Tag Archives: Q&A

You Get What You Pay For

I get a “newsletter” from ArcheryTalk.com and occasionally drop in there to see if anything of value is being discussed and occasionally there is. Unfortunately there is an ocean of other “stuff” one needs to sift through to find it.

The topic that drew my eye was entitled “Critique me” which consisted of a still photo of the archer at full draw shot from up the line, accompanied by this text: Just got a new <name of bow> and I was wondering what you guys thought of my form with the new setup. I’m always looking to improve and I appreciate any suggestions! I’m 6´3˝ and shooting a 29.5 inch draw length currently.

That was it.

I wonder what the gentleman in question hoped for in the way of feedback. The audience in question is united by at least one thing: they all have opinions. The problem is how would one evaluate the opinions. As you might expect I don’t think “crowd sourcing” of archer feedback is a good idea. Plus, one photo … really?

I read a few of the comments and a number of commenters said that his “draw length” looked right. Hello? If you wanted to evaluate his draw length you need a shot from above (ceiling downward) or from what I call “away,” that is on the far side of the archer. I also am 6´3˝ and shooting a similar bow in a similar fashion, my draw length is just under 32˝ so I have to be at least a bit suspicious that his draw length is a tad short. (One also doesn’t know if it was measured correctly.)

I hope that any coach asked for input in this situation would respond with “Sorry, no can do.”

For one, it takes a lot of training to be able to develop the skill of analyzing someone’s shot and that means you should probably get paid for the task. (Alright, I tend to try to help people who write in with their problems, simply because there is so little help available and I don’t charge for that service. But I don’t respond to cattle calls, like the one above.) A second problem is the archer hasn’t supplied anywhere near enough information.

I had an archer who wrote me and ask why his arrows hit to the left of the target. Well, there is a long list of reasons for this, the primary one being that is where he was aiming, but a common source of lefts or rights for “fingers” archers is having the wrong arrow spine. The problem is if the archers is right-handed, his/her arrows will fly to the left if too stiff for the bow and the right if too weak. But if the archer is left-handed, then the reverse is seen (arrows hit right if they are too stiff, etc.).

So, the information that is needed to ask any question is somewhat large.

I saw another AT question that asked: if you were just considering axle-to-axle length of a compound bow, what would you buy? Again, the question lacks enough information to provide an answer. You need to know what the bow is being used for to answer this question. Bowhunters favor shorter bows as they tend to shoot from cramped positions or have to walk through brush and can’t afford to snag their gear along the way. Target archers prefer longer bows as they are easier to hold still (the largest stabilizing force in a compound bow is the mass of the riser and how far it is distributed out from where the grip is (same principle as what makes a long rod work, just a lot more mass involved). And they have plenty of space to wield such bows.

So, please do send in your questions … and if you want a good answer, consider all of the information that might be needed to answer them, then include some of that. And, I strongly recommend you not ask “the universe” to answer your question. You will get too many answers that you cannot evaluate the quality of.

 

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More Barebow Questions

There seems to be a resurgence of Barebow archers lately and that makes me happy. That doesn’t mean Barebow is simple or easy. Here are some questions!

* * *

Coach Ruis:
I have a couple of questions. My first question involves blank bale practice. Winter is here, so I am shooting blank bale in the garage several nights a week, and going to the indoor range once a week. I am a string-

Barebow Recurve archers (right) get a bow and an arrow, none of the sights, stabilizers, clickers and other gewgaws that Olympic Recurve archers (left) get.

walking Barebow archer shooting an intermediate ILF bow with a plunger and wire arm arrow rest.
     While blank baling, I work on activating lower and middle traps when expanding as I focus on the draw arm LAN2. After a few days of blank bale, and I go to the range, I notice I have picked up a couple of ticks. First, I find I drop my draw elbow while expanding, and shoot high by a few inches. I have to concentrate on keeping my elbow at it’s draw height when I expand to correct this error. (I am actually not sure if this isn’t something going on with something else, like my bow arm/shoulder.) Second, my head position and/or draw hand at anchor seems unstable. It takes me a few ends to stabilize my anchor, and get my horizontal precision back. What is going on here, and how should I change my blank bale practice to be a force for good?

