WEBVTT

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<v Speaker 1>I'm No.

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<v Speaker 2>One Pace from Warehall of South Carolina and I'll play

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<v Speaker 2>at Olkony Country Club. Welcome to Golf Smarter. Hi.

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<v Speaker 1>This is sound apparel from Mount Elgan, Ontario, Canada, and

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<v Speaker 1>I play at Oxford Hills Golf Club.

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<v Speaker 2>This is Golf Smarter number one and twenty six. This

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<v Speaker 2>is a bit strange, but I understand the very basic

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<v Speaker 2>correlation between sound and body movement. If I'm correct on this.

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<v Speaker 2>He also presented a study done by Yale University confirming

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<v Speaker 2>that there is a correlation between body movement and sound.

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<v Speaker 2>The field is called soonification. When I see a body motion,

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<v Speaker 2>I will hear a sound and so I will then

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<v Speaker 2>make a sound pattern for this specific swing and I'll

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<v Speaker 2>send it back to the client and he will right back.

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<v Speaker 2>That's perfect. Helps me a lot, and so we're anchoring

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<v Speaker 2>a very good swing. And then we have then also

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<v Speaker 2>our online coaching and there we can then address a

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<v Speaker 2>specific problem. In fifteen or less or less, a golfer

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<v Speaker 2>could come with his instructor, the instructor of Tom. Hey,

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<v Speaker 2>I want this person to turn here or whatever, and

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<v Speaker 2>I'll give them a sound pattern for that.

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<v Speaker 1>Find your best tempo and rhythm to achieve a repeatable

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<v Speaker 1>swing with Chai Chao of Audio Golf.

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<v Speaker 2>This is Golf Smarter, sharing stories, tips and insights from

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<v Speaker 2>great golf minds to help you lower your score and

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<v Speaker 2>raise your golf IQ. Here's your host, Fred Green.

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<v Speaker 1>Welcome to the Golf Smarter podcast.

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<v Speaker 2>Chai, Thank you, Fred. It's an armed to be here.

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<v Speaker 1>Oh well, it's great to have you on because this

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<v Speaker 1>is going to be a fascinating topic. I've always had

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<v Speaker 1>a thing about rhythm and tempo and trying to get

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<v Speaker 1>that locked in, and you have developed a new program

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<v Speaker 1>for putting that is all about tempo and rhythm.

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<v Speaker 2>Well, Fred, it's not just about putting. It's all aspects

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<v Speaker 2>of the golf gig everything, bunker, bunker, you know, drives,

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<v Speaker 2>short game everything. It's it's okay, it can be applied

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<v Speaker 2>to everything.

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<v Speaker 1>Excellent, And let's just kind of dig into what we're

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<v Speaker 1>talking about here, because this is going to be something

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<v Speaker 1>that a lot of people, I think a lot of

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<v Speaker 1>people don't understand the rhythm and tempo of a golf swing.

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<v Speaker 1>We had talked many years ago, multiple times to a gentleman,

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<v Speaker 1>John Novissel, who created the Tour Tempo Yes program, and

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<v Speaker 1>I've always you know in my head, have had that

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<v Speaker 1>rhythm in my head all the time. I grew up

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<v Speaker 1>around music. I played music as a kid. I was

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<v Speaker 1>a drummer. So my tempo, I can lock it in.

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<v Speaker 1>I can lock my tempo in. Yes, So that's it's

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<v Speaker 1>another reason why I was kind of excited to see

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<v Speaker 1>about your program.

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<v Speaker 2>Right, So.

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<v Speaker 1>How did you get to create this program? What motivated this?

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<v Speaker 2>Well, if I'm going to go to the very beginning,

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<v Speaker 2>it's actually a long story. Even take this out afterwards.

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<v Speaker 1>Oh no, no, we've got time.

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<v Speaker 2>Okay. I grew up in Toronto in Canada, and I

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<v Speaker 2>come from a family of doctors, and my mom maybe

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<v Speaker 2>take pianole. Wasn't As a kid, I wasn't too hot

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<v Speaker 2>on that, but when I was sixteen, I got intrigued

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<v Speaker 2>by it and I said, okay, I want to try

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<v Speaker 2>and maybe become a world class international concert pianist. So

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<v Speaker 2>I left Toronto and I went to Germany. At the time,

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<v Speaker 2>there was still West Germany and actually a major music

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<v Speaker 2>academy there. And after about two months I made two

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<v Speaker 2>discoveries that were a little bit disturbing. The first discovery

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<v Speaker 2>I made was everybody at this academy was better trained

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<v Speaker 2>than I was. Was one small How did you get away?

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<v Speaker 1>How did you get into the academy? Just like I

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<v Speaker 1>want to play? I want to be a concert.

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<v Speaker 2>Well, I auditioned, of course, and they.

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<v Speaker 1>Took me to you had already been playing.

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<v Speaker 2>Oh yes, I've never played it. I had taken pianists

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<v Speaker 2>all since I was four, but I never really told

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<v Speaker 2>it seriously. I wasn't really So when I was sixteen,

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<v Speaker 2>I tried, I got interested in and I'm seventeen. I

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<v Speaker 2>went to Germany and I entered the academy, and I

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<v Speaker 2>found out that first of all, everybody was better trained

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<v Speaker 2>than I was. That was the first problem. And secondly,

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<v Speaker 2>everybody was more talented than I was. Okay, there are

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<v Speaker 2>two small problems there. And it wasn't just this academy,

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<v Speaker 2>and we're not even talking about London, Paris, New York,

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<v Speaker 2>Moscow and the rest of the world. So I realized

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<v Speaker 2>immediately that even practicing seventy eight hours a day wasn't

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<v Speaker 2>going to get me past these people. They were so

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<v Speaker 2>far ahead of me, and they were practicing seventy hours

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<v Speaker 2>a day. Two So I realized quickly I have only

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<v Speaker 2>two alternative. I had two options one, I can quit

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<v Speaker 2>and go back home. Okay, give up a dream of

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<v Speaker 2>becoming a pianist, which my mom would have liked. She

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<v Speaker 2>wanted me to become a doctor.

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<v Speaker 1>I appreciated.

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<v Speaker 2>And the second alternative I had option I had was

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<v Speaker 2>I searched for and find a shortcut. Okay, I was desperate.

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<v Speaker 2>It was basically, there has to be a way instead

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<v Speaker 2>of practicing something technical for six weeks, seven weeks, there

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<v Speaker 2>has to be a way to solve this problem, like

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<v Speaker 2>in ten to fifteen minutes. Okay, now, Fred, I'll be honest.

