break Dr. Dave's answers to frequently-asked questions
(FAQs),
mostly from the BD
CCB and AZB
discussion forums
maintained for the book: The
Illustrated Principles of Pool and Billiards
and the monthly Billiards
Digest "Illustrated Principles"
instructional articles
for more information, see Section 7.05 in The Illustrated Principles of Pool and Billiards
How do you make the CB squat on the break, and why does the cue ball sometimes jump in the air and/or off the table?
To make the CB "squat" (come to rest near the center of the table) after hitting the rack of balls, it needs to have slight topspin. The larger effective mass of the rack of balls makes the CB bounce back, so slight follow is required to stop that motion. However, due to the force of the power break shot, only slight follow should be used (i.e., you should hit the CB only a hair above center). The following videos illustrate some of the physics involved:
A significant hop can occur only if the cue ball is slightly airborne at impact (assuming the balls are the same size). This is actually very common because the cue, which must be elevated to clear the end rail, strikes down on the CB causing it to bounce. The cue ball can also "climb" the lead ball a small amount with topspin from follow on the break shot, but this effect is not significant.
If you hit the lead ball squarely (as you should with a good break), the cue ball hop is not a problem. However, with a non-square hit, the cue ball can easily fly off the table.
To reduce the amount of hop, try keeping the cue more level (less elevated) at impact with the CB. Also, try to reduce how much you are hitting the CB above center, especially if the CB has too much follow action after landing. Above center hits cause squirt into the table, which causes CB hop (e.g., see HSV B.13).
from Patrick Johnson:
That's good advice. There's also a way to improve your results even if you can't entirely get rid of "the hops": adjust the length of your break shot so the cue ball is at the bottom of its hop (touching the cloth) when it hits the rack. If you're breaking from the head string, try moving back some. If you're breaking from the head rail, try moving forward some.
What is a good drill from improving my break shot?
from Patrick Johnson:
The idea is to learn to aim the break shot as accurately as any other shot so you can consistently hit the head ball dead square, getting maximum power transfer into the rack and planting the cue ball in the middle of the table. It comes from a piece of advice I heard once and have repeated often to players who are learning to break:
Your break speed should be the maximum speed at which you can consistently pocket a straight-in shot with the cue ball on the head string and the object ball on the foot string, and stop the cue ball dead.
And that pretty much describes the drill:
1. place the cue ball in its normal breaking position
2. place a single object ball on the foot string directly in line with a corner pocket
3. shoot the OB straight into the pocket with a stop shot
4. hit the shot as hard as you think you can, but if you miss the pocket or the cue ball doesn't stop dead, slow the next shot down
5. only speed the shot up again when you've made several successful stop shots in a row
6. gradually build your speed up following the above rule
Here's the setup:
Should I use English on a power break shot?
The short answer is:
NO, you should not use sidespin on a break.
Here's the long answer:
If you hit the CB off center, some of the cue's energy will go into spinning the CB and less will go into moving the CB forward. Therefore, for a given stroke speed, the CB will have less forward speed when sidespin is used (i.e., you will have less breaking power). Also, if using sidespin, you need to adjust your aim for squirt; otherwise, you won't get a square hit on the lead ball, which is very important for power. Luckily, with a power break shot, swerve is not a significant factor, so if you have a breaking cue with a natural pivot length well matched to your preferred break bridge length, squirt compensation can be automatic for both intentional English (if you use BHE) and unintentional English. For more info, see Diagram 4 (and the related discussion) in my Nov '07 article.
Should I use an extended follow through on the break shot?
I think this is a question of cause and effect. A follow-through strictly has no influence on the cue ball because the cue tip is in contact with the cue ball for only a very short amount of time (approximately 0.001 seconds). The only things that significantly affect the breaking power for a given cue stick are cue stick speed at impact, tip offset (distance away from a center ball hit), and the squareness of the hit on the lead ball. However, if a powerful stroke does not exhibit a big follow-through, it is either not very powerful, or effort is being made to limit the follow-through. If one tries to constrain the follow-through, one will probably not achieve maximum speed at impact. Many authors and instructors recommend trying to "accelerate through the ball" for power shots. This thinking often helps one create good power, and it results in significant follow-through.
