Klem,Klem said:What I'm looking for is, is there something beyond style and substance, some hinderence, that makes loops ineffective and inefficient? Could it be a mental thing? A physical thing? An equipment thing? A fatique thing? ????
Klem, a student preparing
Moose said:I think the truth lies in the question "What form needs to be perfected to excell at the cast?"
NFL quarterbacks develop form to be able to do what they do, Tiger Woods developed form, Steve Rajeff developed form. There is obvious proof that in certain endeavors mastering a degree of perfect form in execution is why excellence is achieved. Why would it be any different with Spey Casting?
So, there will be certain motions that the human mind and body must perfect to execute the cast and any deviation in this form will be a fault. Right?
Some are naturals, some must work hard to find it, some work extremely hard and never find it.
The zen beauty of it comes in when the ritual has been done for so long that the man walks to the river, frees his mind and just makes the cast while contemplating, well, whatever, because the master has come to the point when cast and not cast amount to the same thing, young grasshopper!
Klem said:Moose, I think that form is a result of: Understanding the elements of the spey cast, applied energy to those elements, equipment (rod, line and leader) attribute and caster's style. When a caster combines all attributes together you get form and function. It takes practice to combine everything to perfections. Practice is addictive, therefore, the more one practices the better form they should have and the closer to Zen Casting- right?
I really messed up when I first posted the Question, "What are Faults". I was not looking for the list itself or the correction of those faults. I was looking for "Beyond the Fault Lies Breaking Bad Habits" in the casting motion. What I'm working on now is fitting all the faults into categories so when I look at a caster I can break the faults into areas.
I.e., Planes - Rod tip plane, hand plane, line plane.
Elements of the cast: lift, anchor set, line belly form in D/ > loop, circle-up move, key position, smooth application of power with exponential speed-up to the stop, firm transfer of power, and rod tip movement after stop.
Applied effort to each elements: Removal of slack at all points in the cast, Anchor (Bloody, pile, crump), lift slack, key position slack, too much power slack (waves in line) rod tip rebound.
Hand coordination: Trunking (if the rod tip does not go up to the key position but rather aims down to straight back), the lower hand not contributing (single hand casting with the upper hand), applying the shoulder muscles of both shoulder in making an effortless spey cast.
Loops: Have size (non, wide, narrow) shape (tailing, cross, tank track, open), and direction (back as in d/>loops, 180 principle to target, less than or more than 180 degrees to target).
Pre-casts before the delivery cast: Two basic groups of cast “touch/splash and go” and “water load”; Partner cast (single spey or snap cast up stream wind and Double-spey or snake roll for down stream wind); variations to the basic partner cast; anchor position for the 180-degree principle and d-loop formation before the delivery cast.
The momentum and direction of the rod tip, throughout the cast, is governed by the effort applied during that portion of the casting element.
The smooth connection of all elements, from the lift to the settling of the fly on the water, is timing and tempo with applied effort.
Klem, just a student preparing for the THCI and this is a work in progress and can change with or without factual information.