Well timed, Bryan! I have been almost obsessed with practicing these shots lately. To the point of setting them up at various angles and on and slightly off the rail to understand at which angle does my aim point change. It's been fun taking it to that level of detail and seeing it actually work. Hope I explained that right. Gotta love the science behind pool! Take care - Pete D.
Those rail shots, they can get rough; sometimes you can make 'em and then other times they don't seem to go for nothin'!!! I believe you covered it all ... PRACTICE is the best kept secret! Practice until you get it ... then practice more so it becomes familiar! Love it Bryan, keep up the good work! Be Safe
I had six of these shots last night, amazing how many of them happen in a match. I made every one because I watched this video last week and made this at least half of my practice sessions. One shot was on the 8... 2/3's of the rail and I sent it straight into the pocket with perfect shape on the 9... quite the crowd pleaser, lol, and the run continued with 5 more points in the next rack... all because I made that one shot. I won 16-4 and promise you it was because of your video and the time I put in practicing. Because of your video I'm now aware of how important this shot is and aware of how often it occurs, thank you!
Been following your videos for a while now Bryan and just saw this updated one on frozen rail shots, another great video. Been fine tuning my game little by little and thanks to your experience and teaching, I’ve been able to sharpen my skills and see angles like I couldn’t before.
Yeah, I love that thing - it’s from 1987. It’s been fully refurbished and works like it’s brand new. Anytime you see it on during one of my videos it is because I’m transferring music onto the reels. It is certainly the coolest way to listen to music, but also the most expensive way to listen to music
I know you said outside/gearing English is not by default the way to go for these shots. But I was wondering; if your aim isn't (yet) perfect and you tend to hit the OB in a such a way that after collision, it heads into the rail at an angle of just a few degrees *, then in that case, would correct amount outside English help to straighten that angle? And of course, I'm not saying you want to rely on this; it would be better to try to work on your accuracy instead. 🙂 * this could be hitting ball first just a tiny amount, or hitting the ghost ball perfectly but CIT turning OB towards rail, or hitting rail first way too early and then overcutting OB after CB rebounds.
Putting top inside spin on the cue ball also gives a little more margin for error, because even if the cue ball falls a tad short of where it was aimed, the rail will throw it right smack into the object ball, sending the object ball into the pocket. Thanks for another great video Bryan!
When you put spin on the cue ball it gets pushed to the opposite side - that’s what we called deflection - when you hit the cue ball on the left-hand side, it gets pushed to the right hand side and vice versa.
Running English is not right hand, English or left-hand English. It is English to the side of the ball that assist in its movement around the table - If the ball is going clockwise , then running English would be right hand if it’s going counterclockwise around the table then left-hand English would be running English.
Love your video instructions. I am wondering how to get position when an object ball is frozen to the rail at the short rail on the end of the table, when the cue ball is even with the object ball and your next ball is frozen to the short rail on the opposite side of the table?Not having any consistent luck figuring it out.
Remember reading books in the late 80s about rail and ball hit perfectly and actually I was pretty consistent with that but now I need all the help I can get. Thanks for the excellent lesson
okay, but i have faced such rail shots in many games where i have to make combination rail shots and i failed. can you please make another tutorial on this pleeeease@@FXBilliards