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<v Speaker 1>I was there and I'm sure there was no internet

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<v Speaker 1>at the time to go, how do I solve this

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<v Speaker 1>problem in ten to fifteen minutes?

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<v Speaker 2>Yeah?

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<v Speaker 1>Well again, where did reality kick in?

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<v Speaker 2>Well, anyway, I started instead of this sort of mindless practicing,

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<v Speaker 2>which by the way, as a musical first, I see

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<v Speaker 2>this all the time, instead of practicing something and hoping

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<v Speaker 2>that will get better, I began really carefully watching, observing

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<v Speaker 2>myself when I made the mistake? Why do I make

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<v Speaker 2>this mistake? And okay, anyway, so I was, I began

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<v Speaker 2>looking for the shortcut. Okay, And anyway, four years later,

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<v Speaker 2>I am twenty one, I win the first press at

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<v Speaker 2>the Sydney International Piano Competition, I went first, congratulations, Well yes,

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<v Speaker 2>what was at the time. Everybody is a little surprised,

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<v Speaker 2>I must confess. And for me, this, this win in

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<v Speaker 2>Sydney sort of set my career. In the arts business.

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<v Speaker 2>You only have to win one big one. I mean,

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<v Speaker 2>nobody is expecting Leonardo DiCaprio to win every year, the

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<v Speaker 2>best actor Oscar Nobody suspecting that. Again. You know, Novo

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<v Speaker 2>check and you know and Rory and all these other

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<v Speaker 2>people have to regularly win they stay stay on top.

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<v Speaker 2>But in the arts business, and like I said, this

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<v Speaker 2>one win got me the agent I mean, to become professor.

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<v Speaker 2>I'm a recording country right, So that was it. So anyway, anyway,

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<v Speaker 2>these shortcuts which I developed for myself and now as

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<v Speaker 2>professor in a major academy in Austria, I passed this

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<v Speaker 2>on to my students and it works. It works for them.

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<v Speaker 2>I've got kids and all the major orchestras in Europe

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<v Speaker 2>and they've got recording contracts. This works.

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<v Speaker 1>It's a wait a second, you skipped winning to being

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<v Speaker 1>a professor at work?

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<v Speaker 2>Well yes, I mean with the wind of course, I

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<v Speaker 2>got all these concerts, recording contracts, and then the university

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<v Speaker 2>starts saying, hey, maybe we should get this guy to

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<v Speaker 2>work for us. Yeah, okay, so this is very important.

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<v Speaker 2>But the main thing is that this is all using shortcuts,

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<v Speaker 2>so to speak, music shortcuts. And about ten years ago,

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<v Speaker 2>just by coincidence, I was asked an athlete at the time,

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<v Speaker 2>a marathon runner, if I could help it, and I said,

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<v Speaker 2>I don't know anything about marathon running, but if you

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<v Speaker 2>were a pianist or a violinist, if you wanted to

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<v Speaker 2>play faster, I would give you this mental shortcut, okay,

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<v Speaker 2>and we tested it. He first ran a kilomna, which

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<v Speaker 2>is about zero point six two miles I think, in

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<v Speaker 2>three minutes twenty seconds, and I gave him the shortcut.

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<v Speaker 2>We practiced it together for about fifteen seconds, and he

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<v Speaker 2>runs back and it crosses the line and he tells

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<v Speaker 2>me he's seventeen seconds faster. Yeah, that's significant, that's significant,

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<v Speaker 2>And we were both just blown away. And that's how

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<v Speaker 2>this all started. We started this project trying to understand

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<v Speaker 2>how can shortcus from classical music help athletes. That's how

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<v Speaker 2>this all started. That's I knew. And then in twenty eighteen,

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<v Speaker 2>I was doing a running seminary in Berlin and after

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<v Speaker 2>the seminary, this man comes up JJ. You've been in

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<v Speaker 2>contact with him. JJ comes up to me and says, hey,

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<v Speaker 2>with this work in golf, I don't know it, I guess,

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<v Speaker 2>so it's worked with every other sport I've tried it on.

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<v Speaker 2>So that's how we got it. I'm beinging golf since

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<v Speaker 2>twenty eighteen, twenty nineteen.

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<v Speaker 1>Wow, And what was it that you helped this golfer

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<v Speaker 1>with initially? How did that get started? And what did

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<v Speaker 1>you recognize?

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<v Speaker 2>JJ himself wasn't a golfer. He was just fascinated by

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<v Speaker 2>the idea that we could applied this technique to golf,

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<v Speaker 2>to golf, I see, so we and he made me

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<v Speaker 2>tested on about hundreds of golfers, hundreds of problems, hundreds

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<v Speaker 2>of issues, and we were I think able to fix

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<v Speaker 2>all of them. And then he said, okay, let's get going.

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<v Speaker 2>Let's get started, okay, And we started the company in

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<v Speaker 2>Miami and came to the PGA Show in Orlando in

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<v Speaker 2>twenty twenty and during good time to do.

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<v Speaker 1>It exactly, Oh my goodness, as already at the PGA

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<v Speaker 1>show we were hearing about this cruise ship of San

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<v Speaker 1>francisc School.

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<v Speaker 2>They weren't letting like into port because of some sort

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<v Speaker 2>of sickness and some strange sickness that was you know,

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<v Speaker 2>you know, on board. So we lost two years, Like

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<v Speaker 2>we couldn't enter the US for about two years. So

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<v Speaker 2>I've been here.

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<v Speaker 1>Wow.

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<v Speaker 2>Yeah, but you know that's.

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<v Speaker 1>Okay. As we're recording this, I know you kind of

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<v Speaker 1>made it clear that you're not a huge sports person.

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<v Speaker 1>But as we're recording this, the Toronto Blue Jays have

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<v Speaker 1>just gone ahead of the LA Dodgers three games to two.

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<v Speaker 1>And I'm from l A. Originally you're from Toronto. Originally,

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<v Speaker 1>sorry you were laya bet on this. I'm I'm I'm

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<v Speaker 1>Michelle Hey, Tony fan, not a Nudge fan.

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<v Speaker 2>Okay.

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<v Speaker 1>So so let's let's get to figuring out how you

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<v Speaker 1>decided that this could be a program that will work

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<v Speaker 1>for every offer.

