Tag Archives: Equipment

How (Not) to Sell Archery Gear on eBay

From time to time I help students or colleagues to find archery gear on eBay. As usual I find myself irritated at the mistakes made by sellers. Here are some tips about how to sell gear on eBay effectively.

Listing Titles
One of my pet peeves is sellers who provide useless information in their listing titles. They list their item in a category, say Compound Bows, and then proceed to list everything you do not need to know. People who start their Listing with “Compound Bow” in such a category are wasting time and space. I skip over listings that have stupid titles as I have little time to waste. Start your listing titles with useful information, such as “2005 Mathews Conquest 4.” You do not need to tell me what color it is as you have included a photo. You did include photos didn’t you?

What else do you think your buyer might want to know? How about draw weight (range)? How about draw length (range)? These are very crucial and should be in your header.

An ideal header for a bow might be “2005 Mathews Conquest 4, 60-70#, 29.5˝ DL.” From this I can tell the manufacturer, the model year, the model of bow, the draw weight range, and the draw length range. Take a look at any compound or recurve bow listings on eBay and note how many people leave out one or more of these crucial things.

Currently I am looking for a Mathews Conquest 4 bow with a 40#-50# DW range, so my search terms are “Mathews Conquest 40.” I don’t mind wading through a few Conquest 3s or even Conquest 2s for sale and their draw lengths can be changed with readily available module changes so I don’t search for the DL. And, I don’t really care about the year of manufacture.

Good article titles really help people find your gear to buy.

Photos
I can’t tell you how many unhelpful photos I have seen. I just share one with you to exemplify what not to do.

Is this any way to sell a bow?

This looks like one of those “can you find the …” photos. All this photo tells me is that the camo on this bow will let me blend in with the rugs in Las Vegas casinos. For your photos, use a contrasting, neutral background so the item you are trying to sell will stand out.

Show photos of the things people want to see, including areas of high or low wear. If there is a defect, take a photo and include it. If you are shooting a compound bow, don’t take photos of the backsides of the eccentrics, show the front sides! That is where the modules or adjustments are made in the draw length. Don’t take pictures of limb surfaces unless there is something to show. If there is a label showing the DL and DW characteristics, shoot that. If the label is tucked into a limb pocket, which is the trend in recurve bows nowadays, take the limb out and shoot the label.

Item Descriptions
Go overboard here. Include everything you know about the bow. At the end you can say “I don’t know anything more than I have listed here so don’t ask.” which will help you avoid incessant questions about your item for sale. I can’t tell you how many times I have had to query the seller for basic information they should have included; it is not just a few times.

Additionally
Selling surplus gear on eBay is a good way to get some money back from prior purchases to fund current purchases. Before you set a price, search eBay for the same article to see what other people are asking. Asking too little for your gear will make someone happy but can make you the poorer. Asking too much means your item sits idle and you have to relist it for a lower price.

If your local club or organization does not have a way to list your surplus gear, eBay is a viable route to sell it on. For Recurve folks I generally suggest they keep one set of limbs that is lower in DW for the occasions in which you have had a lay off or an injury requiring you to build back up to shoot your “normal” bow. It is always a good idea to drop your DW when learning a new form element. Having a backup bow can be valuable, too, so keep that in mind when you decide to sell some of your gear.

 

 

 

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How to Learn Archery

The standard approach to learning archery, or really any sport, is to establish a pattern of incremental improvement. Basically this is a “do good, then do better” approach. We teach archers good basic form, not elite archer form, and then we encourage them to make minor changes in their shot, checking to see if these are “improvements” or “just changes.”

These is absolutely nothing wrong with this approach and I do not see that there is anything inherently wrong with it, but it does seem to be wrong to assume this is the only way to learn. There are basic weaknesses in this usual approach. A good example in archery is tuning. Tuning involves making small changes in how your bow and arrows are setup and then testing to see if the new setup is “better.” The problem with this approach is that you may end up with what is called a “false tune.” The approach of “a little bit, a little bit more, a tiny little bit more, oops, too much … back up a little” will find a local “best tune.” But is that the best tune available? This approach is a little like hiking while always moving uphill. You will eventually find yourself at a hill top, but there may be many taller hills nearby. You just had the misfortune of starting on the slopes of a shorter hill. Since it is very hard to get a wide angle view of the tuning landscape we have to resort to starting from a good starting point. In tuning, this is a well set up bow (as the manufacturer recommends, not as your bow has come to be). Trust me, if you start with a bad setup, you will only find bad tunes.

