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
0*
\~ 0
10
20
10*
20*
t
i
37
t
i
.~..~iiiiIiiii111ItIIIII
I
i
40*
1111 III1!.~..
iiiiiilii
-°-:
~
:°
10
o
20
°
:~ 30
-°:
-~°-
30
:~ 40
-°-:
H>
40
o
50
50 ~ :
60
~o 60
-~-
70
80
70
~°~~~iiiiiiii
I
/y
0*
~
iii
10*
~
iiii
iiii
20*
A-XIII
iiii
80
~ 33*
40*
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.”
f
~ —--—4-.-—
4
A-XV
3 cue
34
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
2.0 diamonds
Nfl
IIIIIIIIITIIII~IIIITIIIIIIII/IIL?O
1H
0
— -
I,
6
I,
1/ // -
-0-
// //
•.0.
I, ~1
— —
I,//
—
I, ‘1
.--
—
// -0-- —
Old cloth oldbalts track—,,
New cloth
/ //
/
I
:
—
0
“
new balls track
-
_
\ \
_
—
A
— — \
\— —
\
~
La ——
——
—
\
I_ —
\
I
\
\ \
\ \
/7/I
\ ‘
___
•
I i I
-o
I
‘I
41
--
1.1 diamonds
—.
I \
-
— 07
-0-
I
— —
—
0 \
~I
—
4\4
:~
I I
N —
,
— —
1111
1
II I
i~Ii II
-~
_____________________
j~I I i~I I
jill
________
1~1.6
dia
_Jr.
monds
A-XXI
l~I I l~I
A-XXII
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.
A-2
N~ i .c,..cIllIlHH
T
t
I
t I I
lIilliIlIIiIlitiIII
~/
11111111
~
E°-
10
--0.
20
:.
/ /
-o.
/ H~,. 60
.4—Cueball
C
2
7?
50
70
111111111 111 11111111111 11111111111 111111
1
A-3
1
L
0
80
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
Co
40*
37
\~
•
1
-
20*
9
9
T
E
1
,/ \,
•~_••_~a_•~
1 .0
/
I/i//I
—
2
10*4/0*
-.
/ — 0:
-o.
/ /
/1~
~•
~-
2.0
—
):~° 2.5
OH 3.0
;/
.—
/ .—
/
-0-
:o.
&5
.o-
4.0
// rafl “N”
,‘
/
—
P. o4.5
-0-
/ ~l
111111 It
rail “0”
111111
A-5
Hf
~/I~1
Ill
: I III?
—
5.0
Sid Variation A variation of this system is to have the second rail hit point be an end rail, so that the cue ball is going from end rail to end rail. The cue ball originates at point “D”. To have the cue ball first hit an end rail, then the opposite end rail, a point beyond 5.0 must be calculated. Utilizing the point of 5.5 (which is beyond 5.00) might make this billiard. Point “D” is four diamonds away from point “X’. therefore 4 x 5.5 is 22, making the first rail hit spot 22.
A-6
5.5 times four diamonds equals 22
40* \ó
~
33*
\,2o*
9
1
10*
~t
1
0*
9
1
~/
.O..;IIIIIIIIIIIIIIIII,IIIIIIIIIIIIIIIIIIIII..O.
•~
//
~
1. :
I /
2.0 2.5
~0
/
/
o
4
—~
.o—
°
/
0
3.5 /:0
/
4.0
/ \ j
/ :1 ~.Q
0
4.5
~I
:~ ~~‘lIII
/w D
lilt
till
liii
11111111
~
~
C
B
A-7
j
liii ~
A
0
11t1
5.0
Sid Variation II This variation should also make a few more billiards. The cue ball origin is in a line through “B” and the second rail hit point is guessed at 4.0. Point “B” is 2 diamonds away from corner “X”, so 2 x 4.0 the first rail hit spot 8.
=
8, making
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
40*
33* 11111
I
10~I
~*
8
itt1 till Ill It1 lit IIH It~l11111 i?
-~
~XH4T __
/
:01.0
/
—~
/
-~
o
2.0
/
-C--
/ :.