Follow-through can also be important in achieving good action on draw shots (although, not always for the reasons people think). For more info, see my May'06 instructional article. In particular, see item "b" under "other advice" and item "5" under "stroke best practices." I think these points apply equally well to both a power break and a power draw.
from Fran Crimi:
Besides making sure the rack is tight, you MUST exaggerate your follow-through. Even if you think you are following through enough, push through even more. Watch Strickland's follow-through. The cue literally comes out of his bridge hand and is extended all the way down the table. It's difficult to master that letting-go technique with accuracy but with lots of practice, it will pay off in spades.
The other option is to leave the cue in your bridge hand but with an over-extended follow-through, if you lean into the break shot, you will definitely bend the shaft and possibly crack or break it like some other players do.
I prefer the letting-go technique.
How can I increase my chances of making the 8-ball on the break?
Not all leagues and tournaments award a game victory for making the 8-ball on the break; but if they do, it is wise to try to increase your chances for pocketing the 8-ball. A good technique for this is to place the CB close to the side rail on the head string, and hit the 2nd ball in the rack squarely. The 8-ball will often head toward the opposite side pocket, and the balls will usually disperse well. Clips HSV 7.8-7.11 show how it works. For illustrations and more information, see Section 7.05 in The Illustrated Principles of Pool and Billiards.
measuring your own break speed
Is there an easy way to measure your break shot speed without a fancy radar gun?
from Runnin8:
To find your own break speed:
1) Measure the distance between where your cueball rests on the table for a normal break and the head spot, subtract 2.25" for one ball diameter.
2) Use sound recorder on a PC to record the sound of your break. We used a laptop with it next to the table. Most PCs can record at 44Khz, or 44 thousand times a second, more than accurate enough. Also, forget about having to get it right in the middle. Unless your break speed is near the speed of sound its a nit. Use a sound program like Wave pad to open the file and identify the peak where the cue strikes the cueball and then the peak at rack contact. If you highlight with Wave pad it will tell you to the thousandth of a second.
3) Your break speed in mph is:
(distance-2.25) / 12*60/88 / (measured time)
What is some important basic advice about the break shot?
The most important thing to remember is: an accurate (square) hit on the lead ball is the most important factor for a good break. Only use as much power as you can control. In general, you want to use a longer bridge length and stroke for shots with more power (e.g., the break). Make sure your bridge hand is stable and still during the forward stroke (or at least until CB impact), and follow through as straight as possible. Also keep your grip hand as relaxed as possible. In general, try to follow stroke "best practices," even on the break shot.
It is advisable to use a break cue with a "natural pivot length" well matched to your break bridge length. This will allow squirt to exactly cancel stroking errors that cause the tip to hit left or right of center ball, assuming your initial center-ball aim is accurate. For more information, see my November '07 instructional article.
Colin Colenso's video (NV A.20) on power break technique is pretty good.
For more info, see BD's breaking tips of the pros.
from mosconiac:
Following up my analysis of Charlie Bryant's break technique (http://forums.azbilliards.com/showthread.php?t=125466), which followed Johnny Archer's (http://forums.azbilliards.com/showthread.php?t=118515) and SVB's (http://forums.azbilliards.com/showth...118081&page=2), the next logical subject would be my fellow Midwesterner...Larry Nevel.
Please watch the following video:
http://www.youtube.com/watch?v=l0quThyaBeg
By request, I have taken a look at Larry Nevel's break technique. Now, I was long aware of Larry's powerful break, but I couldn't find a decent video to do an in-depth analysis. I settled for a video I found on YouTube. Here it is:
http://www.youtube.com/watch?v=PMmq2UXrNf0
Since I feel Larry is a premier "breaker", I felt it was appropriate to pass along any information I found. This video is the result of my humble analysis.
I have found that Larry shares the same fundamentals as all top breakers....the same low head & forward grip position at set, the same elevated cue on the backswing, the same body/hip movement just prior to releasing the cue forward, the same elbow/shoulder (downward) drive to level out the cue at impact...
from Patrick Johnson:
As with other major breakers, it appears to me that the crucial feature in Larry's powerful break is the involvement of his upper arm. The elbow drop and standing up are both integral to getting a full-arm swing.
Much is made of the "lunge" of these power breakers, and I'm sure that contributes significantly, but I believe the straightening of the arm for the full-arm swing is the most important element in getting more power - and, of course, the main difficulty in hitting the CB accurately.
from Cornerman:
I notice that players that are stronger in the arm can break big with a short bridge. Others get great control with a super long bridge. Anyone who discourages the long bridge needs to step back and really really really make sure they understand the mechanic and why some players can indeed get better control with a longer bridge.