You can also fall into the trap of thinking that you have to be shooting well to learn (“do good, then do better”). Sometimes when you are shooting quite poorly, it is a good time to break down barriers to better shooting.

A way to get off of the “just a little bit of progress at a time train” is to do something really, really difficult, something you thought you (or your student) could not do. One example comes to mind: the thousand arrow challenge. A colleague, Tyler Benner, actually took this challenge and described it in detail in the book he wrote with Kisik Lee, Total Archery: Inside the Archer. Basically the idea is to start shooting arrows (blank bale) at sunrise and before you get to sunset, have shot 1000 arrows. If you have read his account, it is quite brutal. Even if you were to do it with a very light drawing bow, that is a lot of arrows. Even with volunteer arrow pullers/fetchers and a gallery rooting for you, this is very, very difficult. But … if you pull it off, things change for you. Never again will you feel like there is something in archery you cannot do. This is the big payoff.

How many times have you asked a student to do something and their response was “Oh, I can’t (or couldn’t) do that.” It is our out thoughts that get in our way much too often. Whenever some really difficult task is accomplished, it is often the case that rapid progress occurs thereafter. The “really difficult” task can’t be impossible or something that doesn’t get attained, although there are some people who are energized by simply trying something so hard no one expects them to accomplish it.

Such tasks are “doable” yet very, very difficult. We are most definitely not talking about hitting a target at some really far distance one time in 100 shots. Shoot enough arrows and you will hit something just by chance. For many archers this task is shooting a perfect score on a “gettable” round (one that people have already shot perfect scores on) but could be a round that people have almost shot a perfect score in competition and setting the goal of shooting one in practice. Or it might be a scoring level breakthrough (a score of 1400 on the 1440 FITA Round). This may seem like a small achievement, but for the archer who has never reached that point, it is significant. The key, though, is in the preparation and execution. You don’t just keep shooting that round until you get a perfect score, the goal is to always (almost always) get a perfect score or shoot at that level. When you have accomplished something like that, then you feel as if you can accomplish more and, just like a springboard, the accomplishment can launch your archer to new heights.

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Very Cool New Recurve Riser

The MK Beta Riser which takes ILF and Formula limbs.

Some inventive bow designers have created a riser that takes both ILF and Hoyt Formula limbs (MK Beta Riser)! Check it out!

The International Limb fitting is a Hoyt design that was stolen by the rest of the industry (without paying royalties for the design—there are these “so sue me” actions from time to time in this industry) and, of course, the Formula limb sockets are a Hoyt design. Since the vast majority of recurve limbs have ILF fittings, this means a recurve archer would have available to them all of the current higher end limbs to use.

Whether MK is paying for the use of the Formula design I do not know, but it seems to be a simple and well thought out design. There are two posts for limb adjustment. If using Formula limbs, the middle post is removed (I expect it just screws out as it was screwed in). If ILF limbs, the middle post is used and the top post isn’t in the way.

This is not an endorsement, just admiration for an engineering problem solved.

 

An ordinary ILF Limb Pocket on a modern recurve riser.

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What Letoff is Best for Target Archery?

Often as not these posts are stimulated by questions sent in by my students. In this case part of one question included this:

Remember those 65% cam letoff modules? I didn’t notice any difference so I put the original 75% ones back on after a few months. Since using my trainer with two tensions, I see the higher tension seems to go off easier. In addition, I’ve read the higher tension lets you hold on target better. I have noticed even with my stabilizer with different weights I don’t get as steady as I’d like or should be.

Many coaches not raised in the world of compound bows are a little baffled by the concept of letoff. Simple stated, the letoff is the percent of the peak draw weight of a compound bow that you lose getting to the holding weight. So, if you have a 50# peak draw weight compound, if it is designed with 50% letoff, you are holding 25 of those 50 pounds at full draw. If you have a 60% letoff bow, then you are holding 40% or 20#. If you have a 75% letoff bow you are holding 25% or 12.5 lbs.

So, why not 100% letoff, it sure would be easier holding?