I
/
\:~ as
4
‘o
Q /
-0-
11111111
II
I D
I Ill
//O~
I II Ii 11111 I Ill I 4 L
C
B
A-9
:
ill 11111111
+
A
4.0
: 0
1 X
5.0
Chicago End Rail System This is exactly the same system as the SD SYSTEM, except that it is along the end rail instead of the long rail but using the same numbers. It takes a bit of concentration to think in terms of half diamonds, but with a little practice, this system will help you score. Picture the end rail “0” as being the same as the long rail “N” in the “Sid” system. In this example the cue ball is at “C”. The desired second rail “0” hit spot is 3.0, therefore point “C” is three HALF DIAMONDS away from point “X”, thus 3 x 3.0 = 9. Please note again that the first rail “N” is in half diamonds, making 9 the aim spot, or a shade below a half diamond.
A-b
40
l~ III
30
tIll
20
10
0
/ / rail ‘0”
//ii 9
1111 ~i
rail “N”
—
I
I’/ / \ / I f /
I
I
// /
•-o—ao
‘I I
/
/
I
4
\
I
/
OH 0
0:
/
II I ~
t It
liii
I~1,l 111111 I I~flII I
-o —4.0
tI~
II lJ~iIII jilil
°
—
DC
c/I
A-li
B
A
X
—
5.0
Chicago Example If the cue ball were point “G”, then 7 x 3 = 21 and the first rail-hit spot would 21. The actual numbers would be a bit harder to remember, so for simplification, these are employed.
NOTE: Pool examples shown at back of book.
A-12
40
30
10
0
‘1/
IltIllIllIltIlilIFI
1111
/1
/
20 211
/
/
Ill
—
——1.0
\
/ /
\
-e
/ /
‘I
——as
/ /
OH
/
/
I
/
O /
•
o
I
/
-.-—4.5 IlI4~l ltl VllI ,ilIIjilll Ilfijiiil~Itlij 1111 4 4 4
‘I ‘I G
7)7~1
A-13
—5.0
‘ —
I I DC
I
I B
A
x
Bernie’s Dead Ball Tracks Bernie Wishengrad has donated this gem, using no side spin on the cue ball and a soft rolling ball. Notice that the table numbers have changed. With a few minutes of practice, the numbers will become easy to remember.
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
0
30/
60
\~ 1 9 T 9 1 /t 1 .. _~lltlItlIllIlllllIllllllIllli,iIltlllIliI~. .. 0
0
— — —
/ / / /
—
‘I
/
‘I
//
•0
/
-
i~_ ~ 3)
—
//
.
~
:
/
/
/
/
.-_
-0--
/ / /
/ /
/
/ /
— — —
I I I
/ / / / /
— —
—0—
60
-0/
70
1~-:
/
0 — —
/
I I
I
50
80
/
/
-o-
//
...
/
— — — —
40
-
//
— —
—
/ 00
/1
\
—
~
I 0
I 20
B-IS
/
4 40
~ 60
80
~0~
LaGongle’s Short Bridge DickL.aGongle donated this technique on very shallow short angle shots. Shorten the bridge so that your bridge hand is four or five inches away from the cue ball. This short cue movement helps for accuracy and controls cue ball english (cue ball spin.) This technique is used on long angle “drop-in shots” where very little english is required, and a thin hit is critical. Mike Donnelly uses this method on all dead ball systems.
A-16
9
1
\ó
T
I
~..~tllllllll1hlhllhlH
111111111
I llllllIll~.o
-
.
:4•~ ~
___
-
-
-.
H
oH -
-
H .-
.
.
Ho Ho -
0
ill 111111111111111111111111111111111111
I
I
A-i7
4,
4,
1
0
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
9
I
\ó
t I
i
.~..IlIllllllllllIlllll
111111111 tIll
b-”
iIlI~.~
:
—
— — —
.
0
/
/
/ /
:
//
— — — —
—
/ / / /
:0
H
H
H -0-
4
N
o~~ .4
‘N
-
long table 0-~iiii liii liii
/~
A-25
d
0 lIllItlllIlllIIllIIIlIll~0
+
~ 4,
1
~.
—
Basic Tickie Tracks Four separate tickie patterns are shown on this illustration. Both a long and short table are used. Shot “A” has the first object ball near the corner. Shot “B” has the first object ball at 20. Shot “C” has the first object ball at 40. Shot “D” has the first object ball at 60. A fifteen-degree cue ball angle or less is desirable. For simplification, just the “A” and “0” tracks are shown for the fifth rail hit points. Note how the Sogard differs. The Sogard’s foutth rail hit points are a shade shorter. This is one of my table test shots.
