your opponent. It also has the right to choose which ball to start the game (the white or yellow), which will be his ball for the duration of the game.

5. Carambola output.
(A) The opponent's ball is placed at the head point (the point that the second diamond across the width and along the table on top of the table).
(B) The cue ball is placed at a point six inches (15.2 cm) toward the right or the left of the header.
(C) The red ball is placed at the bottom point (the point that the second diamond across the width and along the table on the short rail of the table opposite).

The player taking the kick out with his ball with the intention of hitting the red ball first. If the cue ball first hits the opponent is a foul and the player loses his turn or entrance. In subsequent shots can be attacked on any of the two balls, either on the opponent's ball or the red ball.

6. Fouls completing the turn or player input.
(A) When any of the ball jumps off the table.
(B) When you start shooting while the other balls are in motion.
(C) When you touch any of the balls by hand or any part of the player's clothing or the taco or tisa or any other item or accessory worn by the shooter. In this case the ball will remain in the position left after being fouled.
(D) Where there is a "push" illegal. (This paragraph refers to a specific type of execution results in a lack-called "push" or "drag")
(E) When a "retaqueo" or "double execution". (This paragraph refers to a specific type of execution that determines a fault called "retaqueo" or "double execution")
(F) When the time to throw the player is not making direct contact with the floor.
(G) When the player runs with the ball attached to his opponent.
(H) When the player touches the ball with the cue during the sketch.

7. Any failure caused by outside interference to players should not be charged to the striker. If the balls are moved due to the interference, must be re-positioned as close as possible to its original position and continue to throw the player trying to score the point according to the new position of the balls.

8. Playing the ball from the opponent.
(A) When playing with the wrong ball is a foul and completed the entry of the shooter.
(B) The opponent or the judge or referee of the game can make a fault. The opponent can make a failure before or after the shot, while the judge or referee may only make a failure until the kick has been completed. The offense may be marked at any time during a series or run, but the shooter will be entitled to all items purchased before the shot in which was marked failure.
(C) The player whose turn it is turn will run the play as the balls were left position was marked after the foul.

9. Ball stuck.
(A) If an entry for the cue ball to contact (is attached) with any object balls, the player has the option to shoot in any direction provided it does not hit the ball which is in contact when the execution of the shot, or you can choose the balls in contact are "armed" or placed in their appropriate places.
(B) If an inning ends with the cue ball in contact with the opponent's cue ball or the red ball in contact with the cue of another player, the player has the option to throw to throw in any direction as in the previous paragraph, or you can choose to "arm" or put the ball in contact. The other ball (not attached) must remain in the same place where you are.
(C) The red ball is placed at the point marked contrast to the head of the table, while the shooter's ball is placed at the point marked at the top of the table. Opponent's ball is placed at the point marked in the center of the table.
(D) If the point reserved for the ball to the "arm" is occupied by one of the other balls, the ball arm will be placed at the point usually reserved for the ball takes the place of the ball arm .
(E) The same rules apply when one or several balls jump off the table.

10. When the cue ball is attached to a band, the player can pull the same, but the first contact as a band has not impacted. Subsequent contacts with the same band if they are valid for the counting of bands shot.

11. When the ball shooter, the opponent or the red jump off the table is a foul and the player loses the right to look any further pulling.

12. When the cue ball jumps up and runs over the band and then return to the playing surface, the move is valid and has hit as a band no matter how many times the shooter came into contact with the band. If the shooter runs on two or more bands, each band as a band has reached. If the handle above the band, the shot is considered as "ball jumps," which is a foul and the player forfeits the shot. If the shooter or any of the other two balls touching part of the band, is considered a fault and the termination of the input. If the opponent's ball or the red jumps and runs on the strip without touching the frame, these balls are also considered "in play".

13. No brother should start shooting the balls are not completely stop or when they are still turning as consequence of the effect. If the player throws when balls are in motion, is considered a fault and to the entry of the shooter.

14. If a player "pushes" the cue ball, or if when you pull the cue ball touches twice (with the cue) is a foul and the shooter loses the right to continue shooting even when they enter the carom. A "push" is a shot where the cue remains in contact with the cue ball after the cue ball hits the first target. A double contact can occur when the cue ball is touched or "caulking" twice.

15. All shots where there are "clashes" or "pas pas" are valid, whether the shooter deprive the annotation or to help or contribute to the entry point.

