The YYJ “speed” bearing is a “C” bearing, the same as used in the original DM, HM, x-con etc.
it looks alot bigger in pictures I’ve seen in the DM 2
I would argue that it is neither the throw nor the bearing.
Do the trick a little bit differently, so that the strings are not rubbing against the sides of the yo-yo as much.
Then play a fixed axle yo-yo, and smile about it.
-Jacob
Well then that makes it the throw, doesn’t it?
I suppose I forgot to preface my post with my mentality that any yo-yo trick has 1) a throw 2) …the trick and 3) the bind.
I would say that everything between when the string grips the response is “the trick”.
Given this definition, I think I am right. But I am wrong very often.
-Jacob
I think the problem is at the other end of the string. You know, where the slipknot goes.
It’s the throw. It has to be. A tilted throw is just going to cause a lot of problems. Fixing that fixes most issues. I’ve been throwing a pathetic 5 months(because I don’t get a lot of time to throw and practice) and my throw STILL needs a lot of work. Some days/sessions it’s good to OK, sometimes it’s just crap. At some point I won’t be able to progress further until my throw is more consistent, but that won’t stop me from trying to push forward…
Just work on your throw. A bearing won’t help that problem.
Using the latest logic:
The Throw. If this isn’t good, the rest goes downhill fast.
The trick: This will take work too, but if the throw sucks, the rest won’t be very productive.
The Bind: What goes down must come up, and if the throw is bad, it may be impossible to bind it back up, especially with not sufficient experience.
For me, it’s like building a mix(real mix, not DJ stuff. Try 40+ channels of audio coming from a band). There’s so many layers in it, but if any one layer is wrong, then the whole thing is off. And it starts at the foundation that exists before the band even arrives. If the PA isn’t corrected and tuned, then whatever is going to be run through it is going to sound like a$$. By not correcting and tuning to the room or environment, we haven’t laid a good foundation to build from. That, in yoyo terms, is the throw.
Then the band and their performance: the trick. They can be ON and slamming, but if the PA ain’t dialed in, they are just sucking a$$ on that stage as far as the audience is concerned. But, even the “throw” is good and the band is off, no amount of knob twisting and fader pulling is going to salvage what’s coming down the snake to the console. I guess if all else fails, add reverb. Works for Pink Floyd, right?
The end of the show: Well, sooner or later, all things must come to an end. Either we end on a high not(bind and it comes up) or we end and it’s a disaster(yoyo spin-out).
If the throw ain’t good, the trick won’t go well and the bind is in danger.
If I don’t tune to the room, I’m fighting the mix all night and we end bad. If I tune the room, then it’s up to the band to bring their A-game and it’s not on me now, and if they do, we end on a high and the audience is happy, but if they don’t, we spin out and crash and we’ve got an angry crowd demanding money back.
Ehhh, ok. I guess by my definition, it’s all called a throw. If it’s off, the “trick” doesn’t come off as planned. Bad throw = bad trick… 