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Looking for a Tewks video

Apr 20, 2018
704
28
SoCal
IMO 'connection' is something that happens best when one tries not to be connected and uses both engines independently, yet synchronized.
Synchronization- ah the secret revealed. Sorta? Please explain a little more. Cant believe there is so many different ways to describe connection and now it is that elusive thing that happens naturally when the engines are synchronized.

I asked a pretty simple question- what is connected?

So we have the torso engine being synchronized with the other engine. Oh please let there be a clear answer to this question. What is the name of the other engine(s)?

FFS, are you OK with the hand flying off the merry-go-round?
 
Apr 11, 2015
353
16
I've always felt that "connection", was just another way of saying..."don't cast". IOWs, don't let the hands wander outside of the body's (rear hip's) axis of turning to the ball.

While I didn't necessarily hear it as this, but I believe it is one of the reasons the "two-engines" theories started, and that "turning the barrel" (one engine) with the hands is one way of getting a "running start" with the barrel, while still keeping "connected" it in "sequence", and alone with the drive (turning) of the body/rear hip (the other engine).

I too believe it is a "'pass through" move or really a "pass through" thought more exactly. It is my thought/interpretation that "connection" is simply short for the "connection point/moment" between the "pattern" and the "sequence" stuff we hear and talk about often...I'll try to explain.

So in the "pattern" portion, we see different styles that hitters use to "separate" the upper half from the lower half, to get "forward yet back" (FYB), "forward by coil" (FBC), the "coiling", or whatever you want to call that "loading" to prepare to swing movement...basically the lower half turning forward while the upper half is "turning" rearward (not necessarily literally it should be noted)....

As this "pattern" portion is coming to a conclusion, or is brought to a conclusion suddenly as the hitter decides to swing at the ball...it is at this point of the swing that "connection" comes into play as the two halves suddenly become "connected" at this point, as the lower half now "pulls" the upper half and thus the bat/barrel forward into the ball. It is this "connection" that keeps the player from having the lower half "pulling" in one direction towards the ball, but taking the bat/barrel to the ball in another (ie. casting with the arms) if s/he doesn't "connect" the two halves in the entire "sequence" of the swing.

Just my take on it anyway.
 
May 12, 2016
1,603
63
I've always felt that "connection", was just another way of saying..."don't cast". IOWs, don't let the hands wander outside of the body's (rear hip's) axis of turning to the ball.

While I didn't necessarily hear it as this, but I believe it is one of the reasons the "two-engines" theories started, and that "turning the barrel" (one engine) with the hands is one way of getting a "running start" with the barrel, while still keeping "connected" it in "sequence", and alone with the drive (turning) of the body/rear hip (the other engine).

I too believe it is a "'pass through" move or really a "pass through" thought more exactly. It is my thought/interpretation that "connection" is simply short for the "connection point/moment" between the "pattern" and the "sequence" stuff we hear and talk about often...I'll try to explain.

So in the "pattern" portion, we see different styles that hitters use to "separate" the upper half from the lower half, to get "forward yet back" (FYB), "forward by coil" (FBC), the "coiling", or whatever you want to call that "loading" to prepare to swing movement...basically the lower half turning forward while the upper half is "turning" rearward (not necessarily literally it should be noted)....

As this "pattern" portion is coming to a conclusion, or is brought to a conclusion suddenly as the hitter decides to swing at the ball...it is at this point of the swing that "connection" comes into play as the two halves suddenly become "connected" at this point, as the lower half now "pulls" the upper half and thus the bat/barrel forward into the ball. It is this "connection" that keeps the player from having the lower half "pulling" in one direction towards the ball, but taking the bat/barrel to the ball in another (ie. casting with the arms) if s/he doesn't "connect" the two halves in the entire "sequence" of the swing.

Just my take on it anyway.
I like this description
 
Jun 17, 2009
15,129
0
Portland, OR
Synchronization- ah the secret revealed. Sorta? Please explain a little more. Cant believe there is so many different ways to describe connection and now it is that elusive thing that happens naturally when the engines are synchronized.

I asked a pretty simple question- what is connected?

So we have the torso engine being synchronized with the other engine. Oh please let there be a clear answer to this question. What is the name of the other engine(s)?

FFS, are you OK with the hand flying off the merry-go-round?
No, imo there is more taking place than simply letting the hand go from the body's rotation.
 
Apr 20, 2018
704
28
SoCal
That was a rather short answer! FFS I tried to sent you a PM but you are always full. So during the tip and rip, running start do you prescribe to one way only? some tip in front of hemelt, some behind, some unweight the bat. ect. Tell me what is the best way to synchronize the engines. Drills? My DD says she feels a pause when she tries it so she is not getting the full benefit of the running start. She actually does it naturally to some extent but when we try to exaggerate it she get out of sync.
 

Buttermaker

Snap!
May 3, 2014
1,734
38
I'm already following and what he teaches it has helped a lot. However, again in the swings his girls reproduce I see more evidence of the "pull" swing and not the "elite" swing Tewks refers to and Antonelli displays in his video.
Disagree. His hitters are learning to create a barrel path that orbits both forearms. Cannot "pull" doing that.
 

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