Note: The tracks will be longer on a table with extra slide.
A-26
N’ 0
9
T
T
I
._c,..~llllllllIIIlllllIl
1t11111
~
a 10
o~
20
~O
///
/
30
4j
$
!
,/
~: ~
,‘ ~/
// /
// //
//
//
// .1
—
/
-°-E
/
4: 0 E° r.~ ~
0
1/_
N-7
-
H>
/
/
—
-oH
‘~-v ‘V
.—
0
~
-
~ -1-’
0
//
:
//
//
//
%~r-
.~:,‘
/
20
~
//
I
50
•,//
~
•~
/
40
0
~:
—
~-
~
-
1
‘~
l~lIlIjIl
A-27
‘~
llji
\,~y
P
“
*
:
Ilij III l~
—.
40
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
\ñ
0
~
9
9
1
J 1 1
..o.,~IlIl11ll1hlhllllthllhluI 1111
IS~/
1111~c
jIll
—~
10
0-
20
-o-
30
.~.:
.7
/
/ /
40
/
o/
/
:.~.
:~
H
o
50
-oH
60
o
70
~
80
o;lllllllllllllllllllltllllllllllllllllll¼0
I
4,
1
A-29
+
+
Ho
1
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
\~
9
T
9
1
9
T
1
iiiiiiiiiliiitliiiilii’iliiiiliiiiliiit
—0— -
~0~
0
A-
Ho -.
no
0 _ _211t1 ~
ill
1
Ilti
lilt
~ I
A-31
III ~
liii
I
Itil
~ I
~\
A-32
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
9
\~ I
II
raiI”O” —
A
I I
I
/
9
i
1
I 11111 1111111111
!~
11111
:
—
0: —
:
— / / / /
:0
// // •
—
/
— —
/
/
.
—.
.
-0~
/ / /
—
4
/ /
/
cuebafl-4 0:
•_~ 0
Q / / / // //
/ /~t /
,~
/
,I
/ -0-;III
~
I
1111
0 ~ I ~ I 1111
till
A-37
lilt
11111111
~ I
0 IlIl~ . ~
Walt’s Long Angle Track Example When a cue ball originates from corner “Z”, using known basic tracks, as shown, numbers are assigned to end rail “0.” These end rail numbers are in increments of SEVEN, so there’s not much to memorize. Since rolling cue ball english is applicable here, it’s better to use the three rail speed tracks. Even diamond system paths are workable. The actual numbers would be a bit harder to remember, so for simplification, these are employed.
A-38
28
rail “0”
3~*J
NN40* 0
11111
i
/
till / //
\
//
—
.
/ /
10
-~
:
/
/ /
/
/ -
/
/
/
/
/
\
//
/
// /
/
/
-$
, /
/\\
/
//
//
-
/ — — -
/ //
-
/
I
I
/ //
/ /
/
/
/
//
/
/ ~‘
/
/
/ /
/
*
:c
/ /
/ /
/
/
-o50
/ / / / //
7
/ /
/
/
/
~
/
/ /
/
/ /
/ /
/
/
/
/
/ /
// /
// //
/
/
/
/
/
,/
/
~0
/
60
:
/1 // // ~ // / / // / / // / / / / / ‘// /
-
40
/ / / /
/
//
—
//
//
/
50-0--
— —
/
/
~4’ ‘4’ /
/
\:~
/ /
/
/
-
\/V /
/
/
30
/
/
/
/
/\~ ó
/ //
/
0-
20
7:
A
/ //
/
•
/
/
/
— -
/////
\
/ :
//\
400:
70
/
/
I I
—
//
/
4
/ ////
/
— -
,
\
— —
0
\
/
o~
-6 i~
~
‘-
‘
/
0
\~ \
‘
‘.
