Speaker 1: I'm No.
Speaker 2: One Pace from Warehall of South Carolina and I'll play
at Olkony Country Club. Welcome to Golf Smarter. Hi.
Speaker 1: This is sound apparel from Mount Elgan, Ontario, Canada, and
I play at Oxford Hills Golf Club.
Speaker 2: This is Golf Smarter number one and twenty six. This
is a bit strange, but I understand the very basic
correlation between sound and body movement. If I'm correct on this.
He also presented a study done by Yale University confirming
that there is a correlation between body movement and sound.
The field is called soonification. When I see a body motion,
I will hear a sound and so I will then
make a sound pattern for this specific swing and I'll
send it back to the client and he will right back.
That's perfect. Helps me a lot, and so we're anchoring
a very good swing. And then we have then also
our online coaching and there we can then address a
specific problem. In fifteen or less or less, a golfer
could come with his instructor, the instructor of Tom. Hey,
I want this person to turn here or whatever, and
I'll give them a sound pattern for that.
Speaker 1: Find your best tempo and rhythm to achieve a repeatable
swing with Chai Chao of Audio Golf.
Speaker 2: This is Golf Smarter, sharing stories, tips and insights from
great golf minds to help you lower your score and
raise your golf IQ. Here's your host, Fred Green.
Speaker 1: Welcome to the Golf Smarter podcast.
Speaker 2: Chai, Thank you, Fred. It's an armed to be here.
Speaker 1: Oh well, it's great to have you on because this
is going to be a fascinating topic. I've always had
a thing about rhythm and tempo and trying to get
that locked in, and you have developed a new program
for putting that is all about tempo and rhythm.
Speaker 2: Well, Fred, it's not just about putting. It's all aspects
of the golf gig everything, bunker, bunker, you know, drives,
short game everything. It's it's okay, it can be applied
to everything.
Speaker 1: Excellent, And let's just kind of dig into what we're
talking about here, because this is going to be something
that a lot of people, I think a lot of
people don't understand the rhythm and tempo of a golf swing.
We had talked many years ago, multiple times to a gentleman,
John Novissel, who created the Tour Tempo Yes program, and
I've always you know in my head, have had that
rhythm in my head all the time. I grew up
around music. I played music as a kid. I was
a drummer. So my tempo, I can lock it in.
I can lock my tempo in. Yes, So that's it's
another reason why I was kind of excited to see
about your program.
Speaker 2: Right, So.
Speaker 1: How did you get to create this program? What motivated this?
Speaker 2: Well, if I'm going to go to the very beginning,
it's actually a long story. Even take this out afterwards.
Speaker 1: Oh no, no, we've got time.
Speaker 2: Okay. I grew up in Toronto in Canada, and I
come from a family of doctors, and my mom maybe
take pianole. Wasn't As a kid, I wasn't too hot
on that, but when I was sixteen, I got intrigued
by it and I said, okay, I want to try
and maybe become a world class international concert pianist. So
I left Toronto and I went to Germany. At the time,
there was still West Germany and actually a major music
academy there. And after about two months I made two
discoveries that were a little bit disturbing. The first discovery
I made was everybody at this academy was better trained
than I was. Was one small How did you get away?
Speaker 1: How did you get into the academy? Just like I
want to play? I want to be a concert.
Speaker 2: Well, I auditioned, of course, and they.
Speaker 1: Took me to you had already been playing.
Speaker 2: Oh yes, I've never played it. I had taken pianists
all since I was four, but I never really told
it seriously. I wasn't really So when I was sixteen,
I tried, I got interested in and I'm seventeen. I
went to Germany and I entered the academy, and I
found out that first of all, everybody was better trained
than I was. That was the first problem. And secondly,
everybody was more talented than I was. Okay, there are
two small problems there. And it wasn't just this academy,
and we're not even talking about London, Paris, New York,
Moscow and the rest of the world. So I realized
immediately that even practicing seventy eight hours a day wasn't
going to get me past these people. They were so
far ahead of me, and they were practicing seventy hours
a day. Two So I realized quickly I have only
two alternative. I had two options one, I can quit
and go back home. Okay, give up a dream of
becoming a pianist, which my mom would have liked. She
wanted me to become a doctor.