In the early days of compound bows (Hint: the 1970’s) compound bows had 35-40% letoff at best. The archers choosing these bows were shooting 40 and 45 pound recurves, holding 40 and 45 pounds at full draw, so knocking off a third or more of that was quite a deal. Shortly thereafter letoff reached 50%, then 65%. When I got started in archery the Compound-Fingers archers were often shooting 50% letoff bows and the release shooters were shooting mostly 65% letoff bows. The difference between the two groups is understandable if you grasp that the fingers do not leave the bow string in a finger loose, the bow string pushes them out of the way on its path toward the bow. If there is very little tension on a bowstring at full draw, where the loose occurs, then there is little force to move the fingers out of the way, which means the string will move much more than we want it to in response to the force exerted on the fingers by the string (action-reaction). This makes for inconsistent wobbly releases.

Bow manufacturers have raised letoffs up to 75%, even 80% but these are not used much for target applications. They are mostly used by bowhunters who may have to wait at full draw for a deer to present itself, for example.

Target archers still need a bit more string tension for the reasons implied in the question and more. As more and more compound archers switched to using release aids, which make our releases so much cleaner, we tended to give back some of that full draw bowstring tension (high letoff = lower full draw string tension), trading it for comfort. The holding weight at full draw which creates the string tension is a force we exert on the bow that (a) makes the bow easier to hold up (as the draw arm is pulling up, somewhat, as well as back), (b) makes the bow easier to hold steady, and (c) gives a reasonably clean release.

In my student’s case, his bow has replaceable modules that attach to the cams that change the letoff from 65% to 75%. (Letoff is an element of design that varies slightly with draw weight and draw length and since those are adjustable, these numbers are approximate.) He is saying that with the 65% letoff modules installed (giving a slightly greater holding weight/bowstring tension at full draw), that the release goes off more crisply and that he seems to be able to hold steadier. He is quite right.

Many cam modules are adjustable to create a wide range of draw lengths. Some adjust the letoff.

Basically there has to be a happy spot in the middle of the letoff range, somewhere where the amount of resistance at full draw is not taxing yet the tension on the string is enough to facilitate a stable hold and release. For target Compound-Release archers this happy middle ground is currently around 65% letoff. As with all things of this type, this is not a dictum, it is just an indicator that the farther you get away from that number the less easy things get. As the letoff goes down (toward, say 50%) the holding weight goes up and so fatigue becomes a factor on long shooting days. If you are in very good shooting shape, this may actually be desirable. As the letoff goes up, the ability to hold steady goes down a little, but if you are rock solid steady, that may be an acceptable tradeoff. So some archers favor higher and some lower letoffs than what most archers do.

If you hear compound archers arguing over “what amount of letoff is best” realize that the discussion is probably pointless as what is best for one person may be quite different for another. It also depends on the application: bowhunting, target, field, 3-D. But compound archers, shooting more complicated mechanisms (bows), have more of an equipment focus than do recurve and traditional archers. Arguing over “what <fill in the blank> is the best …” seems to be a way to talk about their sport and stay engaged. I never pay those discussions/arguments much attention.

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Apertures Float Like a Butterfly

We get letters ♫ … I got an email recently regarding apertures from a compound archer. Some interesting points were raised. Here it is:

Steve,
I’m working on a steadier hold. I switched to a dot from my aperture because the new (kinda) 80 cm target for compound @ 50m didn’t work with the aperture I’d been using for the 122cm target. That aperture also worked perfect in my garage at 28 feet as well as 18 m indoors. The dot seemed to be the same size at all distances. I was doing holding drills this week and tried both the dot and empty aperture, then noticed something interesting. When using the dot, it wanders out of the gold and you don’t want to take a shot when it does that but when using the aperture you always have some yellow in the circle made by the aperture even when the dot would be out. It’s an illusion, somewhat, you’re always in the yellow while you’re “out” with the dot even though it’s really the same position you’re holding on.

Here’s my response.

* * *

For compound people, there are a multitude of rings in different diameters and thickness … and colors to try. You can even combine rings and dots and use one or the other under different situations.

You were perceiving what is called relative steadiness. A bigger dot seems to move less than a smaller one (possibly because the extent of the motion is a fraction of the diameter of the larger dot, rather than a multiple of the diameter of the smaller one). Same is true for larger rings/apertures v. smaller rings/apertures. If you are using a central dot in your aperture, you want to have the dot be small enough it does completely cover the gold, nor does it leave the gold often. This is why I prefer a larger ring decal on my scope lens apertures. The gold floats inside of the ring and provides the information my brain needs to see that it is “centered” in that ring.

