BTW, I'm a big fan of the structure I gain when trying to get the right forearm on plane, and I feel even more importantly, the left wrist level at address. The two work together.
One gotcha I would like to share is that the extra structure may take away some natural #2 PA. I learned that the hard way last year with one of my students. YODA caught it immediately, taught my student how to use #2 properly again, and he IMMEDIATELY gained 40+ yards and a sh*t eating grin. Now I monitor how my students use #2 PA whenever working on this type of setup change, gotta create that snuff box in the left wrist if it's not happening naturally...
Kevin
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I could be wrong. I have been before, and will be again.
ALIGNMENT G.O.L.F.
Last edited by KevCarter : 06-04-2010 at 02:44 PM.
Hey OB! Things are great! Thanks for the link. That may have been the best thread I have ever read. Lots of goodies in there. I have always wanted to attend a Morad school and stil waiting for the chance. I sorta wish I was searching the forums back in 05. There was some seriously educated people chiming in on that topic. I'll even include manzella in that bunch.
Hey OB! Things are great! Thanks for the link. That may have been the best thread I have ever read. Lots of goodies in there. I have always wanted to attend a Morad school and stil waiting for the chance. I sorta wish I was searching the forums back in 05. There was some seriously educated people chiming in on that topic. I'll even include manzella in that bunch.
let's play somewhere that I know well so I actually have a chance. Check your inbox
On one of Yoda's vids, I think with Brian at Keene's Point, he talks about the right forearm on plane at setup to help create a draw. Hands high helped to draw it and hands low helped a cut. Why?
Now I monitor how my students use #2 PA whenever working on this type of setup change, gotta create that snuff box in the left wrist if it's not happening naturally...
Hybrid Mode