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<v Speaker 2>Well, first of all, there's one very important thing. I mean,

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<v Speaker 2>like I said, the system is based. Okay. It's a

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<v Speaker 2>rhythm based training that uses sound phrases okay, okay to

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<v Speaker 2>help golfers improve their core fundamentals like for more consistent swings,

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<v Speaker 2>speed control, and putting, increased cliphead speed in driving everything,

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<v Speaker 2>and not only that, we can incorporate these into these phrases,

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<v Speaker 2>things like how to do the weight shift, when to

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<v Speaker 2>do the weight shift, how to turn more? Okay, everything

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<v Speaker 2>can be incorporated into these sound phrases. It's that simple.

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<v Speaker 1>We need to figure out the best way to introduce

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<v Speaker 1>this program that you've developed because we want people to

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<v Speaker 1>get access to it. And it's a very very easy

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<v Speaker 1>access to this program through the website and you just

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<v Speaker 1>load it up on your phone and it takes care

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<v Speaker 1>of itself from that point on. And we'll talk more

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<v Speaker 1>about it. But let's talk about what the program does.

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<v Speaker 1>Can you walk us through the start of this and

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<v Speaker 1>again I don't want you to give away everything here

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<v Speaker 1>on this podcast because we want people to look into

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<v Speaker 1>this program, but let's talk about the introduction to it.

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<v Speaker 2>Well, the program is based on we have courses that

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<v Speaker 2>you can purchase online and they guide you through fighting distances,

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<v Speaker 2>to the short game for the drive, club heading, drive stability,

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<v Speaker 2>and then clubhead increase. There's all kinds of things that

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<v Speaker 2>are there. Those are the course that you can buy

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<v Speaker 2>and we have another part of the program for I

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<v Speaker 2>would say better better golfers with a fifteen handicap and

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<v Speaker 2>less who are where you can then upload a video

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<v Speaker 2>and say, for example, I get this a lot from

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<v Speaker 2>very good golfers. Uh, they say, this is a perfect

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<v Speaker 2>a three quarter swing, a short game, a pitch, but

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<v Speaker 2>under pressure in a tournament, this screws up completely. Okay,

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<v Speaker 2>I get confused, I get too fast or whatever. And

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<v Speaker 2>can you tell me the sound pattern you're hearing when

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<v Speaker 2>I do this? Okay? And this is the thing, Fred

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<v Speaker 2>is a bit strange. But when I see in sports

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<v Speaker 2>a body motion, emotion, any motion, I will hear a sound.

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<v Speaker 2>It's a kind of a weird thing. And so that

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<v Speaker 2>I will then make a sound pattern for this specific

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<v Speaker 2>swing and I'll send it back to the client and

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<v Speaker 2>he will right back or she'll write back, that's great,

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<v Speaker 2>it's perfect. Helps me a lot. And so we're anchoring,

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<v Speaker 2>so to speak, a very good sway. And then we

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<v Speaker 2>have then also our online coachings, which are about fifteen minutes,

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<v Speaker 2>and there we can then address a specific problem. Very

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<v Speaker 2>good golfer will come and book a session and we'll

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<v Speaker 2>solve the problem in fifteen minutes or less. And or

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<v Speaker 2>or less, a golfer can come with his instructor, So

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<v Speaker 2>the two of them and the instructor of Tom. Hey,

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<v Speaker 2>I want this person to do this. I want him

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<v Speaker 2>to turn here or whatever, and I'll give them a

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<v Speaker 2>sound pattern for that.

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<v Speaker 1>When I mentioned John Novasel on Tour Tempo earlier, you

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<v Speaker 1>nodded as if to say, yeah, of course, of course,

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<v Speaker 1>so you are familiar with his work.

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<v Speaker 2>Absolutely, yes, okay, So.

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<v Speaker 1>How much research did you do? You know, looking back

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<v Speaker 1>on this issue, and we're going to stay with golf,

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<v Speaker 1>not other sports versus just trusting your gut doing what

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<v Speaker 1>you did for music, I can do this for sports

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<v Speaker 1>and we'll just let it rip from there.

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<v Speaker 2>Well, again, when I first started out, I was with

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<v Speaker 2>this with this marathon runner. We were both completely astounded

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<v Speaker 2>that this would work. And again it wasn't so much

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<v Speaker 2>that I'm like, in within two minutes, I'm giving you

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<v Speaker 2>a bigger must muscle mass. It's all in your head.

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<v Speaker 2>And I think basically, I think nowadays, with with our

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<v Speaker 2>ideas about and knowledge about nutrition, about you know, biomechanics

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<v Speaker 2>and all kinds of things, I think in a way,

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<v Speaker 2>the brain is the last frontier mm.

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<v Speaker 1>Hmmm, theology. Yeah, yeah, absolutely so. So did you alter

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<v Speaker 1>once you started doing this research behind it. Did you

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<v Speaker 1>start altering what you were doing or you just trusted

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<v Speaker 1>yourself and what you've developed?

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<v Speaker 2>Well, I kept I trusted myself how we developed, because

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<v Speaker 2>how can I say it? I don't know anything else

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<v Speaker 2>then expactly that's what it is, the music. And and

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<v Speaker 2>like I said, I think there's one thing I do understand.

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<v Speaker 2>But like I said, I don't know where I got this.

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<v Speaker 2>I understand the very basic correlation between sound and body movement.

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<v Speaker 2>There is a correlation. It's been it's been studied in

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<v Speaker 2>scientifically by by many scientists and enough papers on this.

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<v Speaker 2>The field is called soonification. And I think if I'm not,

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<v Speaker 2>if I'm not, if I'm correct on this, I think

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<v Speaker 2>mister Novicell for a recent tour Tempo intro rollout, he

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<v Speaker 2>also presented a study down by Yale University, Okay, confirming

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<v Speaker 2>that there is there is a connect between body movement

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<v Speaker 2>and sound.

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<v Speaker 1>Absolutely yes, And it was Yale University last time we

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<v Speaker 1>spoke to him, when he talked about that his research

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<v Speaker 1>had all been confirmed by a college study. So that

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<v Speaker 1>was amazing. All right, let's let's start talking about what

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<v Speaker 1>it is now and how to do it and just

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<v Speaker 1>if the introduction. If you can run through your introduction

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<v Speaker 1>on this, I would love to hear more.

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<v Speaker 2>Well again, I mean, like I said, Fred, as you

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<v Speaker 2>party guessed, the idea is so out of the box,

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<v Speaker 2>it's so crazy that it's it's at the beginning was

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<v Speaker 2>difficult for us to get people to just even listen

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<v Speaker 2>to us.

