Many two hand casters are
afflicted with a serious disease that limits their ability to cast tight
loops that finish with the leader having enough transferred energy to
completely unfurl and pop forward. The root cause can
come from a pre existing condition that is not covered by their health
insurance plans. It is based on many years of single hand fly casting.
Singlehandcastitis can now be controlled and used only when wanted. It will take a bit of work, but in the end
will get you to kick the single hand casting memory habits of push and squeeze.
Let’s for a moment talk about
how we have been taught to make tight loops with a single hand rod. The principles of constant acceleration with
a straight tip path to an abrupt stop are the corner stones of using the forced
turn over style that is most prevalent in our teaching. We place a very strong emphasis especially on
the word “STOP”.
At the time of that abrupt
and squeezing hard stop what can you imagine happens? The rod is in full bend and because there can
be no such thing as an exacting stop, we do our best to anticipate the almost
stop. Techniques like squeezing and
pushing with the thumb are explored. All
to get the line moving over the tip to launch the loop. Joan Wulff says that we should release hand pressure immediately after, what she calls, the power snap stop.
So, at that very moment after
we have used a forced turnover stop technique, when the rod achieves being
perfectly straight as it moves forward, what then happens? It moves in the opposite direction and
counter flexes. The amount of counter
flex is determined by a few factors. The
weight and length of line out the tip, the recovery rate or action of the
rod, the amount of push performed just prior to the stop and the grip firmness
of that stop all play their parts. Fast recovery rods will
counter flex less but the other factors are all causes of greater counter
flex. What then happens to the shape of
the loop at the moment of launch? Launch being the moment of loop formation that has sufficient energy to pass the line over the tip top and move forward. What is the result of counter flex?
If we were to make a video of a caster from the side we could see the effects in slow motion when
making different casts under the situations listed above. The experiment of what will cause the rod to
have the greatest counter flex could be achieved. This is a worth while study at your next get
together or clinic.
There is another factor that
can sap the energy of our line. In
addition to the natural atmospheric condition at the moment the hard stop will
cause our rod, lever acting as a spring, to vibrate back and forward. The tighter we hold the grip the greater the
effect of vibration. The quickest way to
damp the rod is to let it go. The way to
create the greatest vibration is to hold tight.
Each time the rod vibrates backward it pulls the line backward. This creates shock waves and is a loss of energy .
Let’s assume that we are
making a longer cast using a medium action single hand rod and utilizing a hard stop and a hard thumb push
with just the amount of translation, forward movement, rod arc, casting stroke and rotation that will keep the line
from making tailing loops. This will be a cast using forced turnover that is of good quality
and as tight as possible for that technique.
When the rod goes into counter flex what then becomes the tip path? In our slow motion video you will see that it
becomes substantially convex. Convex to the
point of forcing the line leg to move down causing a serious dip in the
line. The harder the stop and squeeze
the greater the downward tip path. This
shape is called a shock dimple. The
reason it works is because the downward movement of the tip clears the path for
the loop to form and pass over the tip top.
Controlling that shape, as well as it’s size, is possible by slowing down, tip manipulation
and changing the abruptness of the stop to as light as possible for the amount
of energy needed to launch the line. In single
hand casting there is but a short distance between thumb and pinky placed on
the grip. Try making short casts with
body translation, moving back and forth, and then only rotate the rod at the end of the stroke by using
a pinky pull. Yes that’s right, it can be
done with a grater amount of line that you might think. Pinky pull with no thumb and index finger
pressure needed. You will also want to
make a slight downward movement of the rod grip at the same time to allow the
line to move over the tip. I now also
move slightly to the opposite side. Watch
the loop shape. If you are like most of
us you will now see the tightest wedge shape loop you have ever cast. You have now positioned the fulcrum for your
lever at a point on the rod grip and not at your wrist. Is this a practical way to cast a single hand
rod? Possibly not for all of us. But what about if you could expand the limits
of a single hand rod and achieve this when using two hands.
I learned Pull Rod Straight
from Al Buhr. He noticed
that I was using excessive and premature rotation of my top hand and gave me
the information needed to help me.
Let’s start from a perfect
key position for this discussion. Key
position being the place where top and bottom hands are perfectly ready to
start our forward translation of forward stroke movement. At this point our top hand will be to the side of
the top hand ear and the bottom grip will be in front of the top of the middle
upper part of your abdomen. Bottom hand
will be forward. Remember we are in key position having circled up our D loop and under
continuous tension and rod bend and moving without pause into the forward stroke. Now, move both hands forward together at the same speed. What should be happening is that the rod is
achieving a butt style full length bend through the grip.