Imagine a dot so big it covers the gold. (Some have used old sight pins with beads glued on the tip to create such a thing for indoors compound archery.) In this situation one feels the urge to move it off to see if the gold is actually behind the dot. If you are in a situation like that, due to the distance to the target, it is better to “see” the dot as being inside, say, the blue ring, and looking to have it centered in that ring because the gold is not helping. On a target like the NFAA Hunter targets, you are SOL as there is only the small central dot on the face and no outer rings to help as with the parti-colored target faces.

Small dots make you feel more jittery, larger ones less so, but larger rings/apertures include the ability to see what is behind the aperture while keeping the sense of stillness.

We are never perfectly still. The fact that out hearts beat continuously, and each beat changes the location of our center of mass slightly, which means we can never be perfectly still. So apertures, scope lenses, dots will always be seen to be moving. Small objects moving a distance equal to their own size appear to be moving a lot. A large object moving the same distance appears to be moving very little. The empty ring aperture (recurve) and the ring decal applied to scope lenses (compound) provide the best of both.

Again, these are my opinions, my analyses. There ain’t no gospel here. If you are someone which an elevated innate sense of calmness, you made need no extra help like this. I am not one of those people and was born jittery, so I needed all of the help I could find. Steve

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The Selling of BS

I was reading a blurb for yet another golf video lesson and I ran across the words “Speaking of draws, not many amateurs can hit one … especially with the driver…. What’s the big deal about a draw, anyway? Well, did you know a draw travels 31 yards farther than a fade hit with the same swing speed? It’s a fact, proven by a Golf Labs robot.

Ah, the Holy Grail of amateur golf, hitting a draw. A draw is a shot that curves slightly from right to left (for a right-handed golfer). The factoid they supplied is indeed probably right (assuming the club was a driver, the longest distance club), but it is also irrelevant. A draw will go father than a shot curving the opposite way, a fade, using the same club. The reason is that the technique used to hit the draw involves turning the club in your hands so that the club’s face is more upright. A more upright club face means the ball will travel more forward and less upward, so farther. To hit a fade, you must do the exact opposite, tilt the club face slightly back away from vertical, which means more up and less out, resulting in a shorter shot.

What they don’t tell you is that if a fade is the result of your natural swing, you can compensate by using clubs with the faces a half degree or so more vertical. Voila. Now you get the same distance you would have gotten from those other clubs, hitting a draw.

Hello? Jack Nicklaus, arguably the most successful professional golfer of all time and one of the longest hitters of his generation, hit a fade. A draw is not necessary to hit it long. Sheesh.

But then, they had clubs to sell, clubs that make it easier to hit a draw.

This is the case in any sport in which there is gear to sell, like, say, archery. For a long time, bow manufacturers have been finding ways to make arrows fly faster and bragging about the arrow speeds their bows provide. And, the benefit(s)? Well, in most cases, the extra speed means that the angle the arrow makes with the ground is a fraction of a degree flatter. And we all know how that affects an archer’s accuracy or success at hunting. It … it … means … uh, hmmm, well … it means…. Yeah, diddly squat.

Addendum Professional golfers, some of them anyway, use this draw-fade difference to help them control their shot’s distances. Not only does being able to hit both kinds of shots with the same club allow them to “shape” shots to fit golf holes that curve to the left or right, but they can also use those different distances to make their clubs more versatile. If their driver goes 300 yards with a draw but they need the shot to go 285-290 yards, they can hit a fade with the same club and voila. (It is hard to hit draws and fades with higher lofted clubs, wedges, etc. so this is limited to the “longer clubs.” Although a common technique in hitting the “short irons” is to turn the club in one’s hands to change the angle of the club face to match it to the distance needed, which is the same idea. So this aspect of “a fade” going less far than “a draw” is not a bug, it is a feature. But when it comes to selling, any old factoid can prove useful.

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Barebow, Barebow, Barebow

I just got an email from a viewer who had a boatload of questions about Barebow. (Hooray!) I love it when you send in your questions as it gives me ideas about what I should write about, so if you have them, please feel free to email them to me (ruis.steve@gmail.com).