My second question involves shooting my secondary bow. I have an inexpensive three piece recurve I use for occasional stump shooting. I recently went on a trip for a couple of weeks, and brought the three piece along. I ended up shooting it a bunch of times over two weeks. Even when string walking I have to aim low and right to get the arrow to hit the mark. Once back at home and shooting my ILF bow, it took me a couple of weeks to regain both precision and accuracy. Obviously, I picked up some bad habits using this bow. I am guessing switching bows is a bad idea? I started out thinking that using different bows would increase my adaptability to different archery conditions, but now I am not so sure.

And here are my answers.

* * *

The difference with regard to your secondary bow is arrow spine. Unless you have a separate set of arrows matched to that bow, the odds of being able to use the same arrows with two bows is vanishingly small. You can mitigate the difference between the two aiming points by mentally telling yourself you are practicing “aiming off.” In the absence of wind, all points of aim (POA) of a well-tuned bow should be on a vertical line going through the center of your target face. (I call this the 12 o’cock-6 o’clock line.) If the wind is blowing, you may have to “aim off” of this line to allow the wind to blow your arrows into the center. I have people shooting sights deliberately mis-set their sights and find out how to still hit center as practice for this event. Mentally, then, you will not automatically blend in this shooting with your other bow’s shooting.

If your POAs aren’t on the 12 o’clock-6 o’clock line, your bow is not well-tuned.

Equipment-wise, if while string walking, your arrows hit to the left or right of your POA, and you can’t tune those out with your plunger, your arrows are either too stiff or too weak. Since you are aiming to the right (I assume you are right-handed) that means your arrows are flying left, which means they are too stiff for that bow. This may simply be a manifestation of your secondary bow having a lighter draw weight than your primary bow. (Can’t tell from here, of course.)

Regarding your first point. I have a problem with the National Training System of USA Archery (NTS) and you are demonstrating it clearly. (I assume you are learned in NTS as you are using their phraseology.) In this case, it is based upon the fact that we do not chose to use muscles consciously, but the NTS documents, which seem to be written for coaches but are foisted onto archers, offer way too much detail, including which muscles to use. Archers need to be put into proper positions and encouraged to use proper movements (what we call form and execution), which then limit the muscles that can be used … automatically. For example. If you draw the bow with your elbow at roughly nose height, it blocks out the biceps of your draw arm from being used. (Hold your hands and arms up in “pre-draw” position and then flex your draw arm biceps—careful, you may whack yourself in the face!) Subconsciously you know the biceps cannot help to draw the bow when in this position, so the biceps are not called upon. If you draw with your elbow quite a bit lower, it requires you to use your biceps. So, does an archer need to know about the biceps (the muscle that bends your arms inward)? I say no. They need to know that a better way to draw the bow is with their draw elbow “high” (meaning roughly at the level of your nose).

I believe your attention to things like the “middle traps” is really inhibiting what you want to do. If you put your body into the proper positions (form or posture) and then proceed freely (execution), you will automatically use the right muscles.

It is important to know these postures for this reason. At full draw we want a relatively straight line to run up the bow arm and across the shoulders (see the shoulder line in illustration below). Why? Bracing. A recurve bow exposes the archer to its full force at full draw (unlike a compound bow). To provide enough time under these conditions, we prefer to have our bone structure aligned to take that compressive force (you expand the bow, the bow compresses you). The bones can accept this force easily by opposing the force with compression resisting forces, but in the absence of the proper alignment of the bones to do that, we need to use muscle to supplement that. And muscles get tired and so over time their performance varies. Why do we need time at full draw? We need 0.5-1.5 sec (my estimate) of time to determine that we are being still. If you watch your arrow point carefully, it starts out being somewhat jittery when first at anchor, but then becomes more still (never perfectly so) after that time period. If you just wait, it will become more and more jittery again, as the muscles you are using to maintain your bone alignment fatigue. Why do we need to be still? If we are not still and are “shooting on the fly,” we will have variation not only in space (aiming is not perfect spatially) but also variation in time (we need to time the shot so it is properly aligned when we release). Stillness is better than not being still and we do not want to take this for granted.