\ .‘ //
60
\
‘\ ~
/
/
— — -
\
/
/
-1/
0
\
// /
\
/
o_;4j( -
ô i I
//\
//
/
0*
/
\
//
//
$
\/ V
/
\/ .~
/
//
30
\
//
/
7
II’flIIl1,IllI~ /
/ //
A
/
/
//
—
20
/
/
/
I
III \
/\
/ //
14
\\40’~ \110~/~ ‘I
lii
1111,1
~
21
•o
70
-
•
_~//
corner
/
80
~
,1~
111111111 ~
0*
4,lllIItIII4,ltlIIillI~,IlIII
10*
A-39
20*
at
~
40*
80
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
40*
at
\A
0
9
~
9
i
1
t~1
A/
. ..~iiiiIiIiiIiiiIIiiiiIiIitIiiiIitillIiii~.. . 0 0 0 :....
10
—
20
~-o 10
-°-~
-
.
o20
-0-// — — —
/ /
/ / /
I
,/
//
— -
—
40
..
/
//
—
:
0
/ /
/ /
/
H
~ -
-
50
/ /
.:
•
:1 0 0~
iiiiliti
Vy
Li
9/
/ I’
~~point”M” 1111
I
~
corner “1’
A-41
1111
till
~ I
liii
liii
~ I
~
30
Walt’s Long Angle Track Shift The path of the cue ball, off the first object ball, is away from the
basic track, so an allowance is added to the basic track value to find the new third rail hit point. Track “A” is the normal track from corner “Z”. In this example, the first rail hit is at mid-point of end rail “0,” so a new third rail hit point must be found since the angles have changed. The Seattle Kid type of allowance method is used; here’s how it works. Notice that the first rail hit point is 50% away from corner Z (along the short rail). An adjustment for the third rail hit point is needed. We adjust by using the 50% times 7, or 3.5. This 3.5 added to the 7, which now becomes 10.5. The new third rail “feel”, or “aim” point, is 10.5.
A-42
~E~~I___ 50% of 7
~
9
T
\ó
9
i
1’
T
0
..o..~illlIllIIlIIlIIlilIIIl1lIIlll~lhI.IullhI~.o.
‘J
— —
/
—
—
~-
•t
//
10
/~.t \.
10
/
20
-0-
30
o
20
//
4
/
~o
/ 40
$~
50
-o-
C
•
~
_~_
/
/
.7
-
~1
~
—
~
it
11111
14)11111111
50%ofrail
corner “Z’
A-43
/
—.
H
Q,fl
—~
H>
/ /
/
..._
H :.
/
C’
—
-
//
A-
//~
/
14,111111
0
1114,1111111! ~
\ail”0”
30
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
21
\ar
10~
~ I t 1.!hhllhil
° 10
I
I ~ I Ill
llllU,.iI
40*
~*
Ill!
I 1111
~
~
-°H
10 // /
-
/ / /
20
-o-/fr
-0 —
— —
30
o
~o //
:
/
o •
:
:
//
___
/1771,
20
-0- ~ 111111111111111111111111
/y
I
4,
1
A-45
+
I
H
IllIllillIl III ~ 0
I
30
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
\~
9
i
9
i
1
...~lllullIltIlltllllllIIlitlthlI
T
‘1.”
llI!lIlIl’~
-
‘N
d4”.~
~N
N “‘A. N
N
10 :
Ia.. -
N
“N N
-
.0.:
-
-
30
-0-
0
.~.
°40 :
Ho
e’
0:
: 0~lllt
~
till
1 4,
tIll
11111111
1
A-47
4)
lIIIIII!lIlIlI~0
1
~
Short Angle Tracks When the cue ball path to the first rail is a short angle, for example, above line “N” “N,” the third to fourth rail return, is shorter. -
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
\A
9
~
9
1
9
1
1
~“
..~_~llllIllilIlIlillillIIlll1llilhltl~lh1!.o.
H
““aA..
0--
—
//
E
N~
//
-
//
— -
—
/ /
—-
/
//
/
/ /
/
/
/
/
/
t
/
//
/
-
/
/
//
/
//
— /
/ /
1~llll
/
~0
QJ4&~’S’
~
.
/
/
~
‘~~-.•~‘
~_
/
/ /
/
~ ‘b
I
//
/
—V
/
/
/
/1
10
/
—
~_
‘/
/
I
--o —
// //
/
/ /
/ /
/ ~‘
//
/
•
/ /
/
/
//
//
/
:— -
/
/
/
20
/
/
//
/
/
//
//
/
/
/
/
•_
/
r~// r I
// /
/
/
/
•_
/
/
/‘)(‘
~
~: ~
°
10
2:.
