Billiard Atlas ON
Systems & Techniques
Volume 1 Book A
Walter Harris ‘The Billiard Atlas” P.O.
Box 321426 Cocoa Beach, Florida 32932-1 426 http://www.billiardsatlas.com e-mail:
[email protected]
Copyright 1991 by Walt Harris Printed in the United States All rights reserved. No part of this publication may be copied, stored in a retrieval system, or transmitted, in any form or any means, recording, electronic photocopying, mechanical of otherwise, without the prior written permission of the author. This sets forth U. S. copyright relations with other independent nations of the world. Argentina, Austria, Belgium, Bolivia, Brazil, Czechoslovakia, Chile, China, Columbia, Costa Rica, Croatia, Denmark, Ecuador, El Salvador, France, Germany, Greece, Guatemala, Holland, Honduras, Hungary, Italy, Japan, Nicaragua, Peru, Portugal, Philippines, Poland, Spain, Soviet Union, Thailand, Turkey, Venezuela, Vietnam, and Yugoslavia. Published May 1991.
A-Il
Preface
The Pool Player can now learn Three Cushion Billiards easier from this Primer An Arsenal of New Weapons for the Three Cushion Player
A-Ill
A-IV
Table of Contents
•
Preface
Preface, etc
A-i
Chapter One
bead Ball System
A-i
Chapter Two
Tickles
A-23
Chapter Three
Long and Short Angle Systems
A-35
Chapter Four
Plus Systems
A-67
Chapter Five
biamond and Track Systems
A-85
Chapter Six
End Rail systems
A-119
Chapter Seven
Across The Table
A-139
Chapter Eight
Rail First System
A-149
Chapter Nine
Kisses, Position & Etc
A-i65
Glossary & Index
A-192 & 193
A-VI
Acknowledgment My thanks to the many billiard players that helped create this book. Not only those mentioned within these pages, but also to the hundreds I’ve bored to obtain, or validate information. The United States Billiard Association’s archives and the Billiard Digest’s excerpts were important. George Ashby Sid Banner Richard Bitalis
Bill Maloney Ray Martin Thomas Shaw Billy Smith Merle Smith Carl Strassburger Dallas West Bernie Wishengrad Joe Ventrelli
Past U.S. 3-Cushion Champion Veteran Tournament Player Top World Class 3-Cushion Player & Past French Champion Billiard Legend Noted Billiard Room Proprietor Veteran Tournament Player U.S. Snooker Representative Celebrated Pool and Billiard Write Past U.S. Champion 3-Cushion Top Chicago Billiard Player U.S. Champion 3-Cushion World Class Champion Top U.S. Billiard Player Past world Pool Champion Noted Pool Writer Top U.S. Billiard Player Veteran Tournament Player U.S.B.A. Secretary Past U.S. Open Champion Veteran Tournament Player Veteran Billiard Player
Dennis Harris
Top Encourager
Welker Cochran Chris Chrisman Mike Donnelly Don Feeney George Fels Carlos Hallon Dick LaGongle Sang Lee
-
-
A-VII
A-VIII
Introduction When I started being interested in systems in 1988, becoming a “systems” gatherer was the farthest thing from my mind. It was not easy to find good players who had systems to pass on, and many systems had little or no value. The old diamond and plus systems soured me on the use of systems during the past twenty years. there were so many good room players with forty to fifty years experience that could not explain what they were doing, since they had their own version of these systems. Even the best players shied away from bank shots, since they were considered low percentage shots. Maybe there was no easy solution, only complicated variations. .
.
Adjusting cue ball spin and speed to accommodate paths seemed insane for the novice to absorb. Why not try the experiment of standardizing speed and cue ball spin, see what paths they produced and use these? This study took a few of years, trying many tables and other players’ strokes. Top players were quizzed on anything they could offer, and eventually the “Basic Track” System was born. Rail points were utilized and formed the “values” to take a new table. Most often, these values changed slightly, depending on whether it was a long or short table. Originally I stumbled into some short angle and long angle path data, which made my humble game much better Then I studied the dead ball systems, and this increased my accuracy.
A-IX
A-X
This really got me started in being interested in systems. Many other systems and techniques were gathered during the past few years, and each seem to have it own numbers peculiar to that system. Different cue all spin, bridges and strokes were also employed, so be prepared to be illuminated in these areas. “Robert Byrne’s contributions to cue sports are unequaled, and his writings cover so much material that is difficult to find a billiard subject he has not covered as described in Byrne’s Standard Book of Pool and Billiards.” I took the liberty of re-showing Byrne’s short-angle tracks because of it’s importance. In some parts of the country, billiards players conversed about systems, ideas, and techniques. In other parts of the USA, there was little or no interest. Sometimes I wonder if this kind of apathy keeps top players from passing their knowledge onto lesser players. It appears the lesser player is more interested in instructing than absorbing. or does not want to exert the effort to embrace new information unless it can be done by osmosis. .
A lot of good information is not passed on for other reasons. is it posssibly to protect the status of the better player? Is not the student of the game entitled to a loftier position? Why pass on digested information to the apathetic person and make life easier? What’s to gain if the game is upgraded? .
.
All of the above has some merit, but what about the player that does want information? How and where does he find it? He finds this book, of course!
.A-XI
Table l.D. The table has been given numbers and direction as shown. These numbers have NO relation to any other system. Your cue ball originates in the corner of 80 or 40*. Many other systems shown in this book have different table numbers.
A-XII
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A-XIV
Cue Ball Notations Shown below are approximate cue tip locations. •
The most important factor is to be consistent in stroking the ball, and to arrive at the same point several cushions later. Stroking the ball, not just hitting the ball, is required. Excessive wrist action is undesirable. Regarding the amount of cue ball english applied, the margin of error is probably a half-cue tip of english (cue ball spin.) The path error is large if the cueball is not correctly stroked, or if too much wrist action was employed. Note: This volume will often use the word “track” instead of “path”. The word “english” is used instead of “cue ball spin”, or “cue ball effect.”
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A-XV
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A-XVI
George The late Luther Lassier one of the best money pool players who ever lived, was quoted in the last year or so of his life as saying, “Fifty years around this game, and I finally learned how to break the balls.” “So what’s the secret?” he was eagerly asked. “I can’t tell you that.” The point is that most pool and billiards experts would rather surrender the secrets of their sex lives than share a useful tip or system. This is the book that coaxes many such tips and systems out of them, and even though it advertises itself as a complication of billiards systems, much of what you’ll learn here is immediately translatable to pool. For instance, Lassiter’s best game, 9-Ball, frequently requires you to pocket a ball frozen to a long rail and send your cueball across the table someplace (and almost as often, back and forth across the table). The mere pocketing of the object ball isn’t that hard; in fact, it’s relatively simple. What drives many, many players to distraction is the unpredictability of the cue ball’s path of travel. This book will help you solve that puzzle for good, whatever your cue ball’s point of origin. The other pool games most commonly played seriously is OnePocket. Correctly played, One-Pocket is largely a matter of parking the cue ball someplace safe (since open shots at one’s pocket will come up no more often than one inning in three, when good players engage in combat.) Ever see a safe spot for the cue ball but find yourself stymied as to how you get it there? Then this is the book you want to read. Quite simply, the game of billiards requires you to drive a ball someplace; pool, in any form, mostly asks you to stoø a ball someplace. In either case, you’ll fare much belier when you understand the how and why of a ball’s getting from one place to another Read Walt Harris’s ambitious book and prosper mightily. A-XVII
A-XVIII
Balls & Rails Small changes in the condition of the balls and rails change the path of the cue ball. Hit points change with: Siliconed balls Waxed balls (not buffed properly) New balls Dirty balls New rail cloth Worn rail cloth Rails not properly seated, especially the corners An uneven slate Humidity Temperature If somebody challenges you to a game for a peso or two and they bring out a new set of German Balls and you’re used to playing with your usual well-worn balls, forget it 50 innings later you might get adjusted to the difference. The name brand of ball caroms off the first ball differently, draw and follow especially. I have seen a champion wipe the silicone off the ball before his match started. On the other hand I have seen a different champion apply a light coat of silicone every 60 points to get more use out of older balls. My point is that this makes a difference.
A-XIX
Measuring Table Slide Balls carom differently when the table has new cloth. New balls make a difference also. In order to use systems or techniques properly, certain equipment information is required, such as table slide and table speed. The drawing shows the cue ball path when the cue all is aimed from the middle of the short rail to the middle of the opposite short rail. Maximum cue ball side spin (often called english) is used along with a full follow stroke and a level cue stick. Using the nose of the cushion, measure the distance to the cue ball travels on both short rails. This example uses 2 diamonds on rail “0” and 1.6 diamonds on rail “P”, making a total “slide” measurement of 3.6. Find the slide number for your table. World-class table playing conditions have a table slide that varies from 2.7 to 3.1. It’s obvious that this makes a difference in estimating everything. Extra table slide and a faster table are desirable features. It is possible to increase slide on your table. Keep the balls very clean with coat of recommended ball polish and also change the rail cloth often. Heat the table too. You will not regret doing the above because having extra table slide will open scoring possibilities and retain cue ball spin longer. This along with the faster table elevates the game to a higher level.
A-XX
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Chapter I Dead Ball System Shown here are a few examples of dead ball systems that really work. The fun begins when the mechanics of stroking the ball is accomplished.
The most popular system of “angle in angle out” is not shown here because it’s so obvious. -
Don “Preacher Feeney” reviewed this chapter and pointed out it’s value to Pocket Billiards.
A-i
Dead Ball Tickie A system has been devised to find the first rail hit point to score this
billiard. •
The side of the cue ball needs to strike the second rail edge at point 30. South Florida’s Sid Banner donated this jewel for the world to enjoy.