Here’s Dieter’s questions:
So, the questions are:
• Does one have to close one eye when aiming off the point?
• My kind of split vision string- and face walking does work. However, did you come across someone who managed to combine the more “instinctive” split vision technique with aiming off the point brought right below the target without having to drastically alter button spring tension?
• Of course, I could decide for either technique. The benefit of split vision from 5 – 25 meters is, I do not need to crawl down the string and thus do not imbalance the bow. The other thing is losing accuracy on longer distances. I might also improve the closer distances aiming off the point.
• Maybe, my little problem is confusing. However, I’d be glad if you could share your experienced thoughts with me.
Best wishes, Dieter

* * *

And here are my attempts at answers! (Note I assume Dieter is referring to Barebow Recurve.)

  • Does one have to close one eye when aiming off the point?
    My opinion is that this is only necessary if there is a problem with keeping the off eye open. I, for example, shoot right-handed but am left-eye dominant. If I don’t half shut my off eye, I can end up with some bad misses. There are problems with shutting the eye completely (as with an “eye patch”) as this lowers the total amount of light coming into the eyes and therefore affects iris responses, etc. Eyelids allow some light it and people with glasses often resort to putting a strip of transparent tape over the off eye lens. This allows light in to an open eye but no clear image, so if the off eye “takes over” it will be easily noticed.
    This is the same whether you are aiming off the point and or using a sight.
  • … did you come across someone who managed to combine the more “instinctive” split vision technique with aiming off the point brought right below the target without having to drastically alter button spring tension? This is a very complex question. The “split vision” technique, as recommended by the likes of Howard Hill, is not really split vision as much as it is split attention. I am not a fan because while you are aiming that is the only time you are splitting your attention on what you are doing during an archery shot: you are attending to aiming and attending to completing the shot via swinging the draw elbow around, squeezing back muscles, or whatever. Splitting your aiming attention in two results in a three-way split in attention, something I am not a fan of. But then, I am a fan of whatever works, as long as we know what actually works, so if the “split vision technique really works for you, then go for it. (That you asked the question indicates it is not working well enough or under the circumstances you encounter.)
    Two topics are being addressed here in addition. One can aim off of the point several ways. The two primary ways are gap shooting (basically aiming off, with “gaps” being the amount of high or low aiming) and stringwalking. Since the grip of bow and sting do not vary when gap shooting, no adjustment of plunger tension is needed. However, when string walking, whenever the “crawl” (the distance down from the arrow the string is “gripped”) is changed, you are essentially de-tuning the bow. The draw length changes, the draw weight changes, the tiller changes, everything. These changes are small and successful Barebow Recurve stringwalkers focus heavily in finding a bow tune that represents a “happy medium compromise.” Usually, since the shorter distances are shorter and therefore easier (in field archery) they allow for a poorer tune there and set up for a better tune for the longer, and therefore harder, shots.

    Taking a crawl on a longbow.

    So, elite Barebow Recurve Archers who stringwalk have this unavoidable dilemma. Some use plunger adjustments at the extremes of their distances to help with this problem, so you are not wrong in doing that. The ultimate tune, though, for such an archer is one that doesn’t involve such adjustments, so these archers work on their arrows obsessively and their plungers to find a “no fiddling tune” if they can. If such plunger adjustments are required, you need to adjust your shot sequence to make sure that you add or subtract known numbers of turns on your plunger button and then take them off when no longer needed. Forgetting to do these things are mental mistakes that always lower scores, so eliminating the need to make such adjustments reduces the number of possible mental mistakes, which is a good thing … if you can pull it off.
    Sorry, for being so long winded on this one, but that’s the best I can do. Possibly more expert Barebow archers will chime in in the Comments.

  • Of course, I could decide for either technique. Yes, you can. There are some who insist that this technique is better than that technique. I have never seen a case in which this has been proven, unless you put up some form of standard technique against, say, standing with your back to the target. The entire reason we all shoot much the same way, with only minor differences, is that in the 60,000–70,000 year history of archery, the bow has taught us what works and what doesn’t. So, most of what you can find being currently recommended by archers and coaches works! That’s the good news. The bad news is “so does all of the other stuff.”And the only way you can tell “what works for you” is to try things out. Unfortunately, the things being tested against one another are so similar (they may feel really different, but they are not … to the point that onlookers may not notice that you have changed anything) that it takes many weeks of trying out the new thing to see if there is a real effect or not. There are very many things to try, and not enough time and effort to try them all, so you just have to pick.