4,
llIIIlltIIlllIlIIlIllllItllI~°
I
~
4,
1
corner 2”
A-49
0
—.
Bernie’s Umbrella Tracks The cue ball origin, or “cue ball numbers” as they are called, are normal diamond system numbers. The “base of Bernie Wishengrad’s system has a cue ball number of 40. When the third rail hit points of 10, 20 and 30 are hit from the cue ball origination number of 40, these tracks are complete and form the “BASE” of this system. When the above takes place, the second rail (end rail) numbers of 4, 12 and 21 are implemented and complete the track to the third rail. When the cue ball number is 45, then a pIus 1 must be added to the second rail numbers and they become 5, 13 and 22. When the cue ball number is 60, then a + 7 must be added to the second rail numbers, and they become 11, 19 and 28. These connect with 10, 20 and 30 on the third rail. For me, umbrella shots are never easy.
A-SO
4 0*
~ ‘F 0
rkti
:1111
12 io*/
21 20*/
at
f&j
~
I I ~
1:11 JIll
10
iili
liii
40*
‘‘‘‘ ¶
it’’
~
Ni
20
‘N
30
0~
40
0:
: :
-e
‘N
0 I0
20
30
:040
:
—
— -
N
50
~,
60 ~
:~kO
~
700
80
-0• ~
/Y
~J1
4,
tIll
+1:045
1
Jill
4,
+9 liii
70
A-SI
1
÷~ ~
IllIllIllIllI.
4)
60
1
: ,o
50
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
\~_____________
~ HI liii 11111111111111111111111111111 III
0 —
0
0
-
I’’
—-
rail
“M’~ -a——
0
\
‘\
\ \ \
I .1
I
I
— —
:
\
\
\
0
~\
-
_.a~
-
\ “
-. ~
-. 0
-ô
—
-
0
-
a.
-
U)
-
0-
A-.
o . _I 0
0
S 0)
--0-
0
•1
:‘
°~IllI ~
X
1
11111111
4,
1
Illl\Illl
A
~ B
A-53
1
iiiI~iitiiiui’°
4,~ I C
~\
Richard’s Reverse The Rail Richard Bitalis’s approach to this shot is to hit the cue ball softly, and AIM IT NEAR THE CORNER. “Roll” the ball with reverse cue ball english, since it hugs the long rail better. This technique has much better control of the cue ball.
A-54
\~
9
t
9
i
11111111111111111111111111111111111! III
—
0:4 -
-oH!
0
:0
H> ‘H :~
:.
HO 4
oH
:0
0~oo 021111
/y
ç3
liii
I
1111
4)
lIlt
1
A-55
H
lllIIIlHIIlllIllll~°
4,
i
+
Sang Lee’s Manufactured Short Angle Our champion makes this shot look easy. He keeps a level cue and hits the cue ball low without drawing it. The goal of this attempt is to make the cue ball hit the first two rails with reverse english. Diagram A has the cue ball with a shade of reverse, with a thin hit on the first object ball. Diagram B has the cue ball with more low reverse, and the first object ball is hit fuller. Diagram C has the cue ball with much more low reverse, and the first object ball hit yet more fully. The cue ball angle, off the first object ball, is at least thirty degrees. Hit this with authority
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
!
r
~
r
~
oa---1. a.
0~
DIAGRAM A \
r
*
r
t
i
I
ii,,ti,i,l,,IIIIiiiliiiiliiiiIIIIIIttII
-
DIAGRAM B
o
t
+
r r ,,.,i,,,,J~~t~i,,,,l,i,ilii,iliiiiIiiii~ . 0
-.
DIAGRAM C To better find the first rail aim point, refer to Billiard Atlas II, pages 40 to 47
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
1111
V
liii
I I I I I 11H
/
~.
/
1111
liii
liii
liii
I
liii
~
:
//
0
‘. S.
S. 5’
S.
•0 —
— — —
S. \ .
—
—
5’
:
-
-oH :~
—
:
-
:
V
0:
0
7//f,,
/~
1
liii
4)
1111
1
liii
A-59
4,
till
1
liii
4)
liii
1
:~
lIll~’~
More Dead Draws Sang Lee makes this dead draw look easy, but it’s not. Sometimes a shade of side english is used to obtain some running english. The first object ball is hit thin and driven into the corner. Hit the cue ball with low dead draw and employ a quick stroke. When the cue ball is at the far end of the table, he will still shoot this shot, but with a different set of mechanics. It seems he has an infinite array of shots using dead draw.