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System “Sid” A system is designed to find the first rail hit spot to make this billiard. NEW NUMBERS ARE GIVEN FOR THE 2nd RAIL (RAIL “N”). New hit spot becomes 2.5 on the 2nd rail, not 30 as previously mentioned. End rail diamonds, below the cue ball (rail “0”), are used to calculate the first rail hit spot and cue ball origin. Each diamond on rail “0”, away from point “X”, has a value of 2.5 (second rail hit spot value). Therefore the cue ball origin of point “A”, point “B” and point “C” determines the first rail hit spot as follows: point “A” is 2.5, point “B” is 5.0 and point “C” is 7.5. The aim spot on the first rail, for this example on page 5, now becomes 7.5. If the cue ball origin is at point “A”, then the first rail hit spot would be 2.5. Stroke is very important, so allow no side spin on the cue ball. ROLL the CUE BALL SOFTLY, much like the lag for the break shot cue stick hits up. Don “Preacher” Feeney says the cue tip should hit about 12 mm above cue ball center. Check each table to see if a small adjustment is required. (4)
A-4
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A-6
5.5 times four diamonds equals 22
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This full ball hit should deflect the cue ball at an angle of about 45 degrees. A thinner hit is about 30 degrees. This is mentioned to better approximate what kind of hit is desired; thereby adjusting the scond rail hit spot.
Note: Pocket billiard examples shown at back of book.
A-8
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A-b
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NOTE: Pool examples shown at back of book.
A-12
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The cue ball origin is estimated to be at 70. The third rail hit spot is estimated at 40. In this example, to find the first rail hit point, subtract the desired third rail hit spot of 40 from the cue ball origin number of 70, making the first rail hit spot 30.
NOTE: Pool examples shown at back of book.
A-b4
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A-16
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Words From Above “The Billiard Atlas is a clear and concise explanation of shots offered by the masters of the carom games.” “Effectively dissects the diamond system, providing valuable knowledge of kick shots and safety play.” Filled with precise diagrams illustrating techniques crucial to any players advancement The Billiard Library
A-18
Preacher On Pool Don “Preacher Feeney’s” knowledge of the various billiard games certainly makes him an authority. After inspecting the first chapter, he writes: “In the pocket games a player is less confronted with the need to control the cue ball ‘accurately’ through three or more rails and has limited knowledge and experience to fall on when the need arises. This is where a few memorized systems can be DEVASTATING.” “I have worked only with the SID SYSTEM and the BERNIE SYSTEM and find them to be AMAZINGLY ACCURATE on my table.” “A few minutes spent with just these two systems alone will provide an EDGE over the competition that could mean the DIFFERENCE between winning and losing.” “As Walt Harrisknows, in the past I have never been a great fan of systems as applied to carom billiards but I enjoyed studying the aiming systems found in Chapter I and these dead ball systems have a great application for the pocket games.” “In respect to three cushion billiards, a player should build a repertoire of knowledge sufficient to solve most of the problems he faces through play and practice.” Don Feeney
A-19
A-20
Technique (tek-’neek) n.
A method of accomplishing a desired aim.
A-21
A-22
Chapter II Cocoa Beach Tickie Tracks A tickie is able have a “natural angle” so it can be calculated. The speed, stroke and object ball hit are key items that must be studied. These “natural tracks” are shown for both a long table and a short table. You will be pleasantly surprised on how often a long tickie can be made. Bill Maloney’s technique creates tickies that are wide of these natural tracks.
A-23
Tickie Tracks My game has this billiard missed for 30 years. It appears as if my cue ball should come into the corner and score this billiard. Knowing the tickie tracks not only makes more billiards, but it lets you know if you are going to miss the shot. You can then adjust the hit and cue ball english, accordingly.
A-24
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Note: The tracks will be longer on a table with extra slide.
A-26
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Maloney’s Spread Tickie As shown in the drawing, sometimes the second object ball is wide of the basic tickie tracks, but Bill Maloney has a way of making this billiard look easy. He hits the cue ball softly with dead center cue ball english, and a short quick stroke he also elevates the rear of his cue. This resembles a “bump shot’.
A-28
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Bitalis’s Follow Tickie This approach comes in handy when the first object ball is near the rail and a tickie looks impossible. The cue ball is “followed” through the first object ball, with a full hit. Use either left hand cue ball english, or no english, with a followed cue ball.
See also page 143, Byrne’s Advanced Technique in Pool and Billiards.
A-30
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Systems (‘sys-tems) n.
An organized set of ideas To form a plan.
A-33
A-34
Chapter III Long And Short Angle Systems Knowing the third rail hit points will make a big difference in scoring more billiards. You can now aim for an exact point. I stumbled upon this long angle system when I was exploring the diamond system. Not many players knew the hit points on the second rail (short rail). Also shown in this chapter, are Bernie’s umbrella tracks, Ashby’s and Bitalis’s reverse-the-rail methods, and Sang Lee’s unique deadball-draw shot, which seems to turn 3-cushion into “balkline”.
NOTE: A short book could be written just on pages 46 thru 49.. there’s lots of information packed in here. .
A-35
Walt’s Long Angle Tracks One of my favorite systems uses the third rail for an AIM SPOT. This makes sense as you are “behind the shot’. This is far superior to aiming at a first, or second, hit rail point. Finding the aim spot on rail “0” is easy.
A-36
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A-37
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A-38
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A-39
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Long Angle Example This example is designed to aim for an end rail hit spot. This problem is approached by asking; “What would be a basic track from corner Z to score a three rail cushion billiard, if the fourth-rail hit spot is 40?” The approximate path is 80 to 10 (first rail), then on to 7 (end rail), then on to 40 (third rail). After the cue ball hits the first object ball, the first rail hit spot is point “M”, which is close enough to “Z” to use the approximate track above. Now, “feel” your aim for 7 on the end rail, (third rail). After you employ this aiming method, you will find it’s many advantages.
A-40
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A-41
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Walt’s Long Angle Track Shift The path of the cue ball, off the first object ball, is away from the
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A-42
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A-43
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Long Angle Example Ill This system is also helpful on five or six rail shots. Please note that the path from the fourth to fifth rail always shortens a bit. A case can be made for “Why are aim spots so specific and confining?’ If my calculated third rail hit spot is precise, it is more accurate than a general direction.
A-44
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A-45
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Joey’s Short Angles Joe Ventrelli donated this jewel. Two examples are shown. A cue ball location of “A”, or 10, aimed at “0”, returns to 22.5 and has a spread of 12.5. A cue ball location of “B”, or 35, aimed at “0”, returns to 35 and has a spread of 0. Each half diamond has 2.5 tenths of a diamond difference in the spreads. EXAMPLE: A cue ball origin of 15, aimed at “0”, spreads 10 and proceeds to 25 on the third rail. EXAMPLE: A cue ball origin of 30, aimed at “0”, spreads 2.5 and proceeds to 32.5 on the third rail. TABLE CHECK: Sometimes a table will not return to 35, from 35. Test your table and find the “zero” spread origin point. Use the principles above. POCKET BILLIARDS: Since the pocket is in the way, the first rail aim point must be moved to 2.5 (a quarter of a diamond away from “0”). Now find the zero spread origin: maybe 30 will return to 30.
A-46
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A-47
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Shown is a guide where a cue ball, striking at lOon the third rail, returns to 30 on the fourth rail. A cue ball striking 15 at the third rail, returns to 20 on the fourth rail. A cue ball striking at 20 returns to 10. A cue ball striking at 25 goes to the corner. An important path for me is also the return from 30, which takes me about a half diamond from the corner on the short rail. Interpolate between these tracks and basic tracks (from corner “Z”) when a longer angle presents itself. Byrne’s Standard Book of Pool and Billiards mentioned this as a Frank Torres donation
A-48
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A-49
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Ashby’s Reverse The Rail George Ashby donated this “Birdsell” system using different tips of cue ball english for each cue ball location. A level cue and enough speed to make the shot are the two requirements. When the cue ball is at point “A”, it’s aimed at approximately 7 on rail “M”. Use ONE TIP OF ENGLISH to arrive at corner “X”. When cue ball is at “C”, then THREE TIPS OF ENGLISH are used. NOTE: The cue ball can arrive at “B”, from “A” with three tips of cue ball english. This is a “long” reverse-the-rail. NOTE: When this method is used for a “reverse-the-rail,” the short way, calculations are measured in half diamonds. The cue ball spin is a bit different, so practice the above in order to accommodate this system.
A-52
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A-53
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A-54
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A-55
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don’t baby it.
This technique requires practice. Think nothing of hitting this shot 50 times. Ira Sullivan likes to raise the cue butt a bit.
A-56
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A-57
Dead Draw Shot Sang Lee has a variety of shots where dead draw is employed. This example turns a difficult stroke shot into a soft, easy billiard. Just learn the mechanics, and practice, practice, practice. The first object ball is hit very thin. The cue ball english is a low dead draw. It’s stroked with a short follow-through stroke.
A-58
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A-59
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A-60
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A-61
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Note: A book could be written just on Chapters IV, V & VI. There’s much information stored here.
A-62
Dallas On Numbers In the history of U.S. Opens, Dallas West, who is an “Open Champion” is the only player to be in all thirteen events. His comments on Chapter III are as follows: “The ‘Joey’s & short angle tracks’, stroked properly with maximum english, will give the player an accurate set of short angle tracks to use. Care must be taken not to stroke too hard since cue ball english needs to work. The technique of Sang Lee’s dead ball draw shots controls the cue ball magnificently, thus avoiding scratches and providing better position information. For the billiard player, these shots open up a new world of ‘control’. So often in 3-cushion, the tough question is of which shot to select; the ‘right shot’, or the more ‘comfortable shot’? To maintain composure and management, track information is helpful. Ashby’s technique is helpful in ‘kicks’ since this type of shot appears often Walt Harris’sbook will allow the pool player to make the transition into 3-cushion billiards faster, better and easier. The player will have more enjoyment using numbers (systems) and, coupled with ‘feel’, can improve rapidly.”
#63
A-64
The Billiard Atlas (‘bil-yerd ‘at-les) n.
A bound collection of billiard maps, or charts, showing systems and techniques. These work together, with natural ability to fine tune a billiard shot.