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<v Speaker 1>Sure.

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<v Speaker 2>I remember, you know, preparing our twenty twenty trip, I

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<v Speaker 2>was calling you know, golf clubs and talking to you know,

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<v Speaker 2>senior instructors, head of instruction. Yes, I've got this idea

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<v Speaker 2>about controlling golf swings you see sound And the basic

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<v Speaker 2>response was I don't need that, okay. So and eventually,

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<v Speaker 2>with by time, after getting getting like meetings with Brad

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<v Speaker 2>Faxon and Mark Indelman and others, okay, we finally were

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<v Speaker 2>able to get testimonials and and you know, endorsements that

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<v Speaker 2>were substantial, substantial. So we're we're we're much better. It's

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<v Speaker 2>it's getting easier, okay.

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<v Speaker 1>Yeah, your your your testimonials are very impressive.

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<v Speaker 2>Thank you very much. So again, it's like I said,

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<v Speaker 2>we know this. We know that most people think this

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<v Speaker 2>is crazy, it's some kind of scam. Trust trust me,

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<v Speaker 2>it's not. And but but we want to make the

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<v Speaker 2>threshold as low as possible for people who are skeptical.

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<v Speaker 2>And by the way, I love convincing skeptics. That's the

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<v Speaker 2>most fun of all. Okay, And if you're skeptical, then

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<v Speaker 2>the easiest thing to get convinced, I think, I hope,

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<v Speaker 2>is just to visit our website howdiot dot golf and

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<v Speaker 2>take the two free tests that are on there. Okay,

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<v Speaker 2>catch it and.

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<v Speaker 1>Yeah, I pay me. Skeptical, let's go here, go you

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<v Speaker 1>got it. You've got my attention. Now you need to

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<v Speaker 1>make it work.

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<v Speaker 2>Okay, well I can, especially if it's.

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<v Speaker 1>A free test. You can do that right now too.

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<v Speaker 2>You could, Yes, I can do it right now too.

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<v Speaker 1>Well.

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<v Speaker 2>One of the things is, like I'm saying, the basic

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<v Speaker 2>idea in audio golf is that there's a connect between

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<v Speaker 2>a special specific movement okay, beat the twenty foot part

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<v Speaker 2>or a forty yard pitch and a sound. Okay. So

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<v Speaker 2>I'm going to give you an example now that actually

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<v Speaker 2>comes from actually tennis, but that's not important right now.

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<v Speaker 2>I want you to put your hand in front of

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<v Speaker 2>your chest or twenty inches in front of your chest,

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<v Speaker 2>with your palm facing towards your chest and pull it

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<v Speaker 2>gently towards yourself like this. Okay, okay, that's it, gently

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<v Speaker 2>towards yourself gently.

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<v Speaker 1>Well, I'm only doing so people can hear it. That's

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<v Speaker 1>so from my for my outstretched hand too, Yes, to

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<v Speaker 1>your chest to touch at hand too, like this?

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<v Speaker 2>All right? So that's how long it take when I

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<v Speaker 2>hear when I see somebody doing this, I hear the sound. Mum,

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<v Speaker 2>So I want you to say a'm and do the movement? Yeah?

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<v Speaker 2>Huh so? Was that hard? Was that hard to learn?

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<v Speaker 1>No? Was a quick study on this one. Do I

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<v Speaker 1>get an a professor?

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<v Speaker 2>Okay? Now I say I claim these two, this motion

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<v Speaker 2>and this sound are connected. Okay. Now I want you

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<v Speaker 2>to prove me. Prove to me, and and by the way,

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<v Speaker 2>prove to your whole audience that I'm full of it.

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<v Speaker 2>And I want you to show me that you can

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<v Speaker 2>say am, but do the exact opposite motion. Okay. Instead

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<v Speaker 2>of soft towards you, I want you to take your

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<v Speaker 2>hand near your chest and rip it away very quickly,

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<v Speaker 2>but saying at the same time, huh.

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<v Speaker 1>Okay, yeah, yeah, hang on, I'm gonna do this here.

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<v Speaker 1>I'm not.

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<v Speaker 2>Mm hmmm. You've changed the sound. You've gone from arm

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<v Speaker 2>to arm.

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<v Speaker 1>Oh, yeah, you're right, I have.

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<v Speaker 2>I want you to say it sound correctly, but do

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<v Speaker 2>the exact opposite.

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<v Speaker 1>Right, is that am relaxed right with my hand. Yeah,

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<v Speaker 1>it's really difficult to do. Yeah. I can't do them

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<v Speaker 1>together either.

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<v Speaker 2>No, nobody can. I've been doing this for for like

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<v Speaker 2>eight nine years now. Nobody can do it. It can't

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<v Speaker 2>be done. Okay, And this is really fascinating because, and

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<v Speaker 2>this is what's really fascinating about this. The sound is

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<v Speaker 2>so powerful. Okay, this sound is so perfect. You can't

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<v Speaker 2>ignore it. Okay, And you can't consciously override it, because

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<v Speaker 2>if you could, you could do it, you could say

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<v Speaker 2>I'm and just rip it. But nobody can do it.

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<v Speaker 2>How do you change the sound? Like, in half the

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<v Speaker 2>cases people change the sound, you'll go M instead of

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<v Speaker 2>And in the other cases people just like you did

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<v Speaker 2>at the very beginning, you were sort of frozen. You

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<v Speaker 2>couldn't your brain wouldn't let you do it. It's a

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<v Speaker 2>weird feeling, by the way, it's a weird. I see

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<v Speaker 2>this all the time. People are sort of like frozen

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<v Speaker 2>and their brains just they can't move their hand, they

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<v Speaker 2>can't do anything.

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<v Speaker 1>Previously on Gulf Smarter, Fred was stuck it. I'm still

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<v Speaker 1>trying to even during our break here, I'm still trying to.

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<v Speaker 1>But it can't be done.

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<v Speaker 2>Can't be done. I've never had anybody who can do it.

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<v Speaker 1>Oh well, then why am I trying so hard? No

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<v Speaker 1>needs to do that, all right? So what's the correlation here?

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<v Speaker 1>What are you teaching me? Now that I know that

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<v Speaker 1>I can do it from out to my Chi said

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<v Speaker 1>it at an easy pace, but I can't do the reverse.

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<v Speaker 1>How's this helping?