If you observe this “settling” into your full draw position through the lessening of the motion of your arrow point, you can use this as a signal to release the string. Once you have become still and are on your POA, there is no benefit in waiting any longer. In effect, you have the equivalent of a built in “clicker” telling you it is time to loose.

We also want to have a relatively straight line from the centers of pressure on your bow hand and string fingers and on through to the point of your draw elbow (see the primary force line in the illustration above). Why? Biomechanically the COP of your bow hand is where you are pushing the bow handle and the COP on your string fingers is where you are pulling on the string. By aligning the draw forearm on that axis, you automatically throw the force of maintaining that posture on your upper back muscles (when archers say “back muscles” they mean the upper back, not the lower back, so the “mid-back” to an archer is the mid-upper back to others). The key is keeping kinks out of those two straight lines. This is what having “good alignment” or “good line” is all about. Any deviation from straightness of those two lines, requires muscles to be added to the equation, muscles to resist the draw force instead of just to maintain posture.

Whenever muscle is recruited to replace the role of bone under compression, we automatically make our shot more athletic. On good days, you can pull this off. On not so good days, your performance suffers. If you have large swings in your performances, it may be your shot is too athletic. A shot based upon bone is more consistent than one based upon bone and muscle (to resist the force of the bow). Muscle is always needed to maintain posture/body position, so we are not talking about that in this case.

I know I am going on and on, but the trap I hope you can avoid is in getting too focused on this muscle or that whatever. (I still have not seen a reference to LAN2 in any other source and do not understand how a reference to that point is superior to just using the point of the draw elbow. They are just a few inches apart and move together.)

Oh, with regard to you dropping your draw elbow. Your focus on your mid-back is allowing that (not causing it per se, but at least allowing it). Many successful archers use a focus on their draw elbow to get them through the shot. (Which you just discovered … it is not a bug; it is a feature!) The draw elbow is to move around (toward your back) and slightly down through the latter stages of the shot. This you can feel. Keeping both elbows “up” is a good focal point for successful recurve archery. If you are too focused on your back you may feel your elbow moving but it may be moving down rather than around. When the elbow moves down, it relieves the stress of the draw, something our bodies automatically do (relieve physical stress, avoid pain, etc.). You can draw farther, with less tension, dropping your draw elbow than not. But the build up of muscle tension in our back muscles (we call it back tension) is something we use as a sign that we are in the proper position. Allowing this tension to be bled off by lowering the draw elbow, removes this ability to determine if things “feel right” for loosing.

I hope this helps. Since diagnosing such things based upon written descriptions is kind of “iffy” do let me know if this works for you or not.

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Follow-up On What Constitutes A Relaxed String Hand

I have mentioned a number of times that I think the “Three Pillars” of consistent accuracy in archery are two relaxed hands combined with good full-draw body positioning. I go a question regarding how relaxed the string hand should be (for finger releases).

Here’s the question:

Hi Steve,
I was recently reading your post (video review) about the importance of a relaxed draw hand. I’ve read elsewhere a suggestion that one can check this by *gently* touching the thumb and pinky together as a means of assuring the hand stays flat and relaxed (think Boy Scout sign). Can you think of any reason why touching thumb and pinky during the draw and anchor might be a bad idea? 

Thanks in advance!

And here’s my answer:

* * *

A Boy Scout Salute

As to the draw/string hand, we teach the “three-fingers under” string grip to beginners using … the Boy/Girl Scout salute! Touching the little finger nail with the pad of the thumb, puts both little finger and thumb into exact correct positions. We ask them to: make the salute, curl their fingers, then slide the curl up under the arrow (always touching the arrow … for safety, we also suggest a “deep hook” without getting too detailed, aka “stay off of your fingertips”). When they reach anchor, they are told to “drop” those fingers, that is relax them. This solves the problem of where to put the thumb on the string hand. It actually has to be slightly tucked under the jaw, so there is a minimal amount of muscle tension associated with putting it there. The three finger salute puts them in the proper position from which their subsequent relaxation gets them where we want them to be with regard to being relaxed. Getting the thumb out of the way is necessary to make a tight anchor, which is one that allows the archer to see the arrow point/sight aperture looking along the inside edge of the bowstring.