Speaker 1: I appreciated.
Speaker 2: And the second alternative I had option I had was
I searched for and find a shortcut. Okay, I was desperate.
It was basically, there has to be a way instead
of practicing something technical for six weeks, seven weeks, there
has to be a way to solve this problem, like
in ten to fifteen minutes. Okay, now, Fred, I'll be honest.
Speaker 1: I was there and I'm sure there was no internet
at the time to go, how do I solve this
problem in ten to fifteen minutes?
Speaker 2: Yeah?
Speaker 1: Well again, where did reality kick in?
Speaker 2: Well, anyway, I started instead of this sort of mindless practicing,
which by the way, as a musical first, I see
this all the time, instead of practicing something and hoping
that will get better, I began really carefully watching, observing
myself when I made the mistake? Why do I make
this mistake? And okay, anyway, so I was, I began
looking for the shortcut. Okay, And anyway, four years later,
I am twenty one, I win the first press at
the Sydney International Piano Competition, I went first, congratulations, Well yes,
what was at the time. Everybody is a little surprised,
I must confess. And for me, this, this win in
Sydney sort of set my career. In the arts business.
You only have to win one big one. I mean,
nobody is expecting Leonardo DiCaprio to win every year, the
best actor Oscar Nobody suspecting that. Again. You know, Novo
check and you know and Rory and all these other
people have to regularly win they stay stay on top.
But in the arts business, and like I said, this
one win got me the agent I mean, to become professor.
I'm a recording country right, So that was it. So anyway, anyway,
these shortcuts which I developed for myself and now as
professor in a major academy in Austria, I passed this
on to my students and it works. It works for them.
I've got kids and all the major orchestras in Europe
and they've got recording contracts. This works.
Speaker 1: It's a wait a second, you skipped winning to being
a professor at work?
Speaker 2: Well yes, I mean with the wind of course, I
got all these concerts, recording contracts, and then the university
starts saying, hey, maybe we should get this guy to
work for us. Yeah, okay, so this is very important.
But the main thing is that this is all using shortcuts,
so to speak, music shortcuts. And about ten years ago,
just by coincidence, I was asked an athlete at the time,
a marathon runner, if I could help it, and I said,
I don't know anything about marathon running, but if you
were a pianist or a violinist, if you wanted to
play faster, I would give you this mental shortcut, okay,
and we tested it. He first ran a kilomna, which
is about zero point six two miles I think, in
three minutes twenty seconds, and I gave him the shortcut.
We practiced it together for about fifteen seconds, and he
runs back and it crosses the line and he tells
me he's seventeen seconds faster. Yeah, that's significant, that's significant,
And we were both just blown away. And that's how
this all started. We started this project trying to understand
how can shortcus from classical music help athletes. That's how
this all started. That's I knew. And then in twenty eighteen,
I was doing a running seminary in Berlin and after
the seminary, this man comes up JJ. You've been in
contact with him. JJ comes up to me and says, hey,
with this work in golf, I don't know it, I guess,
so it's worked with every other sport I've tried it on.
So that's how we got it. I'm beinging golf since
twenty eighteen, twenty nineteen.
Speaker 1: Wow, And what was it that you helped this golfer
with initially? How did that get started? And what did
you recognize?
Speaker 2: JJ himself wasn't a golfer. He was just fascinated by
the idea that we could applied this technique to golf,
to golf, I see, so we and he made me
tested on about hundreds of golfers, hundreds of problems, hundreds
of issues, and we were I think able to fix
all of them. And then he said, okay, let's get going.
Let's get started, okay, And we started the company in
Miami and came to the PGA Show in Orlando in
twenty twenty and during good time to do.
Speaker 1: It exactly, Oh my goodness, as already at the PGA
show we were hearing about this cruise ship of San
francisc School.
