Jungle Mural - How to Put Some Swing Into Your Child�s Room?

If your child loves all different types of animals, a jungle mural is a great way to make their room a fun and enjoyable place. You might be thinking how you will be able to achieve such a task, especially if you do not have artistic talents.

The truth is, however, that this type of mural is rather easy to construct as long as you have the tools to do it.

The easiest way to create a jungle mural is to transfer a desired jungle scene, animal or image to transparency film, and then use an overhead projector to display the image on the wall, which you can then trace out and begin painting.

You will find that transparency film can be purchased from any store that sells computer accessories, business or school items. As for the projector, you may be fortunate enough to be able to borrow one from your work place, or your child’s school.

If that is not an option, you can always rent one, or purchase one from a local business store or online.

The best place to look for images for your jungle mural is on the internet, simply because your child will be given many more options to choose from, as well as the images can be easily printed off on the transparency film. When looking for images, a good rule of thumb, if you are artistically challenged, is to make sure that you don’t select images with too much detail.

Try to select those that are two-dimensional. In addition to using transparencies, you can also use stencils for smaller animals such as for any birds that may be in the sky or sitting on trees. Stencils can be purchased in craft stores.

The best paints for you to purchase when constructing your jungle mural, are acrylic and artist paints, which you can get from craft or art specialty stores, as well as online. You will also need a variety of different sized brushes to go along with your paints.

When constructing your jungle mural you should also keep in mind that your mural is not only limited to the walls, you can also paint on the ceiling. For instance, if you are painting a lot of trees in your child’s jungle mural, extend the tress to make their leaves travel over the ceiling.

You may even consider coloring the center of the ceiling blue, to make it look as if the sky is peeking through a hole in the trees.

If you are not interested in adding a lot of trees, you can always make your child’s jungle mural more animal focused, by placing animals in different corners of his of her room. Don’t forget that you can use the shape of your child’s room to your advantage when creating a jungle mural.

If you choose to make a jungle mural in your child’s room, another nifty idea is to purchase for them a bunk bed or a loft bed. The reason is because these beds give a more tree house effect, which would really encourage the imagination of your child, and will improve upon the whole authenticity of the room.

You will discover that the more you brainstorm ideas with your child, the more creative you will be. Plus, not only will you discover that creating a jungle mural will be a lot of fun, but it is also a project that can bring together the whole family, making it a task that everyone can enjoy and take pride in.

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Best garage freezer

The garage freezer is becoming more and more popular, but a lot of people are still not sure if it's ok to hook up a freezer in the garage, how to do it, and which is the best freezer for the job.

A freezer in the garage is the perfect solution for large families, or in fact any family, who either don't have room in the kitchen for a separate freezer, or have a lot of mouths to feed and want to freeze in bulk so need extra storage. Everyone has different experiences of how well installing a freezer in the garage works, but as long as you have electricity hooked up and the temperatures in the garage don't vary wildly there shouldn't be any problems.

Freezers need to be stored at a certain temperature depending on their ‘climate class', the two most common classes in the UK are N' (between 16°c - 32°c) and SN' (between 10°c and 32°c), so for garage freezers climate class SN is the most appropriate, as temperatures will drop in the winter. A good idea would be to buy a temperature gage to monitor the temperatures in your garage, however as a lot of garages are attached to the main house, the adjoining wall is likely to be the warmest part of the garage.

Any type of freezer can be used in the garage depending on your needs and the space available, but the most popular is a chest freezer as it is large, good value for money and opens from the top. Usually too large for a regular kitchen, the potential capacity of a chest freezer is ideal for a larger family and having access through the top of the appliance makes it convenient for the garage where you may have a car parked or other large items in storage.

The Whirlpool chest freezer is one of the best freezers for the job, as there is a wide range to choose from with capacities ranging from 204 litres to 503 litres, and the climate class on most is SN. One thing to bear in mind when buying a chest freezer is that foods can often get lost and forgotten about in the depths of the freezer, so keep it organized with the food to be consumed the soonest at the top, and make good use of the baskets in the freezer.

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Sure Signs He Likes You - Secrets Only the Top Seductresses Know

Have you ever learned about body language? Do you often feel like your man is saying one thing, but feeling something else? When he tells you he's happy with everything the way it is, does something inside tell you he's lying? Have you ever wondered what he is REALLY thinking and what he's not telling you? Why can't a man just tell you what he's REALLY feeling?

Why does he get all flustered and bothered when you ask him a direct question? Wouldn't you love it if there was a manual that taught you how to read men's thoughts?

If a woman understood body language, it would give her a big advantage over men. All those other women who are confused about men would no longer be competition for you. Imagine what beating 99% of your competition will do for your love life.

You can get started immediately if you learn these three body clues:

Towards whom is his chest turning? A man might be looking at and talking to somebody else, pretending he hasn't noticed you. However, his upper body will be pointing towards the real object of his attention.

A man's upper body is the best indicator of his romantic interest in a woman. If his chest is facing ever so slightly in your direction, you know he's thinking about you. Odds are, he is really more interested in you than in anyone else in the room.

The Hypnotic Gaze.

This is a little tricky, since 2 types of guys do it. Most guys do this when they are so mesmerized they can't take their eyes off a girl, but players do it on purpose to make women believe they're in love. Don't read too much into the longing gaze of a sexy guy, since he probably knows exactly what he's doing and why. Talk to him for awhile and find out what kind of guy he is first.

The Most Trustworthy Test:

Whatever you are saying, his eyes are sparkling. How often do you see the lights go on when you are having a conversation? If the sparks only fly a few times while you're out on a dinner date, just take advantage of the free meal - it's likely this is the only date you will be having with him.