A-65
A-66
Chapter IV Walt’s Basic Plus System This is an incredible system that will have you making many billiards once you get accustomed to its back-ups. This shot is ignored by most billiard players because of it’s unfamiliar tracks. This method was stumbled upon while working on the basic track system and its end rail allowance. I felt like Edison or Columbus when this was discovered. The end rail diamonds WERE NOT USED in my calculations. Instead the imaginary long rail was employed, and the plus system became usable. Please note that the first part of this plus system is to memorize the basic spreads. The second part is to memorize the backups to the basic system. The third part is to be able to calculate the desired aim spot on the first rail when the cue ball is located badly.
A-67
Plus Return Examples Two examples are shown, and should be easy to understand. A cue ball origin from 10, aimed at X, returns to 35 and has a spread of 25. A cue ball origin of 60, aimed at “X”, returns to 60, and has a spread of 0. This is shown as path F. Aim point “X” was selected to keep the cue ball away from a tight corner hit. When cue originations are from 80, 70, 60, and 50, the tight corner is hit is tricky. Speed and cue ball english are extremely important from these locations, especially on a Sogard table. TABLE CHECK: Sometimes a table will not behave like this. The cue ball track of “A” might have a spread of 27. If so, shift the system a quarter-diamond, or so. POCKET BILLIARDS: The “X” aim point must be moved an extra ½-diamond away from the table, then use the above procedures. Note: Pocket Billiard examples shown at back of book.
A-68
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A-69
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Walt’s Basic Plus System Returns All cue ball origins from 10 to 80 are now shown. The spread for each cue ball origin is shown in the left hand column and must be memorized. Please note the simplicity of memorizing the returns. Each diamond has 5/10 OF A DIAMOND difference in the spreads. “Golden Plus Rule”: The cue ball, when aimed at point “X,” will return to the third rail halfway between the cue ball’s origin point and the zero spread diamond point (path F). EXAMPLE: A cue ball origin of 20, aimed at “X”, proceeds to 40 on the third rail and has a spread of 20. EXAMPLE: A cue ball origin of 30, aimed at “X”, proceeds to 45 on the third rail and has a spread of 15. EXAMPLE: A cue ball origin of 60, aimed at “X”, has no spread, and returns to 60. Refer to this path as the “base line”. Another way of remembering the spreads, or returns, is to use 50% of the distance between the cue ball origin on rail “M” and the base line.
A-70
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Plus Tracks and Returns
A-71
Plus Back-Ups The spreads, coupled with back-up tracks, are a terrific combination. Shown here are six helpful back-ups. It’s important to check back-ups when examining a table. Worn rail cloth, dirty balls, etc., make a big difference. Some Sogards, or short tables, have different back-up paths. The back-up paths from the third rail to the fourth rail path should be memorized. EXAMPLES:
Track “A” has a cue ball origin of 10, and when aimed at “X”, returns to 35. (It has a spread of 25.) Notice the back-up path. Track “B” has a cue ball origin of 20, and when aimed at point “X”, returns to 40. (It has a spread of 20.) Notice the change in the back-up path
Note: The dashed lines indicate back-up paths. Note: The backup tracks will be longer on a table that has extra slide
A-72
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A-73
Plus Problem Example How do you solve this “Plus” problem when the cue ball is away from the basic track? Note that the desired third rail hit point is aimed at 50.
A-74
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A-75
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Plus Shift To solve this problem, imagine a cue ball location that would be a perfect basic track and when aimed at “X’, would arrive at 50 (on the third rail). The basic track of 40 to “X”, would return to 50. Sight from 40 through “X” to a “spot on the wall” about ten feet beyond table. Aim cue ball at this “spot on the wall.
NOTE: When desired hit point is between 60 & 80, then the “desired basic track” is beyond the table, such as 90 or 100, thus the spread will be minus.
A-76
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A-78
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A-79
A-80
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Words From Above
At long last the age old dreaded “plus” system is tamed. Why this information was not available 50 years ago, Will remain a mystery.~ Joe Ventrelli
A-81
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A-82
Words From Above “Knowing the tracks is required, but if you can’t hit the cue ball consistently to arrive at a specific point, then you’re in trouble.”
A-83
A-84
Chapter IV Diamond and Track Systems I hated the old “Diamond System”. Some experienced players do well with it, but to attempt to teach it to a novice is ridiculous. I know many players with forty to fifty years of experience that still struggle with it. This chapter reveals a different way of making a bank. It’s quite accurate with many numbers to remember. Please note that all basic diamond systems are complicated. With this innovation, you can go from table to table and make adjustments quicker and easier. The tournament tables at the championship level are quite different and seldom seen by the average player. The balls are new, and of course, the tables are heated, as well as covered with new cloth. The cue ball paths are somewhat different since the amount of table slide is unfamiliar to most players.
A-85
Diamond System Tracks Shown here are the famous old Diamond System paths. I first tried this system of tracks in 1947, and suffered for years trying to make them work. Notice the “spreads” for the third rail and fourth rail hit points. The top players DO NOT use these tracks and if some do, the cue ball english and speed are manipulated. A U.S.A. champion once said his personal system of tracks were private property and not available to anyone. The average billiard player can’t comprehend why somebody like Hoppe,along with the books afterward, would lead them astray! After all, we assumed cue ball english would be standard. There are zillions of players that still believe in this system and DO NOT use allowances or manipulate the cue ball.
A-86
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Diamond System, Problem A Another error in the original Diamond System is the corner cue ball origin. The cue baIl is usually shown as coming out of the corner, when the correct place should be from diamond 80. When the cue ball is away from the corner, the player calculates the proper path in terms of even “diamonds”. As you can see from this drawing, coming out of the corner and aiming for the opposite corner has a cue ball origin of 80 plus 4/10 of a diamond. The difference between the corner-to-corner track, and the corner-to 50 track, is 3/10 of a diamond.
-
WHY ARE ALL CALCULATIONS IN EVEN DIAMONDS EXCEPT THE CORNER? Note: The same principle applies when aiming into the corner. Care must be taken with the extra distance beyond the imaginary corner diamond.
A-88
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A-89
Two Diamond Tracks Try to have your cue ball follow these two common tracks from the existing old Diamond System. This will reveal how cue ball english and speed have to be MANIPULATED to have the cue ball follow these paths. One good player once said “Whavs wrong with manipulating cue ball english and speed?” Why not simplify this system for the new players in his way: 1. Standardize speed 2. Standardize cue ball english 3. Then establish a set of paths based on this. 4. These values can be taken to any table and the deviation can be adjusted.
Note: The tracks will be longer on a table with extra cloth slide.
A-90
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A-91
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80-to-30 Basic Track Let’s establish a standard for the cue ball english and cue ball speed, then memorize the hit points on the various rails. This particular shot was tried on all four corners on many tables. Sometimes a particular corner was different, and sometimes a table was different. My search was to establish an AVERAGE SET OF NUMBERS for this path as shown on the drawing. This should be a player’s test shot when examining a table. Usually the fourth rail hit point is the variable. Much cue ball side english is required, so you can strike the cue ball softer and know more about the destination of the object ball. This is very important for position play and avoiding kisses. NOTE: On a table with extra slide, these tracks will be 2/10, to 4/10 of a diamond longer.
A-92
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A-93
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80 To 30 English and speed were only vague concepts when the old diamond system was discussed. This drawing shows five tracks on the 80-to-30 basic track. Track “A” is the old diamond system path and the third rail hit point is 20. Track “B” is the modified version of the diamond system and has the ball edge touching the cushion at 20 (not through the diamond of 20.) Track “C” is Walt’s Basic Track for a THREE RAIL SPEED and 2 tips of english. The hit point is through point 23. Track “D” is the same as track “C” except it’s FIVE RAIL SPEED and the hit point is through 25. Track “E” is the same as track “C” except it’s SEVEN RAIL SPEED and the hit point is through 27. Memorize the five rail speed hit points and subtract 2/10 for three rail speed and add 2/10 for the seven rail speed. This method probably could use some refining, but it’s fairly accurate. I have often tried different english and speed on the “A” track so I could go from the corner to 30 and then to 20. My experience showed the cue ball had to be hit high, with not much english and slowly. NOTE: The tracks will be 2,
to 4 tenths of a diamond longer, on a table with extra slide.
A-94
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A-95
80-to-30 Returns Using the same description as indicated on the previous page, notice the fourth rail hit points. These cue ball paths, from the third to fourth rail, are shown for a long table, such as an old Brunswick or a well kept Wilhelmina. The Sogard is shown here at five rail speed. Sogard tables may have hit points like “C” and “D” (they vary a bit) This is also one of my test shots. NOTE: The cue ball paths will be 2/10 to 4/10 of a diamond longer on a table with extra cloth slide.
A-96
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A-97
80-to-0 Returns Another cue ball path that is examined, is the 80-to-O path. Notice the fourh rail hit spots using the variations noted on page 98. The Sogard track is shown at five rail speed. I have often attempted various cue ball speeds and cue ball english for the “A” path (the old Diamond System) in an effort to connect the corner-to-corner, to 20*. My cue ball english bordered on a masse. A siliconed ball, or new cloth slide could connect these tracks. Cue ball english and speed couldn’t possibly be standard on the old Diamond System. The examples of corner-to-corner, and corner-to30 revealed this. In order to have the cue ball follow the tracks, cue ball english and speed has to be a variable. NOTE: The tracks will be 2/10, to 4/10 of a diamond longer, on a table with extra slide.
A-98
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A-99
20*
Basic Tracks For Four Rails More paths, or also called tracks, were established in my search for a “list’ of basic values (rail hit points). These numbers will be shown on a separate schedule so they will be easier to remember. Please note these tracks are for five rail speeds and a long table. Notice the spreads on the third and fourth rail hit points, between the 80-to-30 and the 80-to-0 tracks The spreads on the old Diamond System are at LEAST 50% LARGER. The only way you would know this is to learn the old Diamond System. The third rail hit point numbers and the fourth rail hit point numbers, formed the values I was looking for. Any table that would tested in the future should be adjusted using these values.