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<v Speaker 2>Well? Again, the basic idea behind it is that once

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<v Speaker 2>you hit the sound and you let your let your

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<v Speaker 2>brain follow the sound, Okay, then basically, once you've connected

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<v Speaker 2>a sound specific motion the motion, the movement will happen

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<v Speaker 2>every time insistently. Okay. That's the basic idea, okay, And

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<v Speaker 2>we've tested it, and like I said, if you want,

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<v Speaker 2>one of the most one of the giveaways we haven't

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<v Speaker 2>in our course of course, is the fifteen foot put sound.

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<v Speaker 2>The Yalla band, which is basically you call yala and

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<v Speaker 2>when just commonly say yala, and when the sound stops,

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<v Speaker 2>lost stops the sound. If your voice stops, your potter stops.

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<v Speaker 2>So it's Yala band. It's very simple.

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<v Speaker 1>So your backstroke is ya la and you pull the

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<v Speaker 1>club away at the beginning of yeah, so it's yala perfect,

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00:24:07.240 --> 00:24:09.559
<v Speaker 1>and you're you're end of your backstroke at at the

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<v Speaker 1>end of ya la.

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<v Speaker 2>Yeah, right, and then bam b and bam. Is the

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<v Speaker 2>actual strike the putt.

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<v Speaker 1>It's when okay, when you make contact. So that's so

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<v Speaker 1>you start you start your forward swing after ya la

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<v Speaker 1>exactly bam, yes, yaa bam okay, right, okay, yeah, I'm

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<v Speaker 1>missing something.

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<v Speaker 2>No, but I just saw something number right now, Fred,

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<v Speaker 2>because you spoke about that, you are probably a bit

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<v Speaker 2>further than it's intended. Okay, there's there's a there's a

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<v Speaker 2>rhythm built in there as well, okay. And if you

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<v Speaker 2>listen carefully, it's yaala bam yea la. So it's yalla

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<v Speaker 2>la bam.

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<v Speaker 1>Yeah.

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<v Speaker 2>That's it. Okay, okay, And that's it. And basically it's

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<v Speaker 2>it's it's it's very simple because for example, we've tested it,

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<v Speaker 2>most people get around fifteen feet apart this on a

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<v Speaker 2>flat middle fast green stemmed nine or ten, not uphill,

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<v Speaker 2>not downhill, but on a flat green and uh and

421
00:25:19.920 --> 00:25:21.920
<v Speaker 2>some people will get seventeen feet, some people will get

422
00:25:21.920 --> 00:25:26.400
<v Speaker 2>fourteen feet. But the main thing is that it's consistent. Right,

423
00:25:26.440 --> 00:25:27.200
<v Speaker 2>that's the main thing.

424
00:25:27.680 --> 00:25:30.079
<v Speaker 1>So that's what we're looking for, is a consistent distance

425
00:25:30.160 --> 00:25:31.000
<v Speaker 1>with y'a llabam.

426
00:25:31.200 --> 00:25:34.759
<v Speaker 2>Yes, exactly. Well, let's put it this way. That's that's imagine.

427
00:25:34.799 --> 00:25:36.680
<v Speaker 2>I don't think it exists. But you know they have

428
00:25:36.799 --> 00:25:39.359
<v Speaker 2>in tennis, like they have these machine that throw a

429
00:25:39.440 --> 00:25:43.319
<v Speaker 2>serve at you. Yeah, okay, so I don't think it exists,

430
00:25:43.319 --> 00:25:46.359
<v Speaker 2>but I think don's imagine, but there was a putting machine.

431
00:25:46.880 --> 00:25:48.720
<v Speaker 2>You put it on the green, and there's a striking

432
00:25:48.759 --> 00:25:52.359
<v Speaker 2>plate and you can dial it in to hit the ball.

433
00:25:52.440 --> 00:25:55.319
<v Speaker 2>Let's say four point two miles an hour. Okay, dial

434
00:25:55.359 --> 00:25:57.680
<v Speaker 2>it in, and the plate hits the ball every time

435
00:25:57.960 --> 00:26:00.640
<v Speaker 2>four point two miles an hour. So we would actually

436
00:26:00.720 --> 00:26:03.720
<v Speaker 2>assume that the ball will draw out every time at

437
00:26:03.720 --> 00:26:07.039
<v Speaker 2>the same distance, am I right?

438
00:26:07.319 --> 00:26:08.640
<v Speaker 1>Yeah? I would think so right.

439
00:26:08.759 --> 00:26:10.759
<v Speaker 2>That's right, that's the well if it's the same green,

440
00:26:10.839 --> 00:26:14.759
<v Speaker 2>of course, and whatever. Yeah right right, okay, So basically

441
00:26:16.400 --> 00:26:19.319
<v Speaker 2>I can get our clients, I can get anybody to

442
00:26:19.440 --> 00:26:23.400
<v Speaker 2>put four point two miles an hour. I know it

443
00:26:23.440 --> 00:26:29.480
<v Speaker 2>sounds crazy, but basically, what is how is velocity calculated?

444
00:26:29.599 --> 00:26:34.559
<v Speaker 2>It's overcoming a certain distance in a certain time. So

445
00:26:34.720 --> 00:26:39.160
<v Speaker 2>in your case, if you're going back whatever fourteen inches

446
00:26:40.079 --> 00:26:43.079
<v Speaker 2>and you're covering fourteen inches every time in zero point

447
00:26:43.119 --> 00:26:46.640
<v Speaker 2>three seven seconds, your CLUBTSP, it's going to be the

448
00:26:46.640 --> 00:26:52.799
<v Speaker 2>same plus minus. We're humans, right, okay. So basically that's this.

449
00:26:53.119 --> 00:26:56.559
<v Speaker 2>There's there's yallow bam. There's no voodoo, there's no esoteric

450
00:26:57.480 --> 00:26:59.880
<v Speaker 2>you know stuff involved. It's just there's science. But it's

451
00:27:00.279 --> 00:27:01.880
<v Speaker 2>of course okay.

452
00:27:02.440 --> 00:27:04.720
<v Speaker 1>And now, so this program is not just for putting.

453
00:27:05.440 --> 00:27:07.160
<v Speaker 2>No, No, the program.

454
00:27:06.920 --> 00:27:12.480
<v Speaker 1>And yallabam is just for one distance, correct. We just

455
00:27:12.640 --> 00:27:14.200
<v Speaker 1>use it for that. You just lock it in for

456
00:27:14.240 --> 00:27:16.759
<v Speaker 1>that one distance. You don't use it for short putts.