Speaker 2: They weren't letting like into port because of some sort
of sickness and some strange sickness that was you know,
you know, on board. So we lost two years, Like
we couldn't enter the US for about two years. So
I've been here.
Speaker 1: Wow.
Speaker 2: Yeah, but you know that's.
Speaker 1: Okay. As we're recording this, I know you kind of
made it clear that you're not a huge sports person.
But as we're recording this, the Toronto Blue Jays have
just gone ahead of the LA Dodgers three games to two.
And I'm from l A. Originally you're from Toronto. Originally,
sorry you were laya bet on this. I'm I'm I'm
Michelle Hey, Tony fan, not a Nudge fan.
Speaker 2: Okay.
Speaker 1: So so let's let's get to figuring out how you
decided that this could be a program that will work
for every offer.
Speaker 2: Well, first of all, there's one very important thing. I mean,
like I said, the system is based. Okay. It's a
rhythm based training that uses sound phrases okay, okay to
help golfers improve their core fundamentals like for more consistent swings,
speed control, and putting, increased cliphead speed in driving everything,
and not only that, we can incorporate these into these phrases,
things like how to do the weight shift, when to
do the weight shift, how to turn more? Okay, everything
can be incorporated into these sound phrases. It's that simple.
Speaker 1: We need to figure out the best way to introduce
this program that you've developed because we want people to
get access to it. And it's a very very easy
access to this program through the website and you just
load it up on your phone and it takes care
of itself from that point on. And we'll talk more
about it. But let's talk about what the program does.
Can you walk us through the start of this and
again I don't want you to give away everything here
on this podcast because we want people to look into
this program, but let's talk about the introduction to it.
Speaker 2: Well, the program is based on we have courses that
you can purchase online and they guide you through fighting distances,
to the short game for the drive, club heading, drive stability,
and then clubhead increase. There's all kinds of things that
are there. Those are the course that you can buy
and we have another part of the program for I
would say better better golfers with a fifteen handicap and
less who are where you can then upload a video
and say, for example, I get this a lot from
very good golfers. Uh, they say, this is a perfect
a three quarter swing, a short game, a pitch, but
under pressure in a tournament, this screws up completely. Okay,
I get confused, I get too fast or whatever. And
can you tell me the sound pattern you're hearing when
I do this? Okay? And this is the thing, Fred
is a bit strange. But when I see in sports
a body motion, emotion, any motion, I will hear a sound.
It's a kind of a weird thing. And so that
I will then make a sound pattern for this specific
swing and I'll send it back to the client and
he will right back or she'll write back, that's great,
it's perfect. Helps me a lot. And so we're anchoring,
so to speak, a very good sway. And then we
have then also our online coachings, which are about fifteen minutes,
and there we can then address a specific problem. Very
good golfer will come and book a session and we'll
solve the problem in fifteen minutes or less. And or
or less, a golfer can come with his instructor, So
the two of them and the instructor of Tom. Hey,
I want this person to do this. I want him
to turn here or whatever, and I'll give them a
sound pattern for that.
Speaker 1: When I mentioned John Novasel on Tour Tempo earlier, you
nodded as if to say, yeah, of course, of course,
so you are familiar with his work.
Speaker 2: Absolutely, yes, okay, So.
Speaker 1: How much research did you do? You know, looking back
on this issue, and we're going to stay with golf,
not other sports versus just trusting your gut doing what
you did for music, I can do this for sports
and we'll just let it rip from there.
Speaker 2: Well, again, when I first started out, I was with
this with this marathon runner. We were both completely astounded
that this would work. And again it wasn't so much
that I'm like, in within two minutes, I'm giving you
a bigger must muscle mass. It's all in your head.
And I think basically, I think nowadays, with with our
ideas about and knowledge about nutrition, about you know, biomechanics
and all kinds of things, I think in a way,
the brain is the last frontier mm.
Speaker 1: Hmmm, theology. Yeah, yeah, absolutely so. So did you alter
once you started doing this research behind it. Did you
start altering what you were doing or you just trusted
yourself and what you've developed?