    What I do know is this: the key factors are whether an archer has committed to a new/different technique and practiced it in and … in my not so humble opinion … simpler is better. If you try an aiming technique and it only works for shorter distances and you need another for longer distances, I would keep looking. What you want is a technique that is the same for all shots you take on a certain course, e.g. WA Field Unmarked shots are never longer than 50 m, WA target shots used to be longer (30-90 m for men) but now seem to have been shrunk down to just 50 m for target events. I would have separate bows set up for the two kinds of events. If I couldn’t afford two bows, I would have two bowstrings and two sets of bow settings for the two events. I might also, depending on budget, have two sets of arrows tuned for two different events. (Consider archer’s arrow choices for indoor and outdoor events as a model.) The gold standard for FITA Field Barebow archers shooting unmarked targets is a single anchor with a single set of crawls from 50 m on down to the shortest shot (don’t remember this … 5 m?).

    I prefer having a single technique for a single event. When I teach stringwalking, we start at close up, determining the archers point on target distance (POT) and then determining their set of crawls for distances inside that distance. Then we change from a high anchor to a low anchor and determine the new POT for that anchor (much farther out) and a set of crawls there, too. (Often the crawls are amazingly consistent, e.g. the same crawl for five meters closer than POT distance for both anchors, which makes memory mistakes less likely). What we hope is these two ranges overlap, covering all of the distances being shot. If they do not, instead of adding a third technique, we look to changing things like draw weight or slight changes in anchor hand position to get what is desired.

My rule of simplicity would rule out string walking as a tool for tackling a FITA Round, for example. There were/are only four distances. It is far easier to determine four points of aim for the four distances (if they are on target) than employ stringwalking with its detuning characteristics. But for a Field Round in which targets are placed at many different distances, having a different point of aim for each target is too cumbersome, there stringwalking shines. So, there are legitimate reasons for having a “bag of tricks” to employ for aiming at various kinds of events as “one size never fits all!”

I hope this helps more than it hinders!

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NFAA Trims Back Styles

When I got up this morn I found an email from the NFAA (US) in my Inbox indicating that they have trimmed back the list of recognized styles. And as one might guess, the numbers of “fingers” (versus “release”) styles are the ones being trimmed.

Here’s the list from that email, in case you are interested but didn’t get the memo:

So, since I first jointed the NFAA (1990), the list of styles no longer available is:
Bowhunter (Adult and Youth)
Bowhunter Freestyle Limited (Adult and Youth)
Longbow (Adult Only)
Freestyle Limited (Youth Only)

I do not know the data or politics behind these changes, so please do not ask.

A number of styles have been added since that time (Freestyle Limited Recurve is basically Olympic Recurve, plus some of the Pro styles).

 

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Quiver Protocols

There is much information in archery that is needed to be learned and mastered that just doesn’t show up much in print or video anywhere. I was reminded of one such bit as I was chaperoning some new field archers around a field course this last weekend. I have written about this topic in one of my books, but I guess it is worth restating here.

The penalty for shooting an incorrect number of arrows is steep. Obviously, if you do not shoot all that you are allowed, you left scores in your quiver. If you shoot extra arrows, the rules penalize you and, to be effective, the rules must penalize you more than you could gain from the extra arrow(s). A common penalty for shooting an extra arrow is to lose the score of the highest scoring arrow on the target, or even the highest scoring arrow score plus one more point.

To prevent such mistakes, we create habits and one such is using a quiver protocol. I will describe my quiver protocol as an example, and you can take it from there. I use four-tube side quiver. A hip quiver slid around your back is great for indoors, but doesn’t allow you to see your quiver. Ditto for a back quiver. Seeing how many arrows are left in your quiver is at the core of all of my quiver protocols.

This is a four tube quiver. I made my first quiver as a back quiver, then modified it to be a side quiver, and then modified it to add tubes. (The tubes we got from golf stores.)

Of the four tubes in my quiver, I shoot from the top tube downward, meaning I empty the top tube before taking arrows from the next tube down. I do this this way because when I drop my hand down onto my arrows, the first arrow I touch is in the topmost tube which still has arrows in it. In this fashion I can pull an arrow out without looking at my quiver.

I reserve the bottom tune for “spares and defective arrows.” The spares are put in normally, but if I put an arrow in my penalty box because it is broken or bent, etc., I place it in fletches down, rather than fletches up. This distinguished the spares from arrows that must not be shot.