A-i 00
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_________________ A-i 01
spread is 13 br a short table
More Basic Rail Tracks Three more cue ball origins are added to the previously-shown basic tracks. The third and fourth rail hit points must be remembered. This is at five rail speeds. Three rail speed and seven rail speed must be adjusted as shown on the previous pages. A worthwhile test shot is from an origin of 10*, with a seven rail cue ball speed, to find the sixth rail hit point.
A-i02
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A-103
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Seven Rail Speed Track This drawing indicates the fifth and sixth rail hit points. Starting from 80 and going to 30, the fifth rail hit spot is 75 with the sixth rail hit spot at ii. This is for a long table. For a well-kept Wilhelmina, the sixth rail-hit spot is shorter, and may hit between 16 to 18. On
a Sogard, the sixth rail hit spot is 20. This is another test shot.
Again, this all must be memorized.
A-104
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A-105
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5th-to-6th Rail Tracks Seven tracks are shown which include the fifth and sixth rail hit points. They range between 80-to-30, and 1 0*~to~0. “A” is 80 to 30, with a fifth rail hit point of 75 on rail “N” and a sixth hit point of ii on rail “M”. “B” is 80 to 20, with hit points to 70 (fifth rail) and 7 (sixth rail) “C” and “D” are as shown. “E” is 3Q* to 0, “F” is from 20* to 0, etc. See the following table for a summary of hit points. The long rail fifth rail hit points are in increments of 5/10 of a diamond (except for “G”). The long rail sixth rail hit points are in increments of 4/10 of a -diamond. The short rail sixth rail hit points are in increments of 3/10. Sogard’s sixth rail hit spots are shorter.
A-106
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Walt’s Basic Track System Remembering the basic tracks: 5 RAIL SPEED
7 RAIL SPEED
3rd
4th
5th
6th
Rail
Rail
Rail
Rail
80to50
5
68
80to40
15
75
8Oto3OA
25
3*
75
ii
8Oto2OB
33
7*
70
7
8OtolOC
40
11*
65
3
8OtoO D
45
15*
60
C
30*too E
50
19*
55
1*
20*too F
55
24*
50
3*
i0*toOG
65
29*
47
7*
The 3rd rail sequence is easy, since it’s in a 5 series except for 33. The end rail is simple since its in increments of 4, thus 3, 7, ii, 15 & 19. Most of the 5th rail numbers are in sequence of S’s. Memorizing these track locations will enable you to find where you need the ball to arrive. Note: The tracks will be longer on a table with extra slide.
A-lOB
Words From Above
Check each table to see how it varies from your known values, or hit points. If it varies, move your hit points to accommodate the table.
A-109
80-to-lO, Sight Line As shown from the drawing on basic tracks, the track hit point on the third rail is 40, and the track hit point on the fourth rail, is 11*. The sight line from the third to the fourth rail is not 40 to 11*. It is about 8/10 of a diamond BEHIND 40, or 32 to 11*. Please note the sight line from second rail. It’s important in umbrellas shots.
A-lb
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A-Ill
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Sighting This drawing indicates how to sight from the third rail to the fourth rail. The basic tracks are shown giving the sight line for each from the third rail. Please note that adjustments are needed as shown. Since most of the adjustments are between 7/10 and 9/10 of a diamond, try to memorize, and use 8/10 of a diamond, except for the long angles.
A-112
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Connecting Paths, Allowance, and Shift This page is quite important. When the cue ball is away from the corner, and a new path is desired, here’s the procedure. Shown are two cue ball positions, “5” and “1”. Assume you want to hit point 25 on the third rail and have decided the basic track of 80-to-30 will do it. You are away from the corner and need an adjustment. The new alignment uses two diamonds on rail “M”, for every one diamond on rail “N” to find my new aim spot. In position “5”, aim at point 20. For position “T”, aim at point 10 (for third rail hit points only) From the third rail to fourth rail, the track changes and SHORTENS. When this occurs, an allowance must be used to arrive at desired fourth rail hit. The “Seattle Kids” allowance is employed and easy to understand. Whatever percentage the cue ball location is on rail “M”, is the percentage of a diamond adjustment on rail “N”. For example, a cue ball position “T” (on rail “M”) is away from corner “P”, as shown. This cue ball is half way from the corner or uses 50 % of the long rail. Then 50% of a diamond must be added to 10 on rail “N”. This is the new aim spot for the cue ball so as to anive at 3* on the fourth rail. Position “5” has a 25% adjustment. In the case of position “1”, a 1/2 diamond difference on the first rail creates a half-diamond difference on the third rail, so the track shifts on the third rail to the desired hit point on the fourth rail. Thus a new track of 30 to 3* is created. The new path is important, so go over the entire shot and recalculate. Once you get the hang of it, it’s simple. Bryne’s Standard Book of Pool and Billiard wrote about this allowance also.
A-114
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A-I 15
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Short Cut For a three-rail billiard, there is an easy way to find where to aim no matter where the cue ball is. Again, this is only for a third rail hit point. Sight along the needed basic track to hit into point 25 on the third rail, and that would be a 80-to-30 path. Then find a point along this 80-to30 line to a point about ten feet beyond the table. We call this point a “spot on the wall.” Aim the cue ball at this “spot.” Note: The fourth rail spot is calculated as shown on the previous page.
A-il 6
Words From Above
Robert Bryne says Hoppe’s Diamond System has confused hordes of students and has driven them into bowling. See page 330 of Byrne’s Standard Book of Pool and Billiards. Robert Byrne
A-1b7
A-1b8
Chapter VI Walt’s New End Rail Alignment And Allowances Here is a new way to align and employ allowances when the cue ball is away from the corner and along the short rail. This seems too easy not to be known by tons of players, but in my fifty years of playing, I have never seen it. The numbers used here are difficult to remember, especially the allowance numbers. But thats life. Ah, the end rail calculations! Located on the following pages is an arduous analysis of how to find the exact cue ball path when the cue ball origin is from a short rail.
A-i 19
Existing Diamond System End Rail Allowances When the cue ball is away from the corner and along the end rail, a similar principle is applied to determine the new aim spot, except one diamond on rail “0” for every diamond on rail “N” is the new alignment. Note that this alignment is “long” when trying to hit fourth rail hit spots. When allowances for the fourth rail hit spots (rail “0”) were discussed, or printed, I found many theories on this subject. A few of them are: 1. Use” Seattle Kids Allowance”. 2. No allowance.
3. The European six ball allowance. 4. Zones of no allowance and zones of increasing allowance as a cue ball is further away from the corner. 5. Hoppenever mentioned allowances, and this was a set back billiards. Since there were few places to find study material, the student soon found great problems as the reward for his efforts. It’s possible that many very high level players do not have good data regarding fourth rail-hit points.
A-120
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A-i 21
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Walt’s Basic Track End Rail System It was 1988, and I was in Cocoa Beach, Florida without a billiard table, and I decided to read everything I could on this subject. I was trying to make some sense out of the diamond system. This was when I stumbled on a different approach to the end rail diamonds. I knew a cue ball located away from the corner and on THE LONG RAIL made the diamond system okay if the Seattle Kids’ allowance was used. What if these principles were applied to an imaginary table below and beyond the existing table, and the imaginary long rail was used for calculations? This was the birth of my end-rail system. There are many numbers to remember, more time is required to calculate a billiard, but the results are MORE ACCURATE. For example, this drawing reveals the basic track of 80-to-i 0 and the first alignment is 8 (on rail “0”) to 20 (on rail “M”). This alignment uses 2 diamonds on rail “N” to one Diamond on rail “M”. The large number is used for three rail shots. The small number, next to the large number, is the allowance needed for the fourth rail hit spot. The Seattle Kids’ Allowance is used, except the originating allowance point is NOT the short rail, but the imaginary long rail. So point “F” is 25% away from point “X” (on the imaginary long rail,) then 25% of a diamond is added to rail “M”. Thus the new aim spot is from point “F” to 22.5. This crossed rail “0” at 8, thus no allowance is used.
A-122
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11 For a three rail shot: UneAgoes from 8”to 20 UneBgoes from 16’ (0’ plus8’) toSO Une C goes from 24 (8’ plus 8’ plus 8’) to 40 Une D goes from 29’ (8’ plus 8’ plus 8’ plus 5’) to 50
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The cue bell will be long for a 4 rail shot 40 so an allowance must be added: Une A add .25 of a diamond (.25% of the imaginary rail) ...alm at 22.5 Une B add .50 of a diamond (.50% ot the ImagInary rail) aim at 35 Uno C add .75 of a diamond (.75% of the Imaginary rail) ---aim at 47.5 50 Une 0 add 1.0 of a diamond (100% of the imaginary rail) aim at 60 NOTE: An error occurs here. an additional allowance Is needed on rail ~P’ when you sight from point Z’, notice that this line does not cross rail ‘P at 29, but at 32.. estimate this by sighting from point 1’ 60 to 60 to a spot on the wall about 12 feet beyond the ta~e.
I_________ i. NOTE:
7° ~point 80 Z’ is done right to left
ltIl tIIl~,IllI lIIl ,IIII(lIII IIIt III 1 1 4 1 1
Memorizing 8, 8, 8 & 5,
A-123
End Rail System Example The basic track of 80-to-0 has certain hit points on the third rail as described in the BASIC SYSTEM (page 101). When the cue ball is located elsewhere, you must realign to reach the desired third rail hit point. When the cue ball is away from the corner and along the short rail, the first alignment is from 7 (the cue ball origin) to 10 (the first rail aimed at). The second alignment is from 14 (7+7) to 20. The next alignment is from 21(7+7+7) to 30. The next alignment is from 27 (7+7+7+6) to 40. These numbers are for THREE RAIL SHOTS ONLY, and strike the third rail as shown in the basic track system. To strike an exact fourth rail hit spot an allowance must be added. The first alignment is from 7 with no allowance, so aim at 12.5 on the 1st rail. Why? Line A uses ¼ of the imaginary long rail, thus a ¼ diamond adjustment is needed. First rail point is 10. Add 2.5=12.5 The second alignment is from 14 (line B) to 20 with an allowance of ½ diamond, so aim from 15(7+7+1) to 25. Thus 20 + 5 (half diamond) = 25 etc. Everything is detailed clearly in the diagram. Think of it this way: its just a long phone number to remember.