Speaker 2: Well, I kept I trusted myself how we developed, because
how can I say it? I don't know anything else
then expactly that's what it is, the music. And and
like I said, I think there's one thing I do understand.
But like I said, I don't know where I got this.
I understand the very basic correlation between sound and body movement.
There is a correlation. It's been it's been studied in
scientifically by by many scientists and enough papers on this.
The field is called soonification. And I think if I'm not,
if I'm not, if I'm correct on this, I think
mister Novicell for a recent tour Tempo intro rollout, he
also presented a study down by Yale University, Okay, confirming
that there is there is a connect between body movement
and sound.
Speaker 1: Absolutely yes, And it was Yale University last time we
spoke to him, when he talked about that his research
had all been confirmed by a college study. So that
was amazing. All right, let's let's start talking about what
it is now and how to do it and just
if the introduction. If you can run through your introduction
on this, I would love to hear more.
Speaker 2: Well again, I mean, like I said, Fred, as you
party guessed, the idea is so out of the box,
it's so crazy that it's it's at the beginning was
difficult for us to get people to just even listen
to us.
Speaker 1: Sure.
Speaker 2: I remember, you know, preparing our twenty twenty trip, I
was calling you know, golf clubs and talking to you know,
senior instructors, head of instruction. Yes, I've got this idea
about controlling golf swings you see sound And the basic
response was I don't need that, okay. So and eventually,
with by time, after getting getting like meetings with Brad
Faxon and Mark Indelman and others, okay, we finally were
able to get testimonials and and you know, endorsements that
were substantial, substantial. So we're we're we're much better. It's
it's getting easier, okay.
Speaker 1: Yeah, your your your testimonials are very impressive.
Speaker 2: Thank you very much. So again, it's like I said,
we know this. We know that most people think this
is crazy, it's some kind of scam. Trust trust me,
it's not. And but but we want to make the
threshold as low as possible for people who are skeptical.
And by the way, I love convincing skeptics. That's the
most fun of all. Okay, And if you're skeptical, then
the easiest thing to get convinced, I think, I hope,
is just to visit our website howdiot dot golf and
take the two free tests that are on there. Okay,
catch it and.
Speaker 1: Yeah, I pay me. Skeptical, let's go here, go you
got it. You've got my attention. Now you need to
make it work.
Speaker 2: Okay, well I can, especially if it's.
Speaker 1: A free test. You can do that right now too.
Speaker 2: You could, Yes, I can do it right now too.
Speaker 1: Well.
Speaker 2: One of the things is, like I'm saying, the basic
idea in audio golf is that there's a connect between
a special specific movement okay, beat the twenty foot part
or a forty yard pitch and a sound. Okay. So
I'm going to give you an example now that actually
comes from actually tennis, but that's not important right now.
I want you to put your hand in front of
your chest or twenty inches in front of your chest,
with your palm facing towards your chest and pull it
gently towards yourself like this. Okay, okay, that's it, gently
towards yourself gently.
Speaker 1: Well, I'm only doing so people can hear it. That's
so from my for my outstretched hand too, Yes, to
your chest to touch at hand too, like this?
Speaker 2: All right? So that's how long it take when I
hear when I see somebody doing this, I hear the sound. Mum,
So I want you to say a'm and do the movement? Yeah?
Huh so? Was that hard? Was that hard to learn?
Speaker 1: No? Was a quick study on this one. Do I
get an a professor?
Speaker 2: Okay? Now I say I claim these two, this motion
and this sound are connected. Okay. Now I want you
to prove me. Prove to me, and and by the way,
prove to your whole audience that I'm full of it.
And I want you to show me that you can
say am, but do the exact opposite motion. Okay. Instead
of soft towards you, I want you to take your
hand near your chest and rip it away very quickly,
but saying at the same time, huh.
Speaker 1: Okay, yeah, yeah, hang on, I'm gonna do this here.
I'm not.
Speaker 2: Mm hmmm. You've changed the sound. You've gone from arm
to arm.
Speaker 1: Oh, yeah, you're right, I have.