Why is this important?
Fly rods are designed to
taper from a thick butt section to a thin tip.
The more mass an object has the greater the amount of energy that can be
transferred to an object. Hence to butt
bend the rod is to use the portion of the rod that has the ability to then
transfer greater energy through the length of a tapered rod to the tapered line.
Does the energy pass from the butt to the tip? Sure it does.
But the efficiency of a greater mass receiving and then transferring
energy to a lesser mass is greater than the amount of energy that can be
accepted in the lesser mass and then transferred to the line mass. Tip casting is fine and I do it all the
time. Forced turnover is fine and I use
it all the time as well. Using the “flip
the tip” exercise is a great way to have our students move line over the
tip. The key factor is to choose the way
we move line and do it that way when we want to. The greater the amount of line out the tip
the more reason to make a strong, not tight, fulcrum at our top hand. The greater the amount of line out the tip
the less amount of top hand push and hard stop should be used.
This butt bending movement
should be performed with limited to no rotation between bottom and top hands. Scissoring top and bottom hands is not desired. I practice pantomime from the key position to
presentation over and over again to get the movement fluid.
There is another key position
to talk about.
This position is the one that
comes at the moment the forward stroke has completed forward movement of both hands. It requires us understanding what a strong
fulcrum is and why a strong fulcrum is necessary. As our bodies have certain muscular structure
so do all the muscles in our bodies have certain positions where, when flexed,
those muscles will be at their pinnacle strength.
For the upper arm during a casting stroke that will be when the elbow is
at a 90 degree angle and the elbow itself is close to our core.
A Strong Fulcrum
If I were to place the butt of
my rod in the palm of my up facing off hand and move only the top dominant
hand forward and back where would the fulcrum be? In the palm of my bottom hand. Yes?
Look at the shape of the tip path and the shape of the loops that this
creates. Like a rainbow and severely
convex and surly not tight. Then let’s
make the top and bottom hands scissor equally forward and back. The 50/50 standard of top and bottom hand
power. Look at the shape of the
line. Still very convex with large
loops. Now keep the top hand as still
as possible and only move the bottom
hand as power placing the fulcrum solidly in the top hand and using the bottom as
all the energy. Yes?
Try this experiment.
Stand in a doorway and
straddle left and right of the floor door jam.
Now place your dominant hand at eye level in front of your face. Push on the door jam. Then move your feet to a position side to
side and forward and back and find where you can exert the greatest amount of
force from hand to jam. The conclusion
you will come to is that it will be straight from your shoulder, your elbow
pointing down with the angle at 90 degrees.
It will also be the same position if you get someone to push on the back
of your hand as well. Exactly where you
what the fulcrum to be when two hand casting.
Exactly the height and distance from your body that is the set up for
the bottom hand pull. The top hand is now a strong pivot point fulcrum. The D loop is the resistance and the pull can be performed.
Now we are making that strong
rod butt bend and moving forward with top and bottom to this exact point and we
cease forward movement. Not with an
extra push or flick or tight extra squeeze but with a shoulder and elbow and wrist
that is in their strongest of strong positions.
We then notice that the pressure point of the rod in our top hand is not
in our fingers but solidly into the heel of the hand. This is the pivot point. This is the creation of the strong fulcrum
with a pivot point for maximum strength.
Note that the butt of the rod
is still in front.
The next thing that happens
is making a seamless, without pause, bottom hand pull. This pull is not to add excessive power. If you pull too hard you will make tailing loops
and cause line crash. It is not meant to further bend and therefore
possibly collapse the tip of the rod and it is not to be very long and
abrupt. This pull, heading in the
direction of your off hand side hip can be as short as two inches. It could be a bit longer when greater line
lengths are out the tip. This pull will
have your core and shoulders and arm flexing tight. What is intended by the pull is to pull the
rod into a straight position that will have the effect of limited counter flex
and vibration. It will have a natural
downward movement allowing the line to move over the tip. You will notice issues in your loops that are
the same as when top hand uses forced turnover if you are pulling too abruptly
and too much.
The “Pull Rod Straight”
movement has become another part of my cast scripting. It now falls in between forward stroke and
presentation. I can alter the way my leader straightens with ease now and full well use this style as often as possible. It has taken a long time and many pantomime and practice sessions but my muscle manipulation is now becoming more important than memory.
Am I completely cured? Like any recurring problem,
Singlehandcastitis can rear it’s ugly head, but I now have an understanding for
why it does and I can stop it from happening on the very next cast.
William
CCI/THCI