So, sounds as if you are good to go!
Steve

PS Do write in if you have follow-up questions. Don’t count on me being perfectly clear all of the time (or even some of the time!).

 

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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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When to Loose the String, Aye, That’s the Rub

I got a very interesting question regarding shooting Recurve Barebow. I believe the rather large number of questions coming in on this style this reflects a basic paucity of information on Barebow in books and whatnot and while we are working on that, there are a few DVD sources worth exploring if you are interested, namely: “Modern Traditional” (highly recommended) and the “Masters of the Barebow” series (I have not seen all of these but the ones I have were informative).

In this more traditional style a decision must be made regarding when to loose the string as neither a mechanical release aid or clicker is employed. (If you didn’t know, the clicker was invented as a cure for target panic, not as I thought originally, as a draw stop.)

Here’s the question:

Hello Steve,
I hope this email finds you well! Here are some lines on what happened over the last weeks trying to apply various aiming techniques in order to improve my shooting.

I was of the opinion, that moving from instinctive shooting to applying some aiming technique will cure one annoying thing that I experienced in competitive shooting situations: loosing the arrow at the moment, erroneously feeling it must be the right time for release, but, at the same time, knowing it is not the right time, and thus not being able to simply finish the meanwhile frozen in movement and consequently … loose the arrow and … miss. It feels like a yes/no short circuit.

In order to improve my form and try the various ways of aiming off of the point, I just got a pair of 24# limbs and matching arrows. It is amazing how well such a light bow spits arrows! The danger of being overbowed is thus ruled out. However, I now have to admit and accept, I have this target panic thing. I feel insecure and pretty much like stopping to compete this winter and work on this yes/no short circuit to finally end up in an unfettered yes-mode.

And here is my answer:

* * *

Using a light weight bow is a good idea most times, especially when exploring new form elements, but in this case it may be misleading. When you aim off of the point, you must decide when to loose. When you are shooting a stout bow, there is considerable pressure to loose the string because the holding weight is so high. When you drop down, you feel like you can hold a long time … which makes the decision to loose more obvious to your mind and can exasperate your problem.

The “now … not now” problem has been experienced by many, many archers (including me). Here is something that can help. When you are making a shot, if everything is done right … and your arrow point is on your point of aim (POA), there is a sign you can use to signal, like a clicker clicking, that it is “time to loose the string.”

Take your 24# bow and with your target at home and do this experiment: get to full draw position in good form and observe the steadiness of the arrow point. Go a good long time and then let down. What most people see is that when they first get to their anchor point and “on point,” that is on their POA, the arrow point oscillates, then after 0.5 second to 1.5 seconds the arrow point oscillates less, then as time drags on, the oscillations get larger and larger (due to muscle strain). If you see this pattern (I think it is “normal”) then there is a natural way to build in a signal to loose the string. In any case, it is good to familiarize yourself with “holding your aim”! Too many archers feel like they can only hold on point for 0.000012 seconds and so must loose immediately when they “have it.”

If you see that pattern (it is there for sight shooters, too), the reduction in oscillation of the arrow point is a signal that you have become still and stillness is a requirement for accuracy. Stillness is never perfect but there is a decrease from the initial level of movement of the arrow point (or aperture) and a tiny bit later. That change in oscillation of the arrow point can be used as the signal that it is time to loose. You must see it and believe it (that it is a sign of stillness) to break the “now … not now” problem. The “now … not now” problem exists because there is no criterion for when to shoot, for what constitutes “now”. Your mind is debating over whether the current situation constitutes an acceptable time to loose, when you have given it no way to determine if that is true, hence the uncertainty fueling the “… not now”. If this makes any sense to you, it is worth trying, no?

