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