457
00:27:16.759 --> 00:27:18.440
<v Speaker 1>You don't use it for extra long putts.

458
00:27:18.480 --> 00:27:21.079
<v Speaker 2>Now, this is the I think what's what makes it

459
00:27:21.279 --> 00:27:25.599
<v Speaker 2>very interesting. There are other methods. There are other rhythm

460
00:27:25.599 --> 00:27:30.799
<v Speaker 2>methods who say that, for example, three to one, for example,

461
00:27:31.119 --> 00:27:36.240
<v Speaker 2>can be used in all kinds of things. Again, I

462
00:27:36.279 --> 00:27:41.000
<v Speaker 2>think it's Yallabam. By the way, if you've noticed, if

463
00:27:41.000 --> 00:27:43.680
<v Speaker 2>you're an observer I'm sure have been, you'll notice that

464
00:27:43.720 --> 00:27:46.839
<v Speaker 2>the Yalabam there's a two to one racial built in

465
00:27:47.599 --> 00:27:51.759
<v Speaker 2>two to one tempo Racio okay, okay. Now the question

466
00:27:51.839 --> 00:27:54.119
<v Speaker 2>is perhaps with you ya la, you'll take it back

467
00:27:54.640 --> 00:27:58.480
<v Speaker 2>fourteen inches. Maybe somebody will only take back eleven inches okay.

468
00:27:58.599 --> 00:28:01.160
<v Speaker 2>But the thing is this person will do this or

469
00:28:01.160 --> 00:28:04.799
<v Speaker 2>should do this every time the same okay. So it's

470
00:28:04.839 --> 00:28:07.279
<v Speaker 2>like we think like medicine. If I get a headache,

471
00:28:07.319 --> 00:28:11.920
<v Speaker 2>I take one, you know Thailand all, I take one,

472
00:28:12.039 --> 00:28:16.559
<v Speaker 2>but maybe you need too and for the efficacy. So

473
00:28:17.599 --> 00:28:20.519
<v Speaker 2>that's basically how this works. And for yallabam is like

474
00:28:20.559 --> 00:28:23.519
<v Speaker 2>the fifteen foot pot sound, And if we're doing like

475
00:28:23.559 --> 00:28:25.920
<v Speaker 2>a fifty foot put sound, it will be a different

476
00:28:26.240 --> 00:28:27.720
<v Speaker 2>sound pattern, it will be different.

477
00:28:28.319 --> 00:28:32.920
<v Speaker 1>And how many sound patterns do you provide?

478
00:28:33.640 --> 00:28:39.640
<v Speaker 2>Well, basically, if somebody was interested in and you know,

479
00:28:39.799 --> 00:28:44.880
<v Speaker 2>doing everything we're talking about twenty to twenty five okay, okay, And.

480
00:28:44.880 --> 00:28:48.440
<v Speaker 1>It covers not just putting, it covers all different starts game.

481
00:28:49.119 --> 00:28:54.359
<v Speaker 2>We've got a sound for three quarter swing, a half swing, driver, bunker,

482
00:28:54.559 --> 00:28:55.920
<v Speaker 2>everything and those just.

483
00:28:55.880 --> 00:28:58.039
<v Speaker 1>And is it all on the two to one ratio?

484
00:28:58.599 --> 00:29:02.119
<v Speaker 2>No, no, no it's not. Well, I'll tell you a

485
00:29:02.200 --> 00:29:05.920
<v Speaker 2>very personal story I was I was able to I

486
00:29:05.960 --> 00:29:08.319
<v Speaker 2>had the honor meeting Brad faxon about three years ago

487
00:29:09.759 --> 00:29:13.680
<v Speaker 2>and uh, you know, he set us meet up and

488
00:29:13.720 --> 00:29:16.400
<v Speaker 2>he wanted to hear what I was doing. And and

489
00:29:16.400 --> 00:29:18.240
<v Speaker 2>one of the first things I had to ask him,

490
00:29:18.279 --> 00:29:21.039
<v Speaker 2>I said, Brad, it's I know it's too early, but

491
00:29:21.799 --> 00:29:26.319
<v Speaker 2>everybody talks about you know, the PJA putting ratio. Is

492
00:29:26.440 --> 00:29:29.079
<v Speaker 2>every all the pros pot two to one. Okay, that's

493
00:29:29.119 --> 00:29:32.599
<v Speaker 2>that's the that's the mantra. That has to me two

494
00:29:32.599 --> 00:29:35.640
<v Speaker 2>to one. And but I said, Brad, if you've got

495
00:29:35.640 --> 00:29:38.279
<v Speaker 2>a good player, it's a good putter and he's putting

496
00:29:38.279 --> 00:29:40.960
<v Speaker 2>two point two to one, or he's putting one point

497
00:29:40.960 --> 00:29:43.400
<v Speaker 2>eight five to one, are you going to change that?

498
00:29:43.640 --> 00:29:47.319
<v Speaker 2>And he said, of course not okay, Like you know,

499
00:29:47.440 --> 00:29:52.079
<v Speaker 2>if it's if it's not broken, don't fix it. So basically,

500
00:29:52.079 --> 00:29:54.440
<v Speaker 2>this two to one is just a guideline. I would

501
00:29:54.480 --> 00:29:58.440
<v Speaker 2>even say with Tour Temple it's it's a guide. But

502
00:29:58.559 --> 00:30:01.480
<v Speaker 2>the question is that I've seen I've even seen the

503
00:30:01.559 --> 00:30:05.319
<v Speaker 2>machines in like in Germany where if they if you're

504
00:30:05.359 --> 00:30:07.519
<v Speaker 2>putting and it's not two to one, these red lights

505
00:30:07.519 --> 00:30:09.640
<v Speaker 2>will go on and it has to be it has

506
00:30:09.680 --> 00:30:11.400
<v Speaker 2>to be two to one. That's getting you two to one.

507
00:30:11.599 --> 00:30:16.039
<v Speaker 2>I don't necessarily see the point in that, and and

508
00:30:16.079 --> 00:30:19.279
<v Speaker 2>I'd like to see somebody do a sixty foot putt

509
00:30:19.599 --> 00:30:22.680
<v Speaker 2>using two to one. I find that very very difficult.

510
00:30:29.319 --> 00:30:35.000
<v Speaker 1>So how effective are all the different rhythms tempos that

511
00:30:35.079 --> 00:30:38.000
<v Speaker 1>you provide? Have you found that some work better than

512
00:30:38.039 --> 00:30:42.279
<v Speaker 1>others or consistently across the board they're working? Well? Where

513
00:30:42.319 --> 00:30:44.279
<v Speaker 1>do you find your sweet spot?