16. The "gotcha" should not necessarily be considered misdemeanors, unless the blunder will become a "retaqueo." If you sign a fluke even though there has been a "blunder", the point counts and the shift of the shooter continues.

17. If in the process of aiming the shooter touches the cue becomes a foul and the player forfeits the shot.

18. A game ends when one of the official players has completed the designated number of points for the game, even if the opponent has had a turn less. If a judge or referee and a pointer, the game's official sewage treatment leaf pointer that is signed by the referee, the scorer and players. The referee and the scorer must also sign the game sheet. Once the loser fima the game sheet, no protest will be considered.

19. If one player is responsible for any interference, is a breach and end the inning. The next player must accept the position of the balls. A player who is not pulling (taking turns) should not distract the opponent with unnecessary movements or noises. If this situation occurs, the referee or tournament official may disqualify the player for unsportsmanlike conduct.

20. If for reasons beyond their control a player can not start a game as the schedule, the game may be postponed if so decided by the tournament director. If a player can not finish a game, the game lost to "forfeit" unless the opponent agrees to Temin game at a time convenient for the management of the tournament. If a player can not return to the tournament, all games are canceled.

21. If a player is disqualified in the middle of a game, lose the game and do not get the point. His opponent is credited with a game won and give it the corresponding number of points as if he had won. If a player is disqualified from the tournament, all games are canceled (complete sets and complete), and the tournament continues as if a player down when starting the tournament. These rules may be changed by the authorities of the tournament.

22. If for reasons beyond their control a player can not start a game, must notify in advance to the tournament director to allow you to replace the game with a substitute player or players with another couple. All tournament players are subject to an immediate call if a substitute player is required.

23. If a referee considers that a player is taking an abnormal amount of time to execute a shot with the intention of disrupting his opponent, the referee must notify the player who is taking the risk of disqualification if it continues with the tactics dilatory. If the player continues its tactics of disruption, this will constitute grounds for disqualification. If you are not officiating any referee, tournament director will have the right to invoke this rule.

24. Deliberate defense throws are not allowed. If you play are a fault. The referee or tournament director must make mention or violation of this rule and the striker must accept the balls as staying or "arming" the shot out.

25. In any event, usually the tournament director and another member of the local federation or event organizers who is not participating in the tournament, should constitute a committee which shall be to report situations where they violate the ethics of sport.
Before the tournament, players are required to nominate two players to serve on the committee to protect the interests of the players. The two players who represent the local federation and the two players representing the interests of the other players must together consider any evidence or reports constitute a violation of sportsmanship. If this committee does not reach a consensus to resolve the complaint or report, representatives should submit a written report to the federation organizing the event for it to be considered by the Board of Directors. The two representatives of the players also need to submit their views to the Board of Directors for the next regular or special meeting of the Board of Directors, is considered the complaint or reference and for the actions or resolutions recommended by the Most members are applied against or in favor of the player or players accused.

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Balls

At first the billiard balls were made of ivory, but today are made with phenolics resins, which have a number of advantages over natural:

* Do not get dirty as fast as natural.
* Easily cleaned without fading balls
* Allows for better modeling thus get a perfect spherical shape of the billiard balls.
* Weigh the same as natural.
* It avoids the trade in elephant tusks.
* They are cheaper.
* They last longer.

Sponsors:

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Which Is The Billiard

Cue sports, also known as billiard sports, are a wide variety of games of skill generally played with a cue stick which is used to strike billiard balls, moving them around a cloth-covered billiards table bounded by rubber cushions.

Historically, the umbrella term was billiards. While that familiar name is still employed by some as a generic label for all such games, the word's usage has splintered into more exclusive competing meanings in various parts of the world. For example, in British and Australian English, "billiards" usually refers exclusively to the game of English billiards, while in American and Canadian English it is sometimes used to refer to a particular game or class of games, or to all cue games in general, depending upon dialect and context.

There are three major subdivisions of games within cue sports:

* Carom billiards, referring to games played on tables without pockets, including among others balkline and straight rail, cushion caroms, three-cushion billiards and artistic billiards.

* Pool or pocket billiards, generally played on a table with six pockets, including among others eight-ball (the world's most widely played cue sport), nine-ball, ten-ball, straight pool, one-pocket and bank pool.

* Snooker, which while technically a pocket billiards game, is generally classified separately based on its historic divergence from other games, as well as a separate culture and terminology that characterize its play.

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