* * *

Round 2

There was a follow-up to this exchange. Here that is:

“The “now … not now” thing occurs usually at some point between anchoring and finalising expansion into full back tension. The motion freezes in, I cannot continue the expansion phase to the end and prematurely release. The motion simply stops in between, when I get the feel: stop, release now, it is fine! I can hold the bow in this frozen position. There is no twitching the shot.  However, the arrow will leave the bow with different power compared to when everything is finalised properly. The funny thing is, that sometimes I really shoot tight groups that way and that burns as a success pattern into the neurons.

“I think, I tend to freeze the motion just when I subconsciously get the impression the right shooting symmetry is achieved to loose the arrow regardless of the level of back-tension. That is the case in tournaments. Maybe, it is not enough confidence in my back tension that augments in stressy situations and explains my 10% score difference. Well, that is why I seek remedy in applying some aiming off of something technique.”

And here is my response:

* * *

Re “The “now … not now” thing occurs usually at some point between anchoring and finalizing expansion into full back tension.” There is a tendency when archers are exploring new ways of shooting to talk oneself through the new steps. I hope you are not doing this as it detracts from what your conscious mind is supposed to be doing (watching, not giving orders).

“Finalizing full back tension” is a vague sort of feeling in one’s back and doesn’t form a good indicator of where one is in the cycle. Our subconscious minds are better than our conscious minds in making this assessment, but it is not a clean indicator of when to shoot. I suggest that you not worry about the state of your back tension as you work through this. Instead, once you get comfortable using the damping of the arrow point and loosing upon that signal, get someone to stand behind you to check your alignment at the point of loose (and that your elbow continues in it’s arc for a couple of inches (max) after loose). If both of those are good, you are good to go.

The circle on the target and the round top of the arrow point for a “figure 8” that makes an exact aiming position.

Re: “bringing it right up near the gold” When aiming off of the point, the best position for the point is to have the top of the arrow touch the bottom of the central scoring ring (or the central ring color) … precisely (not using a sight is not a license for sloppiness). This makes a “figure 8” to picture in your mind’s eye. There should be no conscious thoughts going on during this process. If there is, that is part of the problem. So, the arrow “touches” the gold and you are in good full-draw position and when the point (you have to be looking at the point anyway) settles to minimum movement, then that is the time to loose. We don’t have a clicker clicking to signal it is time to loose, so we use this more subtle technique. Again, none of this is occurring while there are conscious thoughts. If you hear things in your head … you are not in your right mind! (If I am allowed bad puns while discussing serious topics.)

Having these exact positions and exact movements provides exact “go-no go” signals to our subconscious minds. Vagueness encourages mental debates (… it’s good, no, it’s not … now it’s good! … argh!) that result in confusion and poor shots and can lead to target panic down that road.

Of course, none of this is 100% scientific knowledge. You are getting just my best estimate as to what is going on.

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To Pre-Draw or Not to Pre-Draw, That Is the Question

I sent a video link showing Darrel Pace and Rick McKinney shooting at the 1984 Olympics (Los Angeles) to a Recurve student of mine who is working on speeding up his draw. He is quite an astute student who wrote back immediately with these questions:

Hi Steve,
Thanks. I note that Pace is only a few inches from his face at a pre-draw, at 5:35 in the video. Also he goes from this position to a couple of inches under chin/jaw before back up to anchor. Lots of movements going on. What’s the benefit to drawing below the chin/jaw and then up into the anchor? I’m aware I draw pretty much straight to my face. I remember the summer evening archery lessons where I was taught to do this. Along with T shape, square stance, tuck my chin down (something we had to undo).
Cheers

And here is my response (somewhat augmented as I had a chance to think more deeply).

* * *

In American-style Archery (my term), you pretty much draw to anchor (with stops along the way). In is Kisik Lee’s teaching that you draw to 1+˝ below the chin and come up. I believe he claims it helps to set the rear shoulder/facilitate “loading” … I am unclear on this. (Have you read the USAA book “Archery?” This is the cheapest book covering Coach Lee’s teachings, also called the NTS or National Training System. I wish they had called it the National Teaching System because I don’t see training mentioned much.)

