Break
... strategy, technique, and effects related to a good pool break shot.
Break... strategy, technique, and effects related to a good pool break shot.
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,
the DVD series: The Video Encyclopedia of Pool Shots (VEPS),
and the monthly Billiards
Digest "Illustrated Principles" instructional articles
for more information, see Section 7.05 in
The Illustrated
Principles of Pool and Billiards
and Disc II and Disc V of the Video Encyclopedia of Pool Shots (VEPS)
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). You can also reduce the effect of hop by adjusting your break position so the distance to the rack is just right, where the CB lands just as it hits the lead ball of the rack. By moving your CB starting position left or right or forward or backward in the kitchen, you can control where the hop occurs (for a given break speed, cue elevation, and tip contact point).
What is a good drill from improving my break shot?
Disc V of the Video Encyclopedia of Pool Practice (VEPP) has a good 9-ball break drill for evaluating and improving your 9-ball break.
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?
Here's a phone app that works very well:
You can also measure your break speed with any computer containing a microphone (see below).
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)
Should I put balls in certain positions when I am racking for 9-ball?
There are certain ball-motion patterns you can take advantage of, whether you are racking for an opponent or racking for yourself. Some of the basics are covered in this video from Disc V of the Video Encyclopedia of Pool Shots:
Isn't "pattern racking" prohibited by the rules?
from the WPA rules:
2.2 Nine Ball Rack
The object balls are racked as tightly as possible in a diamond shape, with the one ball at the apex of the diamond and on the foot spot and the nine ball in the middle of the diamond. The other balls will be placed in the diamond without purposeful or intentional pattern.
Obviously, a strict interpretation and strict enforcement of this rule prohibits "pattern racking," where you place certain balls in certain positions for an advantage. However, the rule isn't usually interpreted so strictly. Often (e.g., in most leagues and tournaments), the last sentence is interpreted: It doesn't matter where the other balls are placed. Also, somebody can easily "pattern rack" without it seeming "intentional" or "purposeful." However, a ref or opponent has the right to protest if certain "patterns" are obviously being used (e.g., always placing the 2-ball in the back of the rack).
Obviously, the best solution is to have a neutral party rack the balls (which is done in the WPBA TV events). With "rack your own" or "opponent racking," "pattern racking" is always likely to occur unless each ball is required to be in an exact position, but this would require a rules change and would result in repetitious run-out patterns (especially with new balls on a "trained" table with consistently good racks).
Even if the balls are truly racked randomly, the balls will still be in a certain pattern in a given rack. And it can sometimes be useful to know where balls in certain positions tend to go.
technique and equipment advice
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. Also, see the following video from Disc II of The Video Encyclopedia of Pool Shots:
It also helps to use a hard (e.g., phenolic) tip. This results in more CB speed for the same cue speed (see cue tip efficiency for more info).
Many people raise their body during the break because they also straighten their arm and/or drop their elbow. These two motions counteract each other, keeping the cue close to level at impact. Also, straightening the arm can allow many people to generate more cue speed by getting more of the shoulder muscles involved. However, accuracy (a center-ball hit on the CB and a square hit on the rack lead ball) are much more important than a little extra power, so body motion should be kept to a minimum if accuracy suffers as a result. For more info on the effects of elbow drop, see:
Colin Colenso's video (NV A.20) on power break technique provides very good advice (see the quotes below also).
For more info, see BD's breaking tips of the pros and Disc V of the Video Encyclopedia of Pool Shots (VEPS).
from Colin Colenso:
There are a few concrete physical / biomechanical contributors which can add velocity to the cue and hence make for bigger breaks. I'll discuss the main ones in order of what I consider to be the most important.
1. Long Lever: By standing higher during the shot, the effective length of the lever is increased. So just as long golf clubs have higher head speeds, a longer arm allows higher cue speed. One doesn't necessarily have to lunge upward to achieve this, but starting low and then raising the body may seem more conducive to better aiming.
2. Centripetal Force: The lunge upward of the shooting shoulder also produces a force at right angles to the direction of the cue movement. This centripetal force accelerates the cue, in the same way that hammer throwers accelerate the hammer by pulling at 90 degrees against it as it rotates.
3. Forward Lunge: Forward lunging creates additional cue speed also, just as shot putters can throw further with a glide throw rather than just a standing throw. One may be able to lunge at 2-3mph and this component can be added to the overall cue speed.
The trick is working out the technique of these various factors such that they can all contribute with minimal loss of control.
I do believe a good wrist flick can contribute as much speed as the 3 effects above combined and it becomes hard to execute that as well while lunging, so a well timed stroke with minimum movement and with a reasonable length of lever can produce some very powerful controlled breaks.
That said, if one wants to break a world record, they might need to add a lunge to their technique.
from Colin Colenso:
some people can add 2-3 mph to their break by shortening their back hand position. There are two possible advantages of doing this.
1. With a longer arm (lever) on breaking due to being more upright, moving the hand towards the bridge brings it more into a right angled position which makes it more effective (and effectively longer), than having a longer back arm which is at a shallower angle to the cue. Imagine if the arm were stretched to the back of a 7 foot cue and you can visualize that the force is being applied at an inefficient angle.