A-124
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-
10
,
For a three rail shot: UneAgoesfrom 7’ to 10 Une B goes from 14’ (7’ plus 7’) to2O UneCgoesfrom2l’ (7’ plus 7’ plus 7’) toSO UneOgoesfrom27’ (7’ plus 7’ plus 7’ plus 6’) to4O
N,, N N N
20
~
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N
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N N
N N N
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N
N N
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N
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40
N N
040
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The cue ball wf II be long for a 4 rail shot so an allowance must be added: Une A add .25 of a dIamond (.25% of the Imaginary rail) aim at 12.5 -0 Une B add .50 of a diamond (.50% of the Imaginary rail) aim at 25 Une C add .75 of a dIamond (.75% of the imaginary rail) aim at 37.5 Une 0 add 1.0 of a diamond (100% of the imaginary rail) aim at 50 NOTE: An error occurs hare...an additional allowance Is needed on rail ‘V when you sight from point ‘K’. notice that this line does not cross 0 rail ‘Vat 27, but at 29....estlmate this by sighting from pointK’ to 50.
1
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A-125
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For a three rail shot: Une Agoes from I& to 60 Une B goes from 32’ (18’ plus 14’) to 70
°
200
°20
300
030
40°
040
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-
N
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The cue bell will be long for a 4 rail shot so an allowance must be added: Une A add .25 of a diamond (.25% of the Imaginary rail) ---aim at 62.5 Une B add .50 of a diamond (.50% of the imaginary rail) aim at 75 NOTE: An error occurs here,.,an additional allowance Is needed on rail ‘V when you sight from point ‘K’, notice that this tine does not cross rail ‘Vat 32, but at 36,.,estimate this by sighting from point ‘K’ to 60 to a spot on the wall about 12 feel beyond the table-
70
0
I~~’L’
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A-126
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For a three rail shot: UneAgoesfromlo’toSO Une B goes from 20’ (10 plus 10’) to 40 Une C goes from 28’ (10’ plus IC’ plus 8’) 1o50
N N
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Une 0 goes from 34’ (10’ plus 10’ plus 8’ plus 6’) to 60 N
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The cue ball will be long tor a 4 rail shot so an allowance must be added: Line A add .25 of a dIamond (.25% of the Imaginary rail) aim et 32.5 Line B add .50 of a diamond (.50% of the ImagInary rail) aim at 45 Line C add .75 of a dIamond (.75% of the Imaginary rail) aim at 57.5 Line D add 1.0 of a diamond (100% of the Imaginary rail) aim at 70 NOTE: An error occurs here. an additional allowance is needed on rail ‘P’ when you sight from point X’, notice that this line does not cross rail P’ at 34, but at 37....estimate this by sighting from point K’ to 70.
I
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A-i 27
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Uneegoesfrom22’(lO’ plus6’ pius6’)to2O C goes from 26’ (IC’ plus 6 plus 6’ pius 4’) to \ \ Line 30 \ \
N
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For a three rail shot: UneAgoesfroml6’tolO
N
—
20
1111
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N
-
—
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N
N
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The cue ball will b-a long for a 4 rail shot so an allowance must be added: Line A add .25 of a diamond (.25% of the Imaginary rail) Line B add .50 of a diamond (.50% of the imaginary rail) Line C add .75 of a diamond (75% of the imaginary rail)
A-i 28
onint 2’ aim at 12.5 aim at 25 aim at 37.5
0
t
r
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10 For a three rail shot: UneAgoes from 12’ to 40 Line B goes from 22’ (12 pIus 10’) to 50 Line C goes from 30’ (12’ pius 10’ pIus B’) to
0 -
60
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The cue ball will be long for a 4 rail shot so an allowance must be added: Line A add .25 of a dIamond (.25% of the Imaginary rail) aim at 42.5 Line B add .50 of a diamond (.50% of the imaginary rail) aim at 55 Line C add .75 of a dIamond (.75% of the Imaginary rail) aim at 67.5 Nolt: An error occurs hera..en additional allowance is needed on rail ‘V when you sight from point ‘K’, notice that this line does not cross rail ‘V at 30, but at 34...estimate this by sighting from point K’ to 67.5 to a spot on the wall about 12 feet beyond the lable.
A-129
More End Rail I found the allowance numbers difficult to remember so I developed a technique to find this cue ball path.
1.
My cue stick is marked with four diamond distances so that I can measure one to four diamonds on the imaginary table.
2.
In the case of the 80-to-40 path, when the second
alignment is 26 (14+12) to 60, I put a piece of chalk on the end rail at 26. 3.
With my cue stick as a ruler, I move to point “A” and sight to 65, then move this piece of chalk to this new a point on the end rail. By sighting, the line has been changed to reach a fourth rail-hit point.
1.
The Seattle Kids allowance method was used for the fourth rail-hit spot. Note: Note:
Allowances are not used for calculating a third rail-hit point. Once the track is found, and the “allowances” employed, then sight along this line to a “spot on the wall” about 10 feet beyond the table. If the cue ball is between tracks use two tracks and br two “spots on the wall”, and interpolate.
A-130
~ :
N 0
•
10
0
7
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20°
30
10
°20
Forathreerallshot Line A goes from 14’ to 50 Line B goes from 26’ (14’ plus 12’) to 60
-°
— N
40
°40 -
50
N
N
N
N
* NNN
60
-
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A-131
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A-i32
aim at 12.5 aim at 25 aim at 37.5
End Rail Track Numbers & Allowances Basic Tracks 1st alignment
80to50 80to40 80to30 80to20 SOtolO 8Oto 0 BOto 0 8Oto 0
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next alignment
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There are many numbers to memorize above. More time is needed in finding the correct path, but this method is certainly more accurate.
A-133
Words From Above Spend
some time with each
system. Get to know it and evaluate your stroke against it. When you’re comfortable with one system, move on to the next.
If
you have trouble with one, let it rest awhile and concentrate on another before going back and looking at it a second time. Tom Shaw
A-i 34
Proprietor’s View Chris Crisman is a veteran billiard room operator in Chicago. His years of watching world class players, champions, top players, top hustlers and play in general gives him a unique insight into the billiard world. He writes: “I have witnessed over 2000 pool and 3-cushion tournaments during my 40 years of billiard participation and room ownership. During pool tournaments it’s obvious who has carom billiard knowledge and who doesn’t and many very good players cannot control the cue ball or solve simple carom problems. This lack of knowledge separates them from the top players, many who play 3cushion well. There has never been anything written like this. These systems and techniques open the door of possibilities for the pool or 3-cushion player like never before. The serious player, seeking information, now can proceed beyond his current level of play. A player knowing rail hit point systems can make multi-rail banks or ‘kick’ shots and can snooker with more confidence and aplomb. Strategy is very important in all pocket games so if a player knows his ‘inning average’ of pocketed balls, then he can better plan his proper percentage toward safety play. Having carom knowledge builds confidence and makes a big difference when a pressure situation arises. Lacking this knowledge can be devastating when a crucial situation arises.” Chris Crisman
A-i 35
A-i36
Words From Above
The desired cue ball location is not so easy to find. The desired cue
ball path must be mapped out in advance.
A-i 37
A-i 38
Chapter VII Across The Table Most across-he-able shots are played with a certain technique. Richard Bitalis, Billy Smith and Carl Strassburger contributed to this section. Bitalis’s video film on the subject has the first object ball driven to the short rail, parallel to the long rail, which provides position or safety. Strassburger says if you wish to avoid a cue ball arc, “don’t follow throughh your stroke. This creates a hard to control arc. As you improve, you can master the arc. Billy Smith says the cue tip hits the cue ball in a clock-like fashion with the cue tip aimed at the edge of the first object ball. When all of the above is considerd, the “variable” is where the cue tip hits the cue ball, thus the player has less to remember.
A-i39
More Billy Billy Smith has a complete system for across-the-table shots, and it works. I swore an oath not to reveal it since he gives lessons, but since I paid for the lesson, I feel it can be passed on. A “BASE TRIANGLE” is used and the end rail is numbered to coincide with the cue-tip-hit clock numbers. If your angle is on the basic triangle, then
two o’clock cue ball english
will hit point two on the end rail as shown in the drawing. With three o’clock cue ball english, the cue ball will hit point three on the end rail. This will give you an idea of how to stroke the cue ball and a basis to determine narrower or wider angles. If you wish more precise information, phone Billy.
A-140
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A-141.
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Hallon’s Across The Table Carlos Hallonhits the cue ball low and elevates the rear of his cue. He raises his bridge a bit and drives the ball (this is not a draw shot.) His hit point on the first rail is about one ball width below the first
object ball, as shown on the drawing. The VARIABLE IN THIS SHOT is the amount of right-hand english. The further the object balls are apart, the more right hand english is required (two tips maximum). The two examples demonstrate 1/2 tip to 2 tips of right-hand cue ball english. A maximum of one diamond spread between the object balls is desired. The angles are so shallow that a three rail, or a four rail billiard is available at the five rail speed. Learn to hit your cue ball low without drawing it.
A-i42
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A-143
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Words From Above “The first obligation is to
make the billiard.”
Richard Bitalis
A-146
George Fels Our Poet Laureate his humor and wit add so much to our Billiard World. His Damon Runyon characters give our game the romance it -
needs.
George also gathers information that can help your game. His “101 Tips” in the Billiard Digest magazine was first-class. Here are several tips that really apply to 3-cushion:
The only other sport that demands pool’s and billiards’ level of concentration is golf because, once again, you’re attacking an -
inert ball and have no opponent to interfere with except the game
itself. Bear down. Always come to a complete stop after the last practice stroke and check you aim. If it looks and feels perfect, pull the trigger. If not, stand erect and adjust. Helps establish a consistent stroke and playing rhythm.