Speaker 2: I want you to say it sound correctly, but do
the exact opposite.
Speaker 1: Right, is that am relaxed right with my hand. Yeah,
it's really difficult to do. Yeah. I can't do them
together either.
Speaker 2: No, nobody can. I've been doing this for for like
eight nine years now. Nobody can do it. It can't
be done. Okay, And this is really fascinating because, and
this is what's really fascinating about this. The sound is
so powerful. Okay, this sound is so perfect. You can't
ignore it. Okay, And you can't consciously override it, because
if you could, you could do it, you could say
I'm and just rip it. But nobody can do it.
How do you change the sound? Like, in half the
cases people change the sound, you'll go M instead of
And in the other cases people just like you did
at the very beginning, you were sort of frozen. You
couldn't your brain wouldn't let you do it. It's a
weird feeling, by the way, it's a weird. I see
this all the time. People are sort of like frozen
and their brains just they can't move their hand, they
can't do anything.
Speaker 1: Previously on Gulf Smarter, Fred was stuck it. I'm still
trying to even during our break here, I'm still trying to.
But it can't be done.
Speaker 2: Can't be done. I've never had anybody who can do it.
Speaker 1: Oh well, then why am I trying so hard? No
needs to do that, all right? So what's the correlation here?
What are you teaching me? Now that I know that
I can do it from out to my Chi said
it at an easy pace, but I can't do the reverse.
How's this helping?
Speaker 2: Well? Again, the basic idea behind it is that once
you hit the sound and you let your let your
brain follow the sound, Okay, then basically, once you've connected
a sound specific motion the motion, the movement will happen
every time insistently. Okay. That's the basic idea, okay, And
we've tested it, and like I said, if you want,
one of the most one of the giveaways we haven't
in our course of course, is the fifteen foot put sound.
The Yalla band, which is basically you call yala and
when just commonly say yala, and when the sound stops,
lost stops the sound. If your voice stops, your potter stops.
So it's Yala band. It's very simple.
Speaker 1: So your backstroke is ya la and you pull the
club away at the beginning of yeah, so it's yala perfect,
and you're you're end of your backstroke at at the
end of ya la.
Speaker 2: Yeah, right, and then bam b and bam. Is the
actual strike the putt.
Speaker 1: It's when okay, when you make contact. So that's so
you start you start your forward swing after ya la
exactly bam, yes, yaa bam okay, right, okay, yeah, I'm
missing something.
Speaker 2: No, but I just saw something number right now, Fred,
because you spoke about that, you are probably a bit
further than it's intended. Okay, there's there's a there's a
rhythm built in there as well, okay. And if you
listen carefully, it's yaala bam yea la. So it's yalla
la bam.
Speaker 1: Yeah.
Speaker 2: That's it. Okay, okay, And that's it. And basically it's
it's it's it's very simple because for example, we've tested it,
most people get around fifteen feet apart this on a
flat middle fast green stemmed nine or ten, not uphill,
not downhill, but on a flat green and uh and
some people will get seventeen feet, some people will get
fourteen feet. But the main thing is that it's consistent. Right,
that's the main thing.
Speaker 1: So that's what we're looking for, is a consistent distance
with y'a llabam.
Speaker 2: Yes, exactly. Well, let's put it this way. That's that's imagine.
I don't think it exists. But you know they have
in tennis, like they have these machine that throw a
serve at you. Yeah, okay, so I don't think it exists,
but I think don's imagine, but there was a putting machine.
You put it on the green, and there's a striking
plate and you can dial it in to hit the ball.
Let's say four point two miles an hour. Okay, dial
it in, and the plate hits the ball every time
four point two miles an hour. So we would actually
assume that the ball will draw out every time at
the same distance, am I right?
Speaker 1: Yeah? I would think so right.
Speaker 2: That's right, that's the well if it's the same green,
of course, and whatever. Yeah right right, okay, So basically
I can get our clients, I can get anybody to
put four point two miles an hour. I know it
sounds crazy, but basically, what is how is velocity calculated?