514
00:30:44.599 --> 00:30:48.720
<v Speaker 2>Well, we find uh at the beginning, At the beginning,

515
00:30:48.799 --> 00:30:53.160
<v Speaker 2>we find that the putting sounds are being more effective.

516
00:30:53.839 --> 00:30:56.359
<v Speaker 2>I think there are My guess is there there are

517
00:30:56.480 --> 00:31:02.400
<v Speaker 2>less technical issues there? Okay, then with a bunker sounds, yes,

518
00:31:02.440 --> 00:31:05.920
<v Speaker 2>the mechanics. That's why we recommend that if you're going

519
00:31:05.960 --> 00:31:09.200
<v Speaker 2>to do audio golf. Of course we'd like to have everybody,

520
00:31:09.240 --> 00:31:13.519
<v Speaker 2>but we find it more effective if you're a good amateur,

521
00:31:14.279 --> 00:31:20.559
<v Speaker 2>are a good player and this, uh, this, then they're

522
00:31:20.640 --> 00:31:24.920
<v Speaker 2>less technical issues, mechanical issues okay, and just just working

523
00:31:24.960 --> 00:31:28.400
<v Speaker 2>on rhythm and temple to get it, you know, consistent.

524
00:31:28.960 --> 00:31:32.799
<v Speaker 2>So that's why we find that very effective. But even

525
00:31:33.119 --> 00:31:38.319
<v Speaker 2>good beginners can start with putting and they will benefit

526
00:31:38.359 --> 00:31:38.920
<v Speaker 2>to as well.

527
00:31:39.519 --> 00:31:42.519
<v Speaker 1>What if a person is not I don't want to

528
00:31:42.559 --> 00:31:48.519
<v Speaker 1>say musically inclined, but rhythmly rhythmically inclined. I mean, I

529
00:31:48.519 --> 00:31:50.880
<v Speaker 1>mean you see people out on the dance floor who

530
00:31:50.920 --> 00:31:54.079
<v Speaker 1>don't have a clue of one, two, three, four, yes, right.

531
00:31:54.400 --> 00:31:57.480
<v Speaker 1>And you'll see people clapping at a concert who just

532
00:31:57.599 --> 00:32:00.680
<v Speaker 1>like what what what are you listening to? This is

533
00:32:01.319 --> 00:32:04.319
<v Speaker 1>how how did you get your hands to do that?

534
00:32:04.319 --> 00:32:08.279
<v Speaker 1>That far off? What happens to people like that who

535
00:32:08.359 --> 00:32:09.640
<v Speaker 1>have that kind of a challenge.

536
00:32:10.079 --> 00:32:13.759
<v Speaker 2>Well, again, what happens is, Uh, I've been in the

537
00:32:14.359 --> 00:32:17.960
<v Speaker 2>seven years I've been teaching doing these courses, I've only

538
00:32:18.039 --> 00:32:21.119
<v Speaker 2>sent one person home or in the middle of a lesson.

539
00:32:22.000 --> 00:32:25.200
<v Speaker 1>You need to know more about that. But why did

540
00:32:25.200 --> 00:32:26.119
<v Speaker 1>you send them homent?

541
00:32:26.720 --> 00:32:29.359
<v Speaker 2>Well, because how we were giving in sound patterns. I

542
00:32:29.440 --> 00:32:33.119
<v Speaker 2>was even some he just couldn't implement it, okay. For example,

543
00:32:33.359 --> 00:32:35.480
<v Speaker 2>I'm going to ask you Fred to clap her hands

544
00:32:35.519 --> 00:32:40.359
<v Speaker 2>together and and say ka simultanz co ca okay. So

545
00:32:40.920 --> 00:32:43.599
<v Speaker 2>this guy, okay, he couldn't do it. He would do

546
00:32:44.480 --> 00:32:48.640
<v Speaker 2>cop no, no, no, no no together ca no no,

547
00:32:49.000 --> 00:32:51.240
<v Speaker 2>you have to say cap earlier. Oh of course I

548
00:32:51.240 --> 00:32:54.680
<v Speaker 2>get it, cop okay. Oh my god, no, it was

549
00:32:54.720 --> 00:32:57.240
<v Speaker 2>it was just that off okay. And I said, if

550
00:32:57.240 --> 00:33:00.000
<v Speaker 2>you can't even do that, I won't take your money.

551
00:33:00.319 --> 00:33:08.759
<v Speaker 1>Yeah, please go home. Okay, So, anybody who's listening right now,

552
00:33:08.839 --> 00:33:11.119
<v Speaker 1>if you're listening right now, if you can, if you

553
00:33:11.160 --> 00:33:14.720
<v Speaker 1>can call with us, if you can caf with us,

554
00:33:14.799 --> 00:33:17.000
<v Speaker 1>then keep listening. So, because now I want to get

555
00:33:17.039 --> 00:33:21.359
<v Speaker 1>into the details of we're at Audio dot Golf is

556
00:33:21.400 --> 00:33:24.680
<v Speaker 1>the website and audio Golf is the app, and it's

557
00:33:24.680 --> 00:33:27.240
<v Speaker 1>available for both iOS and Android.

558
00:33:27.279 --> 00:33:31.279
<v Speaker 2>Correct, there's no app, right, there's no it's okay, it's

559
00:33:31.440 --> 00:33:33.599
<v Speaker 2>just the way it's all done on the website. Yes,

560
00:33:33.880 --> 00:33:37.200
<v Speaker 2>we also audio dot Golf Instagram. You can find us

561
00:33:37.200 --> 00:33:39.759
<v Speaker 2>there too, but there's no app yet.

562
00:33:39.960 --> 00:33:44.519
<v Speaker 1>Okay, So, but on Instagram, it's just it's not the program,

563
00:33:44.640 --> 00:33:49.519
<v Speaker 1>it's just showcasing what it is. So to get the program, Yes,

564
00:33:49.559 --> 00:33:53.079
<v Speaker 1>it's it's all at audio dot golf. Yes, what what

565
00:33:53.319 --> 00:33:56.200
<v Speaker 1>are the costs and what do you receive?