Do not adjust your aim while still in your shooting stance. You’re odds on to miss.
Most good players begin sighting the shot while still erect, rather than waiting until they’re in their stance. Three to five practice strokes are plenty. More than that and you
force your self out of rhythm, and begin to put unnecessary pressure on yourself. Forget the old saw about “no more than a cue-tip’s worth of english.” With today’s equipment, you’ll never get the cue-ball
control or position you want that way. Use no english whenever possible but that will be possible less than you think and learn to apply all the english you can control.” -
-
A-147
A-148
Chapter VIII Chicago First Rail Tracks This rail first billiard pattern has natural angles and paths.
Cue ball speed, english, and stroke are all standard. A cue ball path is established for each cue ball origin. This method will help in removing the mystery that surrounds this type of billiard pattern.
A-149
Rail First Track Is there a way of calculating this rail-first billiard so the cue ball can come out of corner “P” and reach the third rail near point 48.5? The answer is yes. Please note that cue ball english and cue ball speed are fixed. The object ball hit is also. When the cue ball is along line “A”, the first object ball should be located at 32.5 for the cue ball to come out of the corner with spinning english and hit the fourth rail approximately 16/10 of a diamond away from 32.5 to 48.5. This is the cue ball path when the cue ball origin is from the first diamond on the short rail. This is to be memorized along with the approximate backup as shown. The first object ball MUST BE HIT RATHER FULL with cue ball english as shown.
A-iSO
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A-151
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Six Rail First Tracks Six specific cue ball locations are shown here, “A” thru “F”. Six object ball locations are set up for each cue ball location. We want to have cue ball come out of corner “P” with ample cue ball spin. Memorizing these tracks is easy. The first object ball locations are between 32.5 and 7.5. Please note that these locations are a half a diamond apart. Remember “A” at 32.5... .“B” at 27.5... .“C” at 22.5... .etc. The “E” and “F” tracks become a bit tricky, since a full object ball hit is not desired. Employ a thinner hit, especially in the “F” track.
A-152
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A-153
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Rail First 3rd Rail Returns The third rail returns to the fourth rail have an easy pattern to memorize. Previously, the “A” track was shown with a third-to-fourth rail return of 1.6 diamonds, This 16, when added to 32.5, has a fourth rail spot of 48.5. The “B” track is 27.5 to the corner, then to 45.5, and has a spread of 18. The spreads change basically by 2/10 of a diamond for each cue ball location. Memorize “A” as 16/10 and “B” as 18/10, and “C” as 20/10, with each new position changing by 2/10 of diamond. It’s like remembering two phone numbers. Since hit, cue ball spin, and speed are a bit tricky, the returns can
vary somewhat. However, this but can be used a general guide.
A-154
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A-155
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Rail First Track Shift Unfortunately, the cue ball is seldom where you wish it to be. When this happens, a parallel method is to be used. If the cue ball a cue ball is lying at an “A” origin, but the first object ball is at 22.5... .how do you find this new cue ball path? Find the normal basic track for cue ball location “A”, which is 32.5 to corner, then to 48.5. Now parallel a line thru 22.5 to track “A”, and estimate the distance between tracks. Parallel a line to track “A” from the corner to the fourth rail using the distance estimated. This is the new cue ball path.
A-156
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A-157
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Rail First Hit Method “rail first” thin hit on the object ball is sometimes required. I’ve used this method of finding a first rail aim point many times around Chris’s Billiards in Chicago.
A
Distance “X” is the space from the outside edge of the first object ball to the rail (perhaps a millimeter less). Draw a line perpendicular to the rail and through the center of the first object ball. Along this line, use distance “X” from the rail edge and away from the table (point “A”). This is the aim point for the cue ball. NOTE: Tickies are also measured like this, except “X” is the distance between the rail and the inside edge of the first object ball.
A-158
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A-159
Donnelly’s Kiss Back Mike Donnelly offered this old balkline technique for the “kiss back” shot. Draw an imaginary line from the center of the cue ball into the center of the first object ball. Next, draw a line thru the center of the first object ball to the desired cue ball path (to the first-rail hit point). Mark both of these center lines on the “outside” of the first object ball (points A & B). Find the halfway point between A & B on the outside of the object ball. This is the aim point for the cue ball (point C).
A-160
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A-161
Words From Above “Your theory of tracks must be accurate and you must be able to calculate the new adjustments correctly. Technique enters as a most important factor.”
R. Ceulemans
A-162
Ray On Rail First Ray Martin, a three-time world champion straight pool player, examined this rail first system. His stroke fit this system perfectly and his cue ball paths were identical to the text. Ray stated: “Many useful variations can be employed by paralleling this rail first method. A ball in hand situation is now made easier.” Ray also checked out the SID AND BERNIE SYSTEM in Chapter I and commented: “These will be put to use immediately.”
A-163
A-i 64
Chapter IX Kisses and Position Top players get fewer kisses and better position. World class players hardly ever get a kiss. This makes a tremendous difference in billiard production. The best players obtain position also. We monitored the kisses, miscues, whiffs and fouls on four players in the Eastern Classic in May 1991. Raymond Ceulemans takes great care of his cue tip before each inning and seldom miscues. Based on 100 point games, these good players would have raised their average about 20 points, if the above errors were eliminated. This chapter is brief, since position information is available in other writings. Cochran’s article on kisses is short and sweet. Together with the bump shot, Merle Smith’s follow technique and Sang Lee’s contributions, the player will now have more tools to use.
A-165
Avoiding Kisses There is nothing more exasperating in three-cushion billiards than to see a well-executed shot, on the verge of completion, spoiled by accidental contact with one of the object balls rolling around the table. In billiard parlance, this is a “kiss”. This costs the average player many a point. No set routine can be mapped out to eliminate kisses in three cushion play, but certain procedures may be outlined which will help you. One of the most common causes of kisses is the cue ball’s striking the first object ball exactly half full. Both object ball and cue ball then will travel at the same speed in opposite directions, and after striking the various cushions are likely to meet again in the center of the table. I don’t mean that you are never to hit the object ball half full, because there are many shots where this must be done. But I mention this to give you some idea of how to make your calculations. Kisses can sometimes be avoided by adding a little additional speed to the shot, also by striking the cue ball low and getting a draw action off the first cushion. When playing ordinary ‘naturals,’ where the kiss is so common, you should make up your mind in advance whether you will try to make your cue ball go ahead of the object ball or will instead drive the object ball ahead and make the cue ball come after it. In the first case, it is necessary to strike the first ball thin; in the other, more than half full. If there is doubt in your mind as to whether the kiss can be avoided, go off the other edge of the first object ball to the end rail, instead of to the side rail, as is usually done.
A-166
Also remember that there are several ways of making the same shot. Avoid the one where the kiss is likely, even though another choice may be slightly more difficult to execute. Another thought that is not amiss here is that, all things being equal, it is usually good policy to shoot at the ball nearest you. You will be more accurate in your aim and more effective in your stroke. Billiard fans marvel at the way experts avoid kisses. You may rest assured that these players make up their minds thoroughly just what they want to do to avoid the kiss. In this respect they differ greatly from the average player. If you are constantly getting kissed off on the same type of shots, try striking the object ball fuller, driving it ahead of the cue ball. In the event this fails, try striking the object ball thinner. If both fail, I should certainly look for an entirely different method of playing the shot. Our thanks to the ABA for the above: Taken from Welker Cochran’s “Scientific Billiards”; Copy donated by R. L. Sutton
A-167
The Champ’s Unique Variation This diagram has Sang Lee using a thin object ball hit with very little cue ball spin. The third rail aim point is generous, and the target is enormous. This is a terrific example of finding another way to play a shot to avoid a kiss.
A-i 65
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A-169
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A-170
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A- 171
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Merle Smith’s Follow System This is a unique system that gives you a good idea where the cue ball is going on many follow shots. Rail “M” is given numbers as shown, and the cue ball is given numbers much like a clock. If diamond 2 is a desired hit point on rail “M”, then 2 o’clock (or 10 o’clock) is struck on the cue ball and the “cue tip” is aimed THROUGH THE CENTER of the first object ball. When the cue ball and first object ball are close to rail “0”, then the cue stick rear needs to be raised. This system can have the cue ball and first object ball almost any place on the table but a decent follow shot must be available. Full ball hits, to miss a kiss, are used often and this system is quite workable -
A-172
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A-173
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A-i74
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A-175
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Words From Above “Between a choice of shots, the draw is more difficult”. R. Bitalls
A-176
Concentration, Care and Execution Bob Daniels, an observer of the billiard scene, has an interesting insight into the difference between “A” players and “B” players. In a 25 point game, the “B” player: 1. 2. 3. 4.
5. 6.
Makes more miscues and fouls. Gets about a half-dozen more kisses. Selects six less position-shots. Hastily shoots ten shots without proper thought and concentration. Is unable to shoot left-handed. Shoots too hard. Loses control of the balls, which offers too many easy shots for his opponent.
This scenario is theoretical, but it points out what the “B” player is doing differently. Much care is required; so don’t let opponents goad you into shooting hastily. Once you employ new information, your game will speed up. Carlos Hallonconnects all his hit points, determines his cue ball paths, looks for position, safety, and takes a kiss into consideration. He does all of this quickly, almost like he is shooting from the seat of his pants.
A-177
Diamonds Are A Billiard Players Best Friend
A-178
The Dallas West Hand Release When confronted with a power shot, which includes a power-draw or power-follow, to obtain maximum results, the bridge fingers and some butt-hand fingers should release the cue. When the cue tip is in the follow-through stage, this release takes place. Miscues and skipping are minimized and maximum cue ball action takes place. Practice releasing the fingers on your bridge hand when the cue shaft starts binding. Then release all but the little fingers (and palm) on the cue butt hand. This creates a shift to the back of the hand for stroke freedom in the follow-through.
A-179
Words From Above
“Every moment I hold a cue in my hand I consider golden.”