A-60
N’ —
9
1
1
iiiililiiliiiili
-0-
9
——
1
“S.
— —
0
9
1
III 111111 IIHIIIHII
~ 0
—
—
—
C’
5’ S. S.
— -
‘ / / / / // / / /
0
~0~
H
0 0
A:
:~
H —
—
6
-
-
-
-
-
.
-4
°jiillIllIIllIIlllIllIIllljIlIlIIllilllll~°
I
4,
1
A-61
4,
1
4,
1
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
A
x
\ó 0
9
~
9
i
i
A//
t---C
20.
: —
—
Co
—
—
3-——
:
+
o__,f._
. .~llllllllIlllIlllllllllllJJJ—1-1llIlllllI,L)a. . 0 0 /
_—L.>~
/ // /
/
/
//
/
—
/_ //
—
~/
:~ 10
i__1__Q__ea
a) a Cl)
20
-
U, N
I
/ //
: : —
,/
-
//
~ —
I
—~: —
/
20
‘—4
:~ 30
//‘ // ////
~1
~/
//
_
40
// ,/~ /
/
--
/
0
/
—
I
I,
-,
/
/
~:
30
//
~
-~-
—
—.
‘2
~:
:o
: L~~’
40
//
4—
— — —
/,/
.
—
// // //
50
60
50
-Ø~ /
-o.
60
.
~70 80
0 /‘-?
1111
1
1111
4)
III!
1
1111
4)
liii
1
JIll
4)
lilt
Two Basic Return Examples
A-69
1
till
~-o~
~
80
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
x
2Co 0
~
0.
M~r~
I ~
N
1~
-
Q———
—— —/
2.6
-
—-
,-
/
—— /
7
20’o~-
/
/ /
:
/ /
/ 4—-
/
-
/ / /
,
-—
/ —
// /
(
/ / /
/
/
/
/
4~~/
-
/
~ /
.
/ / / 4_~/
/
/
/
/
.-4
/
d
/
/
,4 ~ 1( // //
/ /
// //
//
/
‘‘
// /
/
/
:_.
/1/ / /
/
/ / /I, ,~
/ /
/
—
-o20
// /
//
:030
1
—.
//
j/ 4 /
/ /
‘
/
:o
//
40
—
/1
.o50
/ // /
/
/
. ,—
/
60
//
// /
/
/ //
/
. .
/
/
I’
/
50
4,
,~
/
/
/
,////
/ /
/
-6 /
/
/
:‘
40
~//
I/ /
/
/
/
/
//
4
/
/
/
/
4 /
/ //// , /1 /
//// ///~
//
/
/ ,
,
I
Q
/
~1
/
,‘
,
,
30
—/
/
~/
/Q
/
//
//
/
/
4-.
//
//
,
/
/
: 2.0
/
////
___t~i_~’ ,,/,/çç,// *,
~
19__
———
~
0~
/
o~
/
/
/
/
0
60
0
70
.~_________________________ llI1~11t14,11111111 14,1 t lI111l14,1l1l1 1111 ~o t)/80 4~
80
/ / —
/
:
/
/
,‘
/
— —
//
/ / /
‘— /_
— — /
/
(~‘~‘N.\)~ -
/
/
_/
/
—
/
4—
/ / /
/ ‘,/t
/
/
,~ Basic S
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
0
..&~lllIllll
lilt
11111111
III!
1111
-
llll?.,~~. I. I-1k!’
//
/
/
10
-
—
20
C
-
-O
-a-
~/~//,///
‘///0”
~—
:
2
-
.0
•///
— —
a>
/
—
a
—
I
:
5
/
~
//
//
/
~
J
,‘
/
,
///~//
// ////
/
: -0-
/
//
/
/
/,j~
//
~ ~/
/ “-., ~ / / ‘“.‘ / / t. / / / /
/
~
60
~‘./
~
/
0
/
“‘-./
:‘~.
~ 1— —
—
//
//// / /
/
/ ~~//‘//
/
:
//
/‘‘//i
;