2. Maybe the main reason is that shortening the back hand means that the pectoral (chest) muscle and front deltoid (shoulder) muscles (which are the source of most of the power) are put in a neutral / mid position in regard to extension / contraction. This is where muscles are at their strongest and can accelerate with more force, allowing a powerful punch with a limited back swing.
To get the feel for how this works, try a Bruce Lee 1" punch, first with arm almost fully extended, next with fist almost contracted back near your shoulder and one midway. The midway position is much stronger at applying a rapid burst of force. Different muscles involved, but you'll get the idea of what I mean by mid/extension power.
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 sfleinen:
Here's of one of the most powerful (and controlled) breakers in the world -- the mighty Russian, Evgeny Stalev:
http://youtube.com/watch?v=PkCG3q2PDa4#t=560
He's all of 150lbs soaking wet, yet clocks in 35+ mph breaks (he was averaging that in the U.S. Open the video above was taken from). Evgeny (pronounced "yev genny" with a hard "g" sound in the second syllable, for those Russian-pronunciation-challenged like us Americans) uses shoulder, elbow, and his pectoral (chest) muscle to achieve this power. You'll notice he doesn't use any "lunging" motion at all, but rather a very smooth "forward drift" motion in his stance. ... And he does all this with his playing cue!
In my opinion, Evgeny's got one of the smoothest, most powerful, and, for what's going on in his arm, accurate breaks around. Ask yourself, have you ever heard that kind of sound from a break? It's one thing to hear it in this video; quite another to hear it in person (the video lacks some of the auditory fireworks that seeing/hearing this live gives).
from KMRUNOUT:
Having studied the break for some time now, I've watched most of the great breakers. You might notice that Evgeny Stalev is remarkably similar to Shane Van Boening. They both have that "forward drift" thing going on. However, both also gently stand up as they *back stroke*. Another similarity is that they both keep their bridge hand pretty well anchored to the table. The result is a setup that allows for a very gentle relaxed building of power. This, I think, is the reason why they are able to consistently hit the rack so square and control the cueball.
As for the body movement, here are my thoughts: can someone hit the rack in the high 20 mph range using just the arm, without moving the body? Not too likely. However, even if they could, it would seem to have to be a very aggressive movement. It would certainly be a very *short* lever and would require explosive power and speed. Remember that this power does not occur in a vacuum-there will be an equal and opposite force acting somewhere. This will require effort to keep the shoulder and the elbow from moving, and I think this can cost accuracy. By rotating the body slightly (the hips then the shoulders, like in a golf or baseball swing), you can provide a (moving) platform from which to execute this arm swing. You will notice a lot of breakers kick their leg back. This really has little to do with generating power. It is a *counterbalance*. The leg is rotating around the body in the opposite direction as the shoulders. This makes it easier to keep the spine in the same location as the shoulders (and leg) rotate around it. This can be practiced. The trade off is that initially you will have less cue ball control on the break. Soon, though, the benefit will be that it is *easier* (requires less effort) to swing the cue fast. So if you wish to break at, say, 25 mph...you *might* be able to achieve this with an arm-only swing (highly doubtful), but I would really like to see that motion result in quality cue ball control, because I doubt I would see that. If your goal is to break at 18 mph, then sure, use only your arm and you can have great cue ball control. 18 mph, though, is not always the best speed for a given table, especially in 8-ball.
I guess in summary what I am saying is that while you may get decent cue ball control at lower speeds with an arm only motion, I believe it is easier to develop good control at higher speeds using a more effortless technique, more like Stalev and VanBoening.
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 airborne 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.
What is a good approach for the 10-ball break?
Below is a good summary of what seems to be a good approach (e.g., used often by Corey Deuel and others):
From spoons (concerning Corey's break at Valley Forge in 2009):
The break
He broke from slightly off center and seemed to be trying to hit the 1 ball as squarely as possible, with what appeared to be a hint of draw on the cue ball. The draw should help him make the 2 and 3 in the sides. It also brings the cue ball to the head rail out of the traffic, and back to the middle of the table for position on the 1. It was not a "soft" break like he uses in 9-ball. He was hitting them hard enough to send the 6 and 7 around the table 3 rails, but not much harder than that.
What he was playing
He seemed to be clearly playing the 2 and 3 balls in their respective side pockets. Those are the two he made most often. But, as a secondary option, he seemed to be playing the 6 and 7 in their respective corners. By breaking from a few inches off of center, he should send those two balls around the table at slightly different speeds and give them a chance to miss kissing each other near the head rail.
The rest of the rack
Racking the 4 and 5 where he did leaves those two balls together and uptable which would be the most natural place for the 2 and 3 balls to head if he doesn't make them in the side, and racking the 8 and 9 where he did leaves a 3 ball cluster near the foot spot for him to finish the out. If the 6 and 7 don't fall, they're likely to end up down at the foot of the table which gives him a couple of balls to work off of to get position on the 8,9,10 cluster.
He rarely made more than a ball or two on the break, but if he ever made all four of the ones he was playing, it would be a throw in rack. Regardless, he left himself similar, and often simple racks to work with.
