Nard_S

He tells garden variety to move the arms down, which is nothing different from what everyone here advocates. Everything I've seen seems to gravitate around big joint & muscle movement. Which i do not consider a bad thing.

What's freely available from him seems more about the engagement of big muscle behavior. Only thing he says about hands is they should engage club in a countering, "wring a towel method". He even advocates fading & drawing the ball based on how shoulders are engaged which is rather unique idea to me, but it actually works. He believes that manipulation is a common denominator in all swings and the elite just employ it at a higher level. So my guess, if there is a reason why hands are not a high priority of teaching, that would be it.

I like Cowen's ideas on the role of shoulders and how to engage the legs. Working with both right now. Getting the arms down is not the biggest of issue for me. Width & depth of arms, while riding a stronger platform is.

I logged maybe 20 hours doing high end multi-track. We made demo tapes. I loved that studio experience, even spent a year learning recording engineering after. If I could have changed anything, the gravitation to session work & production would have been the direction i would have been happiest in. Bands are cesspools of ego & dysfunction. Great reason why at top of game, i just walked away altogether. Loved the live thing, props to those (like you) who left some room, carried on stuck with it but at 27 had zero of anything and needed to get hustling at building a new life.

My point about Bonham or Porcaro for that matter is basic tracks for recordings is flat out the most difficult gig a drummer has to pull off. Vocalists, guitarists and much more at least can dub there way to perfection. Basic foundation of song done to greatness and in a mater of hours while meter of money is dialing away is a very high bar. It's a huge reason why most all rhythm tracks went machine & digital and why there's a handful of musicians who performed on billions worth of recorded music.

To a degree, yes, but the "talented" who make a name, often there's a deeper intelligence behind their skills. Example the Zep bio, now on Netflix, Jones & Page, their pedigree,seasoned studio guys at 15 and the just the musical curiosity of them & entire band. And the depth of curiosity of many of the British musicians at that time. Nirvana exploded and redefined music scene. The irony is Cobain revered McCartney & Lennon and it shows in the product. Artists who attain iconic have something else too.They all have pursued perfecting their imperfect selves. Forging to a unique from all that is familiar. Example, a Metallica, Rush or Zep but also, The Stones & James Brown & Beatles or Prince.. That's where the many falter, that grind to be unique &authentic but still remain grounded to a greater cultural legacy.

Eh, no not really. Drums were my life from 12 to 27. I knew peers who were as advanced as a Jeff Porcaro. I'm still amazed at guys who were 16 and blowing out some really advanced stuff. Prime Jeff Beck to the ghost note. The talent pool at one time was wide & deep and no one but there friends & parents will ever know of them. Bonham was maybe 19 or 20 when Zep cut their 1st record. The amazing part was the basic tracks were done in two days. That is not a small thing to do. Schrieve of Santana was 17 when he was blowing it out at Woodstock. Porcaro was and 17 backing Scags on his LP's. I could faithfully do Pert & Paice when I was in teenage years, studied in NYC for a year when I was 23(?), my god there were so many who could "play". Dave Weckl appeared at my HS for a clinic. He was with a small college jazz ensemble. He convinced me i had no business going to college as a music student. The best music student at that time has 8 Grammy's right now, and know one knows him. I got as far as big names telling my band that we sucked, lol. They were right, but we did have talent, we just did not evolve & ferment it enough. Learned a lot from those years, glad i did it but wish i took it to the max, which is not what happened. Ah, well. This kid is one of a million. Golf folks revere the odds of the best rising & shining. In music, those odds are exponentially skimpier.

Yeah, i do and could care less. I drink about a gallon of fluids. I carry a bag, I'm older, not playing with full bladder over some stuffy Karens.

Oh yeah.

What worked best for me past 45 was well rounded balance of cardio, stretching & strength training. Over stressing one over others is not ideal.

Wow, takes a lot of patience to wait that long, hope they come through for you. Sounds like a nice build.

A few years back, my neighbor at the industrial park says, "i bought a garbage container business". He did insulation work and he was pretty happy with his acquisition. One day guy pulls up in Lincoln w/ NY plates, has the bling and silk shirt with slicked hair. He starts banging on neighbor's door, doesn't stop & he 's banging and yelling harder & louder. Dude was postal. After 10 minutes of it, he leaves. About a week later, neighbor got rid of that business, lol.

Being open & hitting trail side is highly dependent on elevated pelvis movement. "Throwing hands 45* off of body" requires it, so i like the video but it's glossing over something big.

Yeah I agree on your position, and my reasons to comment is based somewhat misinterpreting "speed training". Might be 10 to 15 percent of golfers that come anywhere near their potential on swing speed, imo, many more should pursue "speed" to match results of physical ability. If they did that they invariably would end up modifying patterns. Reality is, that's not a one lesson, one month thing. Multi-month, even multi-year is closer to truth. So using course stats alone as a gate keeper for improvement is short sighted and while i pay attention to mine, they do not dictate what i work on. There is always space in regimen for me to just gun it over my head, as there's space for everything else.