W C. Fields
A-180
Ray’s Unique Dead Stop The eight ball has to be driven ten to twelve feet, while the cue ball stops immediately behind the nine ball. Ray Martin executes this with ease. This technique creates a possible game-winning situation, especially if the cue ball freezes behind the nine ball. Hit the cue ball with a center-ball hit and the cue slightly downstroked. The eight ball is hit full with a quick stroke. The technique hits the first object ball firmly with little cue ball movement.
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Finat position of the eight ba
A-181
N
Words From Above “Billiards
experts
claim
that
systems are available for a much large percentage of shots than you think.
Find yourself a qualified
teacher and explore this.” George Fels
A-i 52
The Florida Fan Shot This common shot appears often and is not attempted by most room players. This technique does wonders for EXTENDING ANGLES and avoiding kisses. Carlos Hallonand Bill Maloney explain the details of this wonderful technique; as described below. i.
The first object ball is fanned.
2.
Use a very quick stroke.
3.
considerable wrist movement is required.
4.
Warm-up practice strokes are rapid machine-gun-like movements.
5.
The cue stick is slightly down stroked.
6.
Maximum 4-o’clock cue ball spin is used, possibly with more side spin.
7.
The cue ball is not drawn, but driven.
8.
This shot is a mini-masse, curving ever so slightly around a fan hit.
9.
The cue ball is hit soft for maximum spin.
10.
A Low bridge is used.
Ii.
Stand sideways to obtain the fewest obstructions.
12.
Practice this method to get the feel for this all-important “stroke.” A-i83
A-i54
Shaw On Three Cushion & Pool Tom Shaw, writer and senior associate editor of Pool and Billiard magazine is also a profound collector of pool and billiard books and videos. He “globe trots” in this pursuit. He has an intense interest in our sport,and this quality makes him billiard’s “great friend.” He writes: “In America, pool has always been the accessible sport and 3cushion billiards has been the imposing sport. There are a number of reasons for those images. Pool can be scaled down and played on a game-size table of 8 ft. or less. Pool has enough variations to appeal to every personality: for action players, there’s 9-ball; for purists, we have 14.1; for strategist, there’s one-pocket; for tyros, there’s 9-ball; and for a little hocuspocus, we have bank pool. Pool also has a visual ending. When the balls are gone, the game is over. The number of reasons could be easily expanded, but most of them whittle down to the fact that 3-cushion is more formidable than pool. Geometry was never as popular as gym. Yet the sports are closer than cousins- A knowledge of 3-cushion has pulled the fat out of the fire for many a pool player. It’s just that far fewer people have the knowledge. One reason is the immediate discouragement they feel when they attempt to learn 3-cushion. The core of the game--hilling three cushion-- would seem to be a simple combination of geometry and physics. But the geometry doesn’t work.
A-I 85
The beginning player, of course, thinks he’s doing something wrong and that somehow the game is just too hard. The real problem is the system. A pool player of any serviceable level looks askance at 3-cushion players. He knows enough about angles to know that systems are too unreliable and assumes that 3-cushion players are “adjusting” for experience, that is, that they’re really shooting by instinct; an instinct gained by repeatedly moving the balls around. “The” diamond system, they know, is a rough guide at best. What the experienced pool player knew turned out to be true. The standard Hoppediamond system was unreliable and players were adjusting from experience and “feel’. If the system were accurate, then any competent 3-cushion player would have been making virtually every point. Walt Harrishas tried to make that a reality. With a workable, reliable basic set of systems, the only variable remaining is the skill of the player. A workable system has myriad uses in pool, too, especially at the
professional level. When the top players on the Pro Tour congregate, there’s no thought of missing a shot. But there is the possibility of not having a shot and having to play a safety. Safety play, at this level of the game, has become increasingly important. No longer does a player try to leave this opponent with a one-rail kick, or even a two rail kick. The requirement now is to tie him up so firmly that it will take three or more cushions to hit the object ball. A reliable system would be very useful and it wouldn’t be surprising to see it being put to use as the key shot in a televised match.
A-i 86
The system would find application in amateur play when balls are more likely to get tied up and in one-pocket where balls are often driven three cushions toward the player’s pocket. Best of all, a reliable diamond system would open the sport of 3cushion to all those players who find it too quirky or too erratic. As soon as a pro player faces a national television camera and explains that they used a reliable diamond system to get out of a safety and that their knowledge of “billiards” enabled them to do it, a whole raft of 9-ball players will be investigating 3-cushion. Just as seasoned pros have advised would-be 9-ball stars to get a broad background by playing 14.1 and the other pocket sports, so do they advise them to develop a firm base in 3-cushion. The problem was always the old diamond system. It looked like the key and turned out to be a wall. Now that you’ve read and presumably studied the systems in this book you’ve got to try them on a table. Spend some time with each system. Get to know it and evaluate your stroke against it. When you’re comfortable with one system, move on to the next. If you have trouble with one, let it rest a while and concentrate on another before going back and looking at it a second time. If you play the pocket games, you may find that the systems in this book not only help you gain an edge, but that they make 3-cushion itself more attractive. In years gone by, all systems, real or imagined, were closely guarded secrets and a book like this would never have been published. .
.
-
Thomas Shaw
A-i87
A-i85
Author’s Note I’m not sure which of these systems will improve your game more quickly, but the short-and long-angle tracks produce immediate results. The plus system ranks right along with the above, not so much on bank shots, but when calculating plus angles. Safety play requires a player being accurate on bank shots. This makes the “basic track” system mandatory. Embracing this entire work will take time, but once it’s accomplished, your accuracy will delight you.
A-189
“Your first book has been of great help to my three-cushion game. I have even striking effect at my local room” Michael lam Shamos Ph. D., J. D., curator of the Billliard Archive
adapted some of the carom techniques to pool, with
“We frequently receive very positive comments about the quality of the content book congratulations on a job well done.” na Baskin The Billiard Library.
in your
Richard Bitalis, Champion de France aux 3
“Interesting Book”
“If 3—cushion billiards survives in this country. it efforts. Every player that
debt of gratitude
I know who wants to
will
Bandes.
be largely due to your their game, owes you a
improve
don’t ever stop” Joe Dymit
Glen Ellyn, Illinois
“If you wish to learn more about 3—cushion billiards, study Walt George Ashby
Harris’s
books.”
Eight times National Three Cushion Champion
“I used two Ideas, from the Atlas II, in a USBA tournament, and came in first field of 16, which included several top players from Northern California and the Pacific Northwest.” Darrell Stutesman Tacoma, Washington.
against a
“Books like yours are what give me the most enjoyment from billiards .,..,sure, It’s nice to win games and all that, but what I really enjoy Is learning how the game works this is where you have helped me. Time for a little bragging after getting your book, my persona; high run went from an 8 to a 12 I don’t credit you with all of this improvment, but you sure did help” Ron Seitz West Point, Cornwall, N. V. “It offers really valuable information pocket billiards, instead of 3—cushion.”
I have applied what I have learned to John G. Bills Jr
“I appreciate what you are doing for billiards” Darrell Martineau “Both of these Billiard Books are great” Carlos Hallon
San Diego, California Elk Grove, California.
Three times USA 3—cushion Champion.
“I have been a billiards and pool player for some 30 odd years, and have read all of the books, old, antique, you name it the “Atlas” is by far the most exciting I only wish it were ten times the size.” Leathian Prince Sheridan, Oregon “The book really has a ton of useful stuff in it, and I can’t wait for “Atlas III”. Frank Lipniski D.O.S., Philadelphia, Pennsylvania
A-i 90
Author’s Request This effort represents only a small portion of the amount of system information used in the billiard world. My concentration was on rail systems rather than ball systems, as they appeared to be more attractive to the non-system player. I invite suggestions, corrections, and comments for future writings. Please write to me in care of “The Billiard Atlas,” P0. Box 321426, Cocoa Beach, Florida 32932-1 426.
A-I 91
Glossary Average:
Number of points per inning, achieved by a player.
Cushion:
The border surrounding the playing surface of the table, from which balls rebound, and also known as the rail.
English:
The spin applied to a cue ball by striking it off center.
Draw:
Spin applied by striking the cue ball below center.
Follow:
Cue ball english that causes the cue ball to roll forward after contact with the
Kiss:
object ball. An accidental contact between two balls that causes the shot to fail or score.
Masse:
A shot in which the butt of the cue is raised at a high angle and strikes the cue ball from above.
Miss:
Failure to score a billiard.
Position:
A placement of the cue ball and object balls allowing the next shot to be uncomplicated.
Reverse English:
Cue ball spin that is contrary to its natural motion after striking a cushion.
Reverse-the-raIl:
A shot in which a cue ball makes contact with a rail, then a second rail, then the first rail again, to score a three rail billiard.
Running English:
Cue ball spin that favors a balls progress after it strikes a rail.
Safety:
When a player misses scoring and leaves his opponent a difficult shot pattern.
Short Rail:
An end rail, so called because it is half the length of a side, or long rail.
Shot:
An attempt at scoring a billiard
Skid:
Low cue ball spin which stops a rolling motion for a designed distance.
SlIde:
Where balls rebound at a wider angle due to new cloth or new balls.
Ticky:
A shot that where the cue ball strikes the same rail twice, then a third rail or more, to score a billiard.
Track:
A predictable cue ball path.
Umbrella:
A shot where the cue ball strikes two or more cushions before hitting the first object ball.
The illustrated Encyclopedia of Billiards has been the source of much of the above information. Mike Shamos is
the author of this wonderful reference book. This is a must for your library.