It's overcoming a certain distance in a certain time. So
in your case, if you're going back whatever fourteen inches
and you're covering fourteen inches every time in zero point
three seven seconds, your CLUBTSP, it's going to be the
same plus minus. We're humans, right, okay. So basically that's this.
There's there's yallow bam. There's no voodoo, there's no esoteric
you know stuff involved. It's just there's science. But it's
of course okay.
Speaker 1: And now, so this program is not just for putting.
Speaker 2: No, No, the program.
Speaker 1: And yallabam is just for one distance, correct. We just
use it for that. You just lock it in for
that one distance. You don't use it for short putts.
You don't use it for extra long putts.
Speaker 2: Now, this is the I think what's what makes it
very interesting. There are other methods. There are other rhythm
methods who say that, for example, three to one, for example,
can be used in all kinds of things. Again, I
think it's Yallabam. By the way, if you've noticed, if
you're an observer I'm sure have been, you'll notice that
the Yalabam there's a two to one racial built in
two to one tempo Racio okay, okay. Now the question
is perhaps with you ya la, you'll take it back
fourteen inches. Maybe somebody will only take back eleven inches okay.
But the thing is this person will do this or
should do this every time the same okay. So it's
like we think like medicine. If I get a headache,
I take one, you know Thailand all, I take one,
but maybe you need too and for the efficacy. So
that's basically how this works. And for yallabam is like
the fifteen foot pot sound, And if we're doing like
a fifty foot put sound, it will be a different
sound pattern, it will be different.
Speaker 1: And how many sound patterns do you provide?
Speaker 2: Well, basically, if somebody was interested in and you know,
doing everything we're talking about twenty to twenty five okay, okay, And.
Speaker 1: It covers not just putting, it covers all different starts game.
Speaker 2: We've got a sound for three quarter swing, a half swing, driver, bunker,
everything and those just.
Speaker 1: And is it all on the two to one ratio?
Speaker 2: No, no, no it's not. Well, I'll tell you a
very personal story I was I was able to I
had the honor meeting Brad faxon about three years ago
and uh, you know, he set us meet up and
he wanted to hear what I was doing. And and
one of the first things I had to ask him,
I said, Brad, it's I know it's too early, but
everybody talks about you know, the PJA putting ratio. Is
every all the pros pot two to one. Okay, that's
that's the that's the mantra. That has to me two
to one. And but I said, Brad, if you've got
a good player, it's a good putter and he's putting
two point two to one, or he's putting one point
eight five to one, are you going to change that?
And he said, of course not okay, Like you know,
if it's if it's not broken, don't fix it. So basically,
this two to one is just a guideline. I would
even say with Tour Temple it's it's a guide. But
the question is that I've seen I've even seen the
machines in like in Germany where if they if you're
putting and it's not two to one, these red lights
will go on and it has to be it has
to be two to one. That's getting you two to one.
I don't necessarily see the point in that, and and
I'd like to see somebody do a sixty foot putt
using two to one. I find that very very difficult.
Speaker 1: So how effective are all the different rhythms tempos that
you provide? Have you found that some work better than
others or consistently across the board they're working? Well? Where
do you find your sweet spot?
Speaker 2: Well, we find uh at the beginning, At the beginning,
we find that the putting sounds are being more effective.
I think there are My guess is there there are
less technical issues there? Okay, then with a bunker sounds, yes,
the mechanics. That's why we recommend that if you're going
to do audio golf. Of course we'd like to have everybody,
but we find it more effective if you're a good amateur,
are a good player and this, uh, this, then they're
less technical issues, mechanical issues okay, and just just working
on rhythm and temple to get it, you know, consistent.
So that's why we find that very effective. But even
good beginners can start with putting and they will benefit
to as well.
Speaker 1: What if a person is not I don't want to
say musically inclined, but rhythmly rhythmically inclined. I mean, I
mean you see people out on the dance floor who
don't have a clue of one, two, three, four, yes, right.
And you'll see people clapping at a concert who just
like what what what are you listening to? This is
how how did you get your hands to do that?