The top tubes are then used to distribute the arrows that will be shot. The basis for the distribution is our ability to count things without, well, counting them. For example, if someone rolls a die, do you have to count the pips on it to determine their number? The answer is no, because each face of a die has a distinctive pattern that is recognizable. If there are pips in all four corners and one in the center, it is a five. If there are pips in all four corners but none in the center, it is a four. Once you learn the trick, you never again count “1, 2, 3, 4 … that’s a four.” We learn this at, what, four or five years of age?

In any case, we want to set up our quiver to take advantage of this ability. For a shoot with six-arrow ends, we could just stuff all six arrows in the top tube and shoot them one at a time. But if there were only five arrows in that tube, instead of six somehow, would you notice? Possibly not. My quiver protocol has me putting two arrows in each of the top three tubes (3 x 2 = 6). When I glance at my quiver, if the tubes are “full,” meaning have two shafts in them, I am good to go. And a tube with two is easily distinguished from a tube with one or three just by looking, no “Uh, 1, 2, 3 … damn!” When I have shot my first arrow (from the top tube), if I look down there is one left in the top tube with two each in the next tubes. After the second arrow the top tube is empty. After the third arrow, there is an empty top tube and just one arrow in the second tube down. After the fourth, the top two tubes are empty, and … after the sixth, the top three tubes are empty. I never, ever, ever ever take an arrow out of the fourth tube and shoot it. Arrows taken out of the “spares” are only placed in the quiver in place of an arrow that was rejected, then they are shot from there.

If I am shooting in a three-arrow per end round, I start with two in the top tube, then one in the next, then an empty tube. If a five-arrow end round, I go “2, 2, 1, spares.” All of these patterns are as alike as I can make them. I always start with two arrows in the top tube, for example. This makes this ordinary and not something special just for this round, which requires additional thinking, something we try to avoid.

Using one’s quiver protocol over and over makes it automatic. I have not made the mistake of not shooting the correct number of arrows since I adopted the practice.

To make this work, you have to load your quiver carefully. This you do most often at the target aftre pulling your arrows while you might be engaged in chit chat with your target mates. You must clear the mental space to load your quiver correctly after each end. I use a mental trick of not allowing myself to move my feet until the arrows are quivered correctly. This is just an extension of not moving your feet until all your arrows are safely quiver, which is what we teach beginners for safety. (You can’t trip unless you are walking, unless you possess unusual “gifts.”)

Of course, there are all kinds of additional things of this ilk to learn. If an arrow is pulled from service do you know which one it is if it accidentally gets put in the wrong tube? (I number mine for this purpose.) Do you …

As a coach, these are things to teach your serious students. The advantage to them is if they offload some of these things into the realm of habit, there is less to distract the thought processes during the competition and fewer stupid mistakes to upset them.

 

 

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Archers Need More Help with Stabilizers?

We have addressed the topic of stabilizers, primarily how they work, and how to get started using one. It seems that it is time to expand on that beginning. Here I am going to focus in on how you, as a coach, can help archers wend their way through a forest of stabilizers.

More Stabilizers, More, Please
It seems to me that many novice archers, young and old, rush to make their equipment look like the “good archers’” stuff. This is especially true of young archers whose moms and dads are archers. The problem with doing this is that such additional accessories may not help and might just hurt their progress in archery. Each new accessory changes how their bow feels and needs to be adjusted and tested. If your student does not shoot quite well yet, they may not be able to notice that there is no improvement in their archery from the addition of the XYZ Gizmo. And if they are adding mass to an already “too heavy” bow, they will be hurting their progress.

These accessories only make small differences in their results and if they really want positive attention for their skill as an archer, practicing and refining their form will probably pay off more than fiddling with their equipment.

That being said, you will probably not make many friends if you pooh-pooh each student-archer’s desire to add something to their kit. So let’s look at how you can help.

Getting Fitted
One of the areas archers need the most help is with their archery purchases. The archery marketplace is bewildering to even many seasoned archers, so it is especially so for novices and beginner-to-intermediate archers. If you prove valuable helping with these purchases, your opinion on subsequent ones will become more and more impactful. Besides, trying to help an archer is always one of the better things we do.