In Coach Lee’s description, you draw exactly that low until the string touches the corner of your chin, then you come up. This practice does give you a draw length indicator (if your head position doesn’t move, if …).

I found the whole “pre-draw” idea puzzling because everybody did it a different way. (I have written about this: “The Pre-Draw Redux” in AF 10-1) The first formal Instructor’s Manual of the NAA (now USAA) does not mention a pre-draw. I think it is a rather recent invention. Since starting and stopping muscle contractions results in more variation in muscle tension and therefore feel, I suggest we do away with it all together. (As an analysis tool, I always suggest you think about what if you carried it to an extreme: what if you stopped 5X or 10X on the way to anchor? If 1X is good, … ?) That stop may be being used to do something else, as I indicated, but does doing that require a stop? I don’t know.

In KSL’s technique, the “Set Up” element eliminates the pre-draw by skipping over it … or you could say he institutes it as being required as the final body position of the Set Up phase. I would like to find out what was happening elsewhere physically and mentally during a pre-draw as you have noted. It might have just been copied from the way others shot and then used as a point or marker in time/space in which other things are done, such as positioning the sight aperture, checking string alignment, etc.

Please realize that McKinney had his dad as a coach and Darrel basically didn’t have one (he did grill everyone he ran into, though). Modern coaching of archery hadn’t been invented yet. (I am not sure it has even now.)

PS Tucking your chin down is something you do (mildly) to use a high anchor. You do the opposite for a low anchor. So, if you were being taught to shoot with a high anchor, they were right. This is an ongoing problem with archery instruction. What is said specifically is generalized. Coaches need to do a better job of pointing these things out.

A Bald Face Plug
In this post I referred to an article in a back issue of Archery Focus magazine. If you are not subscribing, you are really missing out as you get complete access to all of the back issues when you subscribe. That’s thousands of articles written to make you a better archer and coach. You can get it here: www.archeryfocus.com. Here’s the cover of the latest issue:

 

 

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What Should an Archer be Thinking While Shooting?

What should an archer think while shooting? This is a question often asked even though it isn’t asked often enough. There is, no surprise, not a whole lot of data to examine, but I did run across a 2013 survey of 28 PGA Tour professional golfers who were asked about what their favorite “swing thought” was (“swing thoughts” being the golf equivalent of archery “shot thoughts”). Here’re the results: 18 pro’s said they didn’t think about anything at all during their swing, 10 who did claim to have a swing thought said it was to focus on a spot a few inches in front of the ball, to encourage swinging through the ball, instead of hitting at the ball, or they focused on the desired shape of their shot. None of them said they had any technical thoughts about their swing. (Read that last sentence again. SR)

Now golf is more dynamic than archery, but it has many similarities to archery. This is one of those.

  • Golfers do their analysis and thinking between shots, so should archers.
  • Golfers inspect the lie of their golf ball, obstacles in their way, potential hazards, the landing zone they want to hit and how far away it is, the wind, club selection, and on and on, but when it is time to hit the ball, they do two things: they visualize the shot they want to hit (this is a form of instruction to the subconscious processes that control our muscles; it equates to “this is what I want you to do”), and they stop thinking consciously (it is just a distraction). Archers should do the same.

There is one exception: when you find yourself or your archer making a mistake repeatedly, it is okay to have a “shot thought,” a short phrase designed to emphasize a correction, shoring up a weak point as it were. An example is “strong bow arm” or “finish the shot.” This phrase is though only at the point in one’s shot sequence where it is appropriate. Mumbling “finish the shot” to yourself mentally in the process of raising the bow and drawing it is not recommended, only after aiming when one is finishing one’s shot should the phrase be invoked. And, this is a short term process, which should last a few shots and then stop. I have known people who use a shot thought through a whole round. (I tried this myself; I don’t recommend it as it seems to focus too much attention on one part of the shot routine, thus drawing attention away from other parts. It, it seems, becomes some sort of magic talisman; use it and you will score well. It isn’t. Don’t be fooled into this kind of magical thinking.)

So, the answer to “What should an archer be thinking while shooting?” is “Nothing is best.”