That far off? What happens to people like that who
have that kind of a challenge.
Speaker 2: Well, again, what happens is, Uh, I've been in the
seven years I've been teaching doing these courses, I've only
sent one person home or in the middle of a lesson.
Speaker 1: You need to know more about that. But why did
you send them homent?
Speaker 2: Well, because how we were giving in sound patterns. I
was even some he just couldn't implement it, okay. For example,
I'm going to ask you Fred to clap her hands
together and and say ka simultanz co ca okay. So
this guy, okay, he couldn't do it. He would do
cop no, no, no, no no together ca no no,
you have to say cap earlier. Oh of course I
get it, cop okay. Oh my god, no, it was
it was just that off okay. And I said, if
you can't even do that, I won't take your money.
Speaker 1: Yeah, please go home. Okay, So, anybody who's listening right now,
if you're listening right now, if you can, if you
can call with us, if you can caf with us,
then keep listening. So, because now I want to get
into the details of we're at Audio dot Golf is
the website and audio Golf is the app, and it's
available for both iOS and Android.
Speaker 2: Correct, there's no app, right, there's no it's okay, it's
just the way it's all done on the website. Yes,
we also audio dot Golf Instagram. You can find us
there too, but there's no app yet.
Speaker 1: Okay, So, but on Instagram, it's just it's not the program,
it's just showcasing what it is. So to get the program, Yes,
it's it's all at audio dot golf. Yes, what what
are the costs and what do you receive?
Speaker 2: Well, we have we have courses. They're online now I
think putting driver. I don't know all of them from
memory right now, and they're all available for ninety nine dollars.
You get all these courses three sounds. But it's not
just the sound pattern. There is a system behind it
and get you get the instructions, you get the drills,
you have what do you call it? Common mistakes are
addressed and anybody who has had a difficulty can write
to us and you'll get support. So there is follow
up with it as well as a follow up for everybody.
Speaker 1: And the ninety nine dollars is a one time fee.
Speaker 2: It's a one time fee for one course. Okay, for
one course. And in the if you do the two
tests that are online on the website and you decide
you want to try the intro course the first we
have a special offer right now, twenty nine dollars. That's
a normal, regular, medium pot course has everything else that
all the other courses have as well, and this course
comes with one hundred percent money back guarantee. Okay, this one,
this specific course, this intro course comes to the money
back guarantee. So basically, if you do the first two
tests and you say, hey, this could work for me,
and you find you purchase the twenty nine dollar course
and you're disappointed, no problems, okay, we want to make
a third should as low as possible. And then with
the so called online trainings, okay, if you come in
and book a fifteen minute lesson with me, okay, again,
this is completely different than from any golf lesson you've
probably ever had. It's only fifteen minutes, and we guarantee
you here one hundred percent money back, guarantee I solve
the problem in fifteen minutes. I'll find a solution for
your problem. You'll get a sound an audio loop, okay,
I'll record for you, send it to you, and also
follow up for thirty days, and you get also all
the you know frequently ask questions and yeah, and like
I said, it's very very effective. All the other courses
are ninety nine dollars and the one on one session
online is one hundred and twenty five for fifteen minutes.
Speaker 1: Okay.
Speaker 2: I know people say this is insane one hundred and
twenty five dollars or fifteen minutes. Yes, but like I said,
if I don't fix the problem, we'll send your money back.
Speaker 1: Okay.
Speaker 2: And by the way, Fred, I've always solved the problem.
That's how sure we are about.
Speaker 1: This, all right, So it's definitely worth it, unless, of course,
you can't dance. If you can't dance, don't, don't don't
try it because it's so well. This has been fascinating.
I really appreciate your time I'm chy and I just
love how you got here, and it just proves to
me once again that you don't have to be an
instructor in golf to give good golf instruction, and I
think that's what we've been trying to do here for
twenty years on golf SMO. Yes, yeah, thank you so much.
Great talking to you and in best of luck with
the program.
Speaker 2: Thanks Frand, it was great to be here. Take care,