Fitting Long Rods Short stabilizers are limited in length by rule, but long rods are not, so let’s look at long rod fitting. An easy way to measure a student up for a long rod is to have them hold their bow at their side, string up. Have them allow it to hang as far as it will, but their hand should be in the bow as it is when shooting. Then measure from the stabilizer boss to the floor/ground. Add an inch to this length—this is a good first estimate as to what length of long rod to start on. If your archer is still growing, add another inch. If the long rod you are shopping for doesn’t come in that length, err on the long side, but not 5˝-6˝ long as that will be unwieldy.

As to how much the rod weighs: lighter is better (stiffer is better, too). The rule of thumb is a lighter weight farther out has a greater stabilizing effect than more weight closer in. There are now some carbon fiber long rods that are not too expensive that are lightweight and quite stiff, too. If on a tight budget, an archer can look for a used rod or a less expensive aluminum one. Some very gaudy scores were shot using aluminum stabilizers. Don’t fall for the “carbon is like bacon: it makes everything better” rule.

With regard to long rod “end weights” we recommend they start with none, maybe just a plastic cap to protect the threads on the end of the rod. If the rod comes with end weights, they can be just taken off (and put in a Baggie labeled and dated!) and added later when your archer is feeling experimental or just stronger.

Fitting Side Rods Side bars and V-bars themselves come in a number of variations. V-bar blocks (the block the side rods screw into) can be “fixed” or “adjustable” as to the angle. For compound archers, “one side only blocks” are available, but you can just use an ordinary dual rod block also, even though only one rod is the norm. The V-bars themselves come in various lengths, sort of small, medium, and large. If your student is fairly short in height, they should get the short side rods. If they are fairly tall in height, recommend they get the long side rods. If in the middle, have them get the mediums. If an adjustable block is used, the angle the rod makes with the bow tunes the effective length of the rod.

To fit them, they need to be attached to the bow and your archer needs to shoot some to adjust to the new feel. After this “break in” period, you need to ask them how the bow feels. If they pay attention, they will notice whether the bow tends to react left, right, up, or down. If they do not notice, have them shoot some arrows blind bale, specifically asking them to pay attention to how stable the bow feels at full draw and which way the bow tends to move when the shot is loosed.

Angling the side bar or bars downward moves the weight distribution from back to front (and the reverse does the opposite). So, if they feel like the bow is “rolling back” in their hand too much (or less forward, these things are relative) then the bow is back heavy and weight needs to me moved forward. Angling the side rods(s) down will fine tune this. Adding weight to the tip of the long rod would be the most affective way to move weight forward (and so removing it is the most effective way to move weight back). What you want to be leery of is adding a bit of weight on the end of this side rod, then a bit more on the end of the long rod, then a little weight on the other rod, . . . ; this can lead you to a bow that is much heavier than before, something that might not be desirable (this is a warning for youths and smaller adults who have less shoulder muscle development).

To get a feel for how the bow is balanced, try hanging it from a hook or loop of cord so it can hang freely. You will eventually develop an “eye” for how a bow that is balanced well hangs. One with too much weight forward will hang with the long rod at an angle that looks “too steep.” One that has too much weight to the rear will hang with the long rod to flat to the floor/ground. From behind the bow, the bow should hang straight up and down, if it doesn’t then weighting of the side rods needs to be adjusted. (This is the only reason for a single side rod on a compound bow—to balance the weights of the “compound weight” bow sight and arrow rest on the other side of the bow.)

Testing, Testing, Testing
We have recommended over and over that when anything new is added to a bow (or the accessories jacked up and a new bow put inside of them), the new rig needs to be tested against the old. Notes need to be taken regarding the arrangement of the “old rig” and some measures of how it performs need to be had (group sizes and round scores seem to work best). Then the “new rig” needs to be set up, adjusted, and tuned and tested in the same way. This is what serious competitive archers do.

Having said this, don’t beat this approach like a borrowed mule. A little bit goes a long way, here. Your first goal is to establish that “this is the way things are done.” You are not trying to establish that this is the best equipment setup in all of the world for your archer. U.S. archer Jake Kaminski has set up a YouTube channel and has made some very useful videos in which he walks through setting up new equipment and testing it. He is an elite archer and has worked out how best to do those tasks for him. You will also see the amount of equipment he acquires and tests, looking for small improvements in his performance. The amount of effort is amazing. Do not try to emulate this as your students are nowhere near ready yet.SAve the elite archer routines for the elite archers.

Bare shaft tuning works well (Jake uses it). Simple testing routines that can be done in a single practice session (or between lessons) should be the goal.

 

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