A-i 92
Index
.
volume
I
Accoss the Table 139 thru 145 Allowance 42, 114,115, 120 thru 133 Ashby, George VII , 35, 52, 53, 63
LaGongle, Dick VII, 16, 17, 145 Lee, Sang see Sang Lee Long Angle System 35 thru 45
Backups 72, 73, 78 Ball ID XV Banner, Sid VII, 2 thru 11, 19, 163 Basic Tracks 92 thru 111, 114,115,120, 185 Bernie’s See Wishengrad Bitalis, Richard VII, 30, 31, 35, 54, 55, 139, 146, 176 Bump Shot 28, 174, 175 Byrne, Robert 117, 193
Maloney, Bill VII, 23, 28, 29, 183 Martin, Ray VII, 163, 181
Chicago End Rail Systems 10 thru 13 Chicago Rail First Systems 149 thru 159, 163
Chris Crisman VII, 135 Chris’s Billiards 158 Cocoa Beach Tickie Tracks (See Tickies) Cochran, Welker VII, 165, 166, 167 Dallas West See West Daniels, Bob VII, 177 Diamond System IX, 85 thru 133 Dead Ball Systems I thru 15, 19 Dead Draw Shots 58 thru 61,63,79 Donnelly, Mike VII, 16, 160, 161 Draw Shots 179 End Rail Diamond System 119, 120 End Rail Track System 119 thru 133 Feeney, Don VII, 1, 19 Fels, George VII, XVII, 147, 182 Florida Fan Shot 183 Follow Shots 172, 173, 179
Nine Ball XVII, 185, 186, 187, 197,199,201,203 One Pocket XVII PIus System 67 thru 78, 81 Position 165, 166, 167, 177 Power Shots 179 Rail First System 149 thru 159, 163 Reverse the Rail 52 thru 55 Robin, Eddie 165 Sang Lee VII, 35,56 thru 61, 165, 168 thru 171, 174 Seattle Kid 42, 114, 115, 120 thru 133 Shaw, Thomas VII, 134, 185,186, 187 Short Angle Systems 35,46 thru 49, 56, 57, 60, 61, 63 Sid Systems See Banner Sighting 110 thru 113 Slide XX, XXI Smith, Billy VII, 139, 140, 141 Smith, Merle VII, 165, 172, 173 Strassburger, Carl VII, 139 Sullivan, Ira VII, 56 Table I. D. XII, XIII Tickies 2 thru 5, 10 thru 13, 23 thru 31, 156
HaIlon, Carlos VII, 79, 142, 143, 177, 183 Harris End Rail System 121 thru 133 Hoppe 86 thru 94, 117, 120, 186
Umbrella System 50, 51 Ventrelli, Joe VII, 46,47,63,81 Walt’s Basic Tracks 92 thru 108, 114, 115, 116, 120, 185 Walt’s Plus System 67 thru 78, 81 Walt’s Long Angle Track 35 thru 45 West, Dallas VII, 63, 179 Wishengrad, Bernie VII, 14, 15, 18, 19, 35, 50, 51
Joey’s Short Angle ,....See Ventrelli Kiss Back 160, 161 Kisses 165 thru 178
A-193
Notes
A-194
Sid’s System
Reporter z~t losely guarded secrets are
Q,
now being revealed and here’s another gem for winning nine ball. These were pried from some of thetopplayersinthecountry. In this example let’s assume the ball you must hit is difficult to getto and ishunginthesidepocket...ifyou miss a ball-in-hand situation arises. This simple system solves the probem and learning this pays oft in many ways to numerous to list. FIRST STEP: Imagine the cue ball path if you bank to sink the ball in the side pocket. SECONDSTEP:Usethisline(track) andmarkthepointsonraivQ”andrail ~ where this line crosses. THIRD STEP: From rail “0” (approx. 10”) sight where the SIDE of the cue must hit rail “N” to sink this ball. Here it looks like it’s somewhere between 3.0 and 3.3 and I used 3.1. Notice the unusual numbers for rail “N. This 3.1 is now used in the calculations. FOURTH STEP:The cue ball trackline crosses rail “P0 at point C (estimate). Each diamond awayfrom point X (on rail “P’) is worth 3.1. FIFTH STEP: Point C is 3 diamonds away from X so. . 3 tImes 3.1 9.3. ANSWER: Now aim for 9.3 on the first rail (rail “0”). Notice that this rail has numbers from 0’ to 40”.
40* .
3Q*
20*
10
s
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z
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-
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*
*
NOTE: If cue ball line originated through point B then the side of the cue ball hit point on rail “N” would have been estimated at about 3.5. Point B is two diamonds away from X so first rail hit point is 2 times 3.5 or7.O. Now aim for 7.0 on rail “0’. Stroke is very important ... absolute dead ball english and ROLL BALL’ softly, much like a lag .. short bridge, cue stick hits up. .
Don Feeney says this is where a few memorized systems can be devastatlngl Sn page 1 of“Wall Harris, BiUiarti Adaj’
~‘ I -.-‘
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RAIL”N”.
I
42
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A-i95
I
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Walt’s Basic Plus
The Systems Reporter
x
nother pro players secret systhese and memorize them ... you will have taken a step towards toplevelplay. A cue ball aimed at “X’ from diamond 10 (on rail M”) will spread 35 andreturnto45(onrail M)
PAD
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IF your cue ball is near to 10 (rail “M’) then a spot on the wall system is
40
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EXAMPLE:lfyouwishtogofromlo (rail “N”) to 60 (rail “M’), you know that 40 to “X” will give you this return
-,
‘I
—~
-
~ —
Guess at point’)C unless you wish to memorize 5 (rail “0’) for 40 to X” and 10 (rail “0’) for 20 to X.
...
-
..:~.:.:.:.:.:.:.:..\*:.:.:.;.:.:.;.:.:.:.:.:.:.:.w N
.
Acue baD aimed at “X”from diamond4o(onraiVM’)willspread2oand returnto6O(onrafliK).
introduced
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“X’ and find a spot on a wall, chair etc., that is about 10 feet away from the table . this is the new aim point forthecueballfrorn 10(onrail”M”). ..
/
:~.
50
~
RAIL”N”
RobertByrnelikedthissystem
and made it part of his game.
/
::;::;
60
“Page 78 Billiard Digest Book Revi.w —1w,. 1992”
/
~
S
/
70
S
RAIL’”M” 80
I
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A-197
r,j.~i
Chicago End Rail System
The Systems Reporter by Walt Harris
ei’%4t
ost
40
I
pool and billiards experts
k114 would rather surrender the I secrets of their sex fives than
30
2
share a use~IUp or system. This is another jewel for winning at nine ball. These were pried from some of the top players in the country.
1’
21
•t1,,.t ,,,,t.... T,
m.tuJA)
10
/
This simple system solves the probways to numerous to list. Iemandlearningthispaysofflnmany FIRST STEP: Imagine the cue balI pathifyoubanksotheaiebaflcaroms offyourlstobjectball&headsforthe nine ball.
4
lit!1
/
toarid ~youmiss a bail-in-handsituadon
SEC0NDSThP:Usethisllne(~)
9’?
T~li
In this example lets assume you’re down to the last 3 bails but you have a slim chance to sink the9 balI. However, the bail you must hit is awkward to get
0
RaiL “0”
—
1.0
oZO
2.5
cP?
0
3.0
I ~~ A
Q /
<1 --
£
40
.
45
ll~IIIjiIIl~liIl/IIiI~I
‘III”
andmailcthepolntsonrall”NThndraJI M”where this line crosses.
I
t. RMLM”
I
THIRD STEP: From rail “N” (apthecuemusthaiI~.Hereftlooke prox. 10) sIght where the SIDE of like its somewhere about 3.0. Notice the unusual numbers for the rails. This 3.0 is now used In the calculations,
FOURTH STEP: The we ball tracãcline crosses rail “Nt” at point C (astimate). Each half diamond away from point X (on rail “M’) is worth 3.0. FIFTH STEP: Point C Is 3 half diamonds away from X so. 3 tImes 3.0
0
!
-
ANSWER: Now aim for 9.0 on the first rail (rail “N’). Not~that this rail has numbers from 0” to 40”.
NOTE: If the cue ball was at point “0’ then 7 (half diamonds) x 3 Is 21 and the first rail hIt spot would be 21 It takes a bit of concentration to think In terms of hail diamonds, bot with a little practice, this system Is a winner.
dead ball en9llsh and “ROLL BALL softly, much like a fag. . short bridge. aie stldc hits up. .
George Fele says, “What
drIves many, many players to dIstraction Is the unpredictability of the cuebafls path of travel. This will help you solve that punle.” 10.11. 12 & 13 of Wail Hanid”BhhIani Silos’ See page.
. .
-9.0.
I
i I 0 C B A X
Stroke is very Important absolute
A-199
Notes
A-200
$
Bernie’s System
Reporter ystem secrets are guarded by an inner top players and each probably has 25 to 30
memorized
closely circle of of them systems
RAIL’O”\
0
30~
60
‘.‘.v..v....v.”.”.
~
S
.
S
::.
..
This information makes for winning nine-ball,one-pocket,etc.,etc and of course carom billiards. If you begin by making this “Bernie System part of your game and later add a few more it will make the difference between winning and losing. In this example let’s assume the ball you must hit is difficult to get to and is frozen to the nine ball. .if you miss, a ball in hand situation arises. This simple system solves the problem. After a few minutes spent trying this, the numbers become easy to remember. In this example, to find the first rail. hit spot (rail “0’), subtract the desired thirdhitspotof3o(rail”P’)fromthecue ball origin number of 60 (rail ‘M’). The cue ball origin is found by putting your finger on 70 (rail “M’), subtracting 30 which makes 40 and then sight from 70 to 40 (rail “0’) and see if the cue baIl is nearthis line, if not. .tiy your finger on 60 and repeat this procedure untIl the exact cueball origin is found. Stroke is very important absolute dead ball english and “ROLL BALL SOFTLY,’ much like a lag. . .cue stick hits up with a short bridge. NOTE: The corner which the cue baIl is coming out of, is always 80 andO.
..
-
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.
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50
cue
0
40 I
4:
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.
60
/
~
...
“AMAZINGLY ACCURATE” is Don Feeney’s description of this littlegem. See page 14, 15
of‘W 11 Hwn.’. 0
70
:::
• .
C
, 0
BiUiwd Silas’
A-201
p,~n~”p” N
20
30
40
60
60
______