Note I consider a shot to begin when the bow is raised and end at the end of the followthrough. This defines “while shooting.” What happens between one shot and the next is the post-shot routine (scoping the arrow, analyzing any fault, etc.) and the pre-shot routine for the next shot (checking the wind, slope, any adjustment suggested by analysis of the previous shot, etc.).

Another Note Shot visualization is not magic. You cannot use a visualization process to any great effect if you haven’t practiced the process you are attempting. The mental instruction that a visualization is cannot train the muscles to do what they are untrained to do.

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Apertures: Pin or No Pin?

I got a question from Carole, who asked: “What are your thoughts on using a sight with a pin in the center (recurve sight) compared to one without a pin, just a tunnel? I have read that the human brain is excellent at centering a circle and wondered if it would be more ‘natural’ to allow the brain to center the sight on the gold and therefore more relaxed on the eye?  I have used both and (think) I prefer without the pin, but am interested in your opinion.”

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Okay, here’s my opinion. I think the jury is still out on this one, so I would call it a matter of personal preference at this point. By all means, do try both types, noting how each affects your sighting (mentally as well as physically).

The same question comes up on the compound side in the form of having a central pin (usually fiber optic) or just an applied ring on one’s scope lens. (There are commercial sets of decals for application to the scope surface with various thickness and colors of loops.)

The orange ring is to make the scope housing more visible (it is centered in the peep hole to collimate the aim). My preference is for a thicker loop a bit larger than the decal shown here and bright green in color (see text).

My thinking at this point (remember this is premature as we have almost no real information on this topic, just opinions) is it depends on the kind of person you are. Using me as an example: I am a bit easily distracted, a bit shaky, and a bit nervous. I find the loops preferable for the following reasons: a small pin looks more jittery than a larger loop, which leads me to press to try to be more steady, which makes my steadiness worse, not better. One must relax into a clam state of steadiness, not “try.”

I use a bright green, thick, fairly large loop decal on my compound scopes. Green is not a color that shows up on target faces much so a good deal of contrast is there. The thicker loop makes it easier to see, the larger loop avoids a problem with small loops, namely that as target sizes change with distance, if you have a small loop, you can be floating around in the middle not knowing where you are. Take a Metric of American 900 Round. At 30 yards/meters, a small loop may only show you gold on the 122 cm multi-color target. So, where in the gold are you? Do you look for the dividing line between the 10-and 9-rings? Do you move around, looking for the edge? Similarly, if the entire gold, or center spot whatever the color, barely fits inside the loop, there is a tendency to try to fit it exactly which leads to over focusing on aiming too precise to sustain.

A large loop allows several rings or a smaller central spot to float in the middle of the loop using the brain’s automatic centering function to your benefit. (This function is hardwired into our brains. It is used for distance estimation and other functions and it is normal for most all people.)

Here’s a scope with a fiber optic dot in the middle.

On the recurve size, I prefer a larger loop than the commercially available ones that seem a bit small to me. (They are easy enough to make and I also paint the front edge bright green.)

So, when you try these options, in the back of your mind (that’s a metaphor, not literal suggestion) keep track of whether your aperture helps you to feel calm. In my case, the thick green ring helps me locate the loop in my visual field easily, in all lighting conditions, shows little perceived motion when aiming which provides a perception of steadiness, which then leads to relaxing a somewhat jumpy archer. If you, on the other hand, are rock steady, mentally calm person, you may find a pin easiest to line up with your point of aim.

The famous Beiter Sight Tunnel offers a square housing (to supply visual cues as to whether the recurve bow is being held vertically, and a plethora of “pins” inside the housing … or you can just use no insert for a circular opening.

It doesn’t hurt to try a number of variations to see what works best for you. Pin, no pin. Small loop, big loop. Different colors of loops. This doesn’t all have to happen at once (unless you are hyper-competitive), but over time, these are things to “give a try” at.

PS This is also wrapped up in another discussion: should you be looking at the bow sights aperture or the target. Both will not be in focus at the same time. That question is for another time.