566
00:33:57.119 --> 00:34:02.559
<v Speaker 2>Well, we have we have courses. They're online now I

567
00:34:02.559 --> 00:34:09.840
<v Speaker 2>think putting driver. I don't know all of them from

568
00:34:09.920 --> 00:34:13.800
<v Speaker 2>memory right now, and they're all available for ninety nine dollars.

569
00:34:14.079 --> 00:34:17.639
<v Speaker 2>You get all these courses three sounds. But it's not

570
00:34:17.800 --> 00:34:20.719
<v Speaker 2>just the sound pattern. There is a system behind it

571
00:34:21.400 --> 00:34:26.400
<v Speaker 2>and get you get the instructions, you get the drills,

572
00:34:26.719 --> 00:34:30.199
<v Speaker 2>you have what do you call it? Common mistakes are

573
00:34:30.239 --> 00:34:35.320
<v Speaker 2>addressed and anybody who has had a difficulty can write

574
00:34:35.360 --> 00:34:38.559
<v Speaker 2>to us and you'll get support. So there is follow

575
00:34:38.639 --> 00:34:40.679
<v Speaker 2>up with it as well as a follow up for everybody.

576
00:34:40.960 --> 00:34:42.880
<v Speaker 1>And the ninety nine dollars is a one time fee.

577
00:34:43.039 --> 00:34:45.760
<v Speaker 2>It's a one time fee for one course. Okay, for

578
00:34:45.840 --> 00:34:49.880
<v Speaker 2>one course. And in the if you do the two

579
00:34:50.000 --> 00:34:53.880
<v Speaker 2>tests that are online on the website and you decide

580
00:34:54.119 --> 00:34:58.199
<v Speaker 2>you want to try the intro course the first we

581
00:34:58.239 --> 00:35:01.599
<v Speaker 2>have a special offer right now, twenty nine dollars. That's

582
00:35:01.639 --> 00:35:05.840
<v Speaker 2>a normal, regular, medium pot course has everything else that

583
00:35:05.920 --> 00:35:09.079
<v Speaker 2>all the other courses have as well, and this course

584
00:35:09.159 --> 00:35:14.760
<v Speaker 2>comes with one hundred percent money back guarantee. Okay, this one,

585
00:35:14.880 --> 00:35:17.960
<v Speaker 2>this specific course, this intro course comes to the money

586
00:35:18.000 --> 00:35:21.119
<v Speaker 2>back guarantee. So basically, if you do the first two

587
00:35:21.199 --> 00:35:23.239
<v Speaker 2>tests and you say, hey, this could work for me,

588
00:35:24.199 --> 00:35:28.280
<v Speaker 2>and you find you purchase the twenty nine dollar course

589
00:35:28.679 --> 00:35:32.199
<v Speaker 2>and you're disappointed, no problems, okay, we want to make

590
00:35:32.239 --> 00:35:35.000
<v Speaker 2>a third should as low as possible. And then with

591
00:35:35.119 --> 00:35:38.360
<v Speaker 2>the so called online trainings, okay, if you come in

592
00:35:38.400 --> 00:35:41.719
<v Speaker 2>and book a fifteen minute lesson with me, okay, again,

593
00:35:41.760 --> 00:35:44.519
<v Speaker 2>this is completely different than from any golf lesson you've

594
00:35:44.519 --> 00:35:49.960
<v Speaker 2>probably ever had. It's only fifteen minutes, and we guarantee

595
00:35:49.960 --> 00:35:54.239
<v Speaker 2>you here one hundred percent money back, guarantee I solve

596
00:35:54.280 --> 00:35:58.320
<v Speaker 2>the problem in fifteen minutes. I'll find a solution for

597
00:35:58.400 --> 00:36:02.119
<v Speaker 2>your problem. You'll get a sound an audio loop, okay,

598
00:36:03.119 --> 00:36:05.920
<v Speaker 2>I'll record for you, send it to you, and also

599
00:36:06.039 --> 00:36:10.119
<v Speaker 2>follow up for thirty days, and you get also all

600
00:36:10.239 --> 00:36:15.800
<v Speaker 2>the you know frequently ask questions and yeah, and like

601
00:36:15.880 --> 00:36:19.960
<v Speaker 2>I said, it's very very effective. All the other courses

602
00:36:20.000 --> 00:36:23.480
<v Speaker 2>are ninety nine dollars and the one on one session

603
00:36:24.199 --> 00:36:27.079
<v Speaker 2>online is one hundred and twenty five for fifteen minutes.

604
00:36:27.679 --> 00:36:28.119
<v Speaker 1>Okay.

605
00:36:28.280 --> 00:36:30.559
<v Speaker 2>I know people say this is insane one hundred and

606
00:36:30.559 --> 00:36:34.039
<v Speaker 2>twenty five dollars or fifteen minutes. Yes, but like I said,

607
00:36:34.159 --> 00:36:38.000
<v Speaker 2>if I don't fix the problem, we'll send your money back.

608
00:36:38.480 --> 00:36:38.880
<v Speaker 1>Okay.

609
00:36:39.159 --> 00:36:41.719
<v Speaker 2>And by the way, Fred, I've always solved the problem.

610
00:36:41.800 --> 00:36:43.760
<v Speaker 2>That's how sure we are about.

611
00:36:43.480 --> 00:36:47.519
<v Speaker 1>This, all right, So it's definitely worth it, unless, of course,

612
00:36:47.599 --> 00:36:50.960
<v Speaker 1>you can't dance. If you can't dance, don't, don't don't

613
00:36:51.119 --> 00:36:58.800
<v Speaker 1>try it because it's so well. This has been fascinating.

614
00:36:58.840 --> 00:37:02.639
<v Speaker 1>I really appreciate your time I'm chy and I just

615
00:37:02.760 --> 00:37:06.480
<v Speaker 1>love how you got here, and it just proves to

616
00:37:06.599 --> 00:37:08.559
<v Speaker 1>me once again that you don't have to be an

617
00:37:08.559 --> 00:37:13.519
<v Speaker 1>instructor in golf to give good golf instruction, and I

618
00:37:13.559 --> 00:37:15.360
<v Speaker 1>think that's what we've been trying to do here for

619
00:37:15.400 --> 00:37:19.639
<v Speaker 1>twenty years on golf SMO. Yes, yeah, thank you so much.

620
00:37:20.000 --> 00:37:21.800
<v Speaker 1>Great talking to you and in best of luck with

621
00:37:21.840 --> 00:37:22.360
<v Speaker 1>the program.

622
00:37:22.480 --> 00:37:24.400
<v Speaker 2>Thanks Frand, it was great to be here. Take care,