The longer bridge allows you to get to a higher speed while maintaining a lower acceleration. That is, you might be under more control with a longer bridge in getting the final desired stick speed. The shorter bridge, you'll need to have a higher acceleration for the same final stick speed. And that will need more arm strength to keep under control.
At the [2006] Derby City, I watched intensely some of the hardest breakers. The timing and coordination is something that if it's not natural, it would take some work. Again, add a few things at a time, and it could work wonders.
Elbow
There are two distinct power breaks that I've seen: Elbow Drop and Elbow Rise.
Elbow Drop Breakers: most hard breakers. For pros, this might include Bustamante, Sigel, Strickland, etc.
Elbow Rise Breakers: Archer, Breedlove, Lil John, Sparky Ferrule, Sarah Rousey.
In either case, the elbow drops, but since the Risers rise, the tip dips down on the back stroke, and shoots up on the final stroke. So, Elbow Risers aim at the center or a hair high on their setup.
For Droppers, most will aim low. Really low. Some aim right to the base of the ball or lower. Since they do this, and they get good contact, I assume the elbow is dropping before the tip contacts the ball.
Tip
Most of the hard breakers seem to be able to take that tip all the way to the bridge loop, often actually passing through it. This ensures the longest travel to get up to higher speed, without having to bully the stroke.
Backswing/Pause
I notice that most hard breakers take the final backswing relatively slowly, like they're drawing a bow. Players like Sarah will actually pull it back to the loop and almost freeze with her raised elbow high in the air. Archer also freezes with the elbow higher, but not nearly as high as Sarah's nor for as long a time.
Hips
There is definitely something to be said about rocking your hips back slowly on your final backswing and then leading with the hips on the final stroke before you start the forward swing. Pagulayan is a good example of this. On video, this might cause you to think he's pausing his stroke because the stick stop at the full back position while his hips start their move forward. This is probably the most difficult timing transition. The hip lead is part of the aforementioned freeze.
Follow Through
A lot of today's breakers follow through by letting go of the bridge hand, and bring the cue forward past the center of the table (if they can reach). I don't know if this really helps, but the act of following through helps to not check up your stroke. I still follow through to the table like Sigel, but not so pronounced.
So, even if you do any of the above in small controlled doses, rather than the wild lunge like Breedlove or Sarah, it will add power.
Whatever you do, if you find the cueball going forward after hitting the rack, either lowering your tip at address, or raising your elbow during the backswing can prove helpful.
from Colin Colenso:
Firstly, the long bridge will help but so can these, but they may be tricky to control for accuracy until you practice it a bit.
Firstly, transfer some of the force to the more powerful muscles, the pectorals. You can do this in three ways.
Turn your body more side on to the shot.
Stand up a little higher.
Move your body away from the cue an extra inch.
You'll start to get a slight discus version of a swing which can produce much more power than standard cueing which relies a lot on the biceps.
Also, relax you wrist and focus on letting it flex back in the early part of your forward delivery.
When I put these together and time the wrist, my biggest problem is keeping the CB on the table. The CB can land by the center pocket and bounce off the table from being only a fraction off center on the break.
But give it a try, coz at even 80% effort, if you can time these things using more of the pecs and wrist, you'll get plenty of power and can still control the accuracy.
from Jal:
You want the cueball to have some topspin when it meets the rack. This will act like a brake and stop it from rebounding back too far.
It doesn't necessarily mean hitting above center. The cueball will tend to pick up some topspin after it leaves your tip, even if it sails all the way to the rack. It gets it from the first bounce off the bed just after tip/ball impact, and of course, any subsequent bounces. (In fact, to my understanding, if it is airborn all the way, it should pick up more topspin from the one bounce than if it slid along the surface the entire way.)
Exactly where to strike to get the right amount of topspin depends on ball speed, cue elevation and cloth/ball conditions. But, it's going to be near centerball.
The adjustment, in theory, is very simple. If the cueball is following too far forward, hit lower; if it's rebounding back too far, hit higher. If it's badly inconsistent, shorten your bridge length and/or slow down some until you get better control.
from DSAPOLIS:
These are some articles that I wrote several years ago...
Breaking To Win Mastering The Break