Paul Arden wrote: ↑Mon Jan 01, 2024 4:50 pm
You are correct that the stop as we often describe it is really a rapid acceleration to a stop. And that key is the acceleration timing and position.
Paul, I do like that you are stressing acceleration in your description of the “stop.” A hard stop should feel like that, and that we are turning over the rod tip with the wrist against a blocked, or braced, forearm. Unfortunately, I think we now know, thanks to Gordy’s measurements, that as discussed in
the Rod unloading during acceleration - ... ops.co.uk) max angular velocity happens much earlier in the stroke than we perceive it (in a distance cast, when the rod is at or close to perpendicular) and that your “hit” takes place while the rod butt is actually decelerating and rod is unloading. I don’t think we yet fully understand everything about why that is the case, including the role SDM plays, but I think it is an established fact that while we try to, and feel like we are, accelerating the rod turnover we are in fact decelerate the rod butt rotation (but accelerating the movement of the rod tip in the direction of the cast).
This difference between what we feel we are doing, and try to do, and what’s actually happening causes some difficulties for how to describe and teach these things. It could be interesting, including as a follow up on Bernd’s teaching concepts, to discuss the concrete concepts, analogies, and cues we use for teaching things like the stop, loop control etc. How does the students understand these terms and analogies? And are they and instilling the mental images in their minds? I try to avoid terms like the stop (and SLP).
George,
I agree, the importance of translation is often underestimated. I prefer a long and relaxed casting stroke with a lot of translation for both tournament distance casting and fishing, with variations of the 170 being my go-to fishing stroke. And you are right, use the term translation for translation only (which is how Mathias is using it in Norwegian in that video) while we in fact are both rotating and translation during most of the stroke as in #3 in Paul’s drawing. The real issue is sequencing of the body movements, and hand path. I don’t use the term translation when teaching but are instead talking about starting the cast by pulling/dragging the rod (and line) leading with the lower body and shoulder rotation, and then towards the latter part of the stroke forcefully turning, or flipping, over the rod tip with the arm and wrist.
Happy new year,
Nils