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Line Control for and Coaching the Hearing Impaired

I got a question in the form of a comment on a previous post and because I don’t think you spend a lot of time going back to previous posts and reading the comments, I decided to make a post on just that question. The question was “What about deaf/hearing impaired archery? I’ve received inquiries from a deaf potential archer, and I have no idea how to deal with things like line safety (can’t hear whistles or “clear” calls) and communication during coaching. Are there any resources that I can use to help here?”

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The only thing I have heard is the use of flags instead of whistles. The timekeeper stands at the end of the line and raises a green flag to begin shooting. With 30 seconds left to go, a yellow flag is waived. At the end of the end a red flag is waived. I bought a string of decorative plastic pennants on eBay (see photo), cut the triangular flags off and collected the green, yellow and red ones. These can be taped to an old arrow to make quite a good set of flags for this purpose.

They may be cheesy, but they are also cheap. (Hey, that’s important to me.)

If there are left-handed archers, you will need a “flag person” at each end of the line to be perfectly fair.

I have not heard of any other accommodation although there are timing systems that use colored lights (from computer screens to reused traffic lights) that are used in competitions. That, of course, does not help in practice situations if you do not have such a system.

With regard to coaching, the only thing I could think of is that they would have to bring someone along who could sign the conversations needed. Lip reading is a possibility, but the hearing impaired also can have a problem with speaking.

There are resources on the Internet. Here is one: http://www.archerygb.org/images/content/Hearing-impairment-factsheet.pdf

 

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Why Did I Make That Change?

Every archer I know says the same thing. Basically they say “my <widget> was working perfectly, I don’t know why I changed to something else?” This thought was prompted by an author who was working on an article about compound bow launcher arrow rests. He said: “Goodness, there a lot of options on launcher style arrow rests! I was digging in my junk drawers and kept finding other types and styles. They all worked but with a few exceptions, I don’t recall why I stopped using them.”

We then told several stories back and forth, because that’s what archer’s do. But, of course, I couldn’t leave it there. I have to add …

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We all succumb to the “new, improved” sales pitch which appeals to the magical thinking of archers. (Better scores are available here, just step through this door!) This reminds me of the story of P.T. Barnum solving the problem he had of getting people out of his exhibits so he could fit more paying customers in. He put up a sign that said “This Way to the Egress” over the exit. People flooded through, ending up outside.

We keep going through the door labeled “This Way to Higher Scores” based upon buying something. This is a form of magical thinking as we cannot supply any reasonable reason for why a new stabilizer or arrow rest will actually improve our scores, but it is only $59.99 and it sure looks cool!

I was just watching a video of Darrell Pace and Rick McKinney shooting in the 1984 Olympics. They had wood-fiberglass limbs, aluminum arrows, Dacron bow strings, flat V-bars with steel rod sidebars with simple weights on their ends. No Doinkers or other vibration dampeners in sight. Almost 35 years later, how many Americans do you think are shooting as well as those two guys? (Pace averaged 1308 in two FITA Rounds in quite breezy conditions.) Maybe a handful at best. Gee, I wonder how they did it? It was probably that they had the best archery equipment! (Not!)

The still brilliant Rick McKinney is one of the few elite archers who has written a serious archery book.

Currently my thinking on any equipment change is: “any reasonable piece of kit is fine, but learn how to get the most out of it.” And, “if you feel a change is going to be profitable, prove it.” I have made a number of equipment changes in my life that really produced better results. One was changing from a 20+ year old bow to a six-year old one. Another was a change of stabilizers (to one that was much better in the wind). Other than that, there was little difference in my scores based upon equipment changes. In one case, I bought my first brand new bow and my scores dropped. (A year later a professional archer told me that none of the pros had ever got that model to shoot well. That bow model lasted just one year, possibly because of the feedback from sponsored archers.)

I am not saying, don’t bother changing your equipment. I am saying research it well. When you make the change, find the best setup for that thing and then prove to yourself that something is indeed better. (I recommend practice score benchmarks.) If your performance is the same or worse, you wasted some money. If it is the same, you can go ahead and keep the change as no harm was done. If it is worse, change back immediately to your old setup and give that piece of new junk you bought to a rival.

 

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