If the twinkle never leaves his eyes, you know that he's falling in love with you. The eyes only sparkle and shine when a guy is really enamored of a girl - the eyes never lie.

Knowing how his physical actions truly mean is a great first step to help you decide his feelings toward you. In most cases, a man's body language will always reveal the Sure Signs He Likes You or not. Now, how to get a guy to like you shouldn't be that difficult, since you know how to find out the signs he likes me.

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How to Write a Chorus

A song without a chorus can hardly be called a song. This rather bad statement is my personal opinion so if you don't agree, that's okay. But I would like to start this lesson with this statement, not only to wake you up, but rather because it's one of the key-statements of this lesson. So if you don't like songs without a chorus and never intend to write one, than probably you won't feel at home in this class this month. I must say I never felt at home when I was at school but that's another story... But if you do stick around, even if you don't like to write choruses, maybe you will change your mind about them.

A chorus is more or less the heart of a song, at least if it's a good one of course. Why this is true is not as obvious as it seems. People always tend to remember the chorus of a song, while it may not even be the most interesting part of the song at all. The easiest explanation of course is the fact that the chorus is usually played a couple of times during a song. But if this was the only reason why a chorus is the heart of most songs, how come then that lots of choruses are easily forgotten, even if they are played seemingly endless in the fadeout of a song? So there must be more to it.

In this lesson we will see it's hard to reveal the secrets of a good chorus. Writing a good chorus may be more a matter of the heart (something called talent?) than the mind. But since this counts for songwriting in general, don't be afraid; there are always some tricks to learn to help those who have to struggle a little more then the lucky, more talented ones. And believe me, most of us belong to the first group, to put it stronger, even the most talented ones often join the struggling crowd when they're not inspired... In lesson 5, we already saw some elements a good chorus should have. Now we will take a closer look at these elements, by discussing some rules you should follow if you want to write a good chorus. These rules are:

• It should be catchy
• It should contain elements of the rest of the song
• It shouldn't be an anti-climax

Following these rules, you obey to the most important rules of writing a good chorus. We will take a look at these rules in the next paragraph. You can also click on the links to go directly to the discussion of each of these rules.

Rule 1: a chorus should be catchy

What makes a chorus catchy? The easiest answer (for me at least) is: listen to all those golden oldies. Almost all the classics from the sixties and the seventies have catchy choruses. Of course The Beatles were real masters at this, but it seems all the bands that became famous in those days were able to write catchy choruses which seem to stick in your mind forever. Who doesn't know the chorus of Honky Tonk Women for example...

Listening to examples is a great way to teach yourself, and that counts for songwriting too! But there's something more to say about this issue too.

Keep it simple

One of the main rules in writing a good chorus is to keep it simple. Try to avoid to make the chorus sound complicated.

This doesn't mean that as long as you keep it simple technically spoken the chorus will sound simple! A chorus built around a difficult, but well written musical part will be easier to listen to than a technically simple chorus which is written in an unlogical manner.

Consider The Average Listener

The above indicates you'll have to keep the average listener in mind while writing your chorus.

Most listeners aren't musicians so don't forget that! The average listener will often look for things he/she can recognize, a certain general feeling of what sounds logical and which has been developed during many years.

You would probably think now that I'm saying most listeners are dumb but that's not the case. So don't treat them like that. They won't buy the same stuff over and over again (‘though this seems to be heavily contradicted by the house-rage of this time....) so you will have to keep them anxious. In the chorus you can try this by experimenting with backing vocals, special arrangements etc, but be careful and don't overdo things.

So in general you could say the secret to write a catchy chorus is to make it sound logical.

Rule 2: a chorus should contain elements of the rest of the song

In this lesson we already saw a chorus is one of the most important parts of your song. In most cases, it's the part of the song which will be played the most often. So it better be good!

Another trick to make your chorus a good chorus is to give it the treatment it deserves! Since it's the main element of your song, whether you like it or not, it should get all the attention it needs while you write it, to gain all the attention it needs when you play it. This brings me to a rather contradictionary issue: writing songs is a very intuïtive job and that also counts for writing choruses. But to obey to the rule that a chorus should contain elements of the rest of the song, you should at least examine and evaluate your music thoroughly. In mine opinion just writing your music from the heart will generally result in the best music, but it's not very sensible only to rely on your heart. Evaluating your music can be very useful and especially when it comes to writing a chorus.

So no matter how you write, whether you write straight from the heart or not, you will have to evaluate your song. Not only because it will enhance your songwriting skills simply because you are "forced" to think about what you have written, but also because "technical rules" like these can only be followed by using technical means like evaluation.

Since a chorus is the part that will be played and remembered most, it's the best place to "advertise" your song. Maybe if you consider the chorus to be the advertisement of your song, you will better understand the importance of putting elements of the rest of the song into it, making it kind of an excerpt of your song. Some advantages of doing so are:

Recognition

People will recognize the song by just hearing the chorus. But it works the other way around too; they will recognize the chorus as being part of that piece of music they accidentally hear when they enter a bar for example.

Recollection

People will remember your song much more easily. Because the chorus is an excerpt of the song, they will only have to remember the excerpt to remember the song. Why not using old school-tricks when they work fine?

Strenght

By putting elements of the song together in your chorus, in fact you are just making a miniature of your song. When you do this right, it will result in a very strong piece of music. Producers will be pleased when they see you have skills to achieve this, because they usually want you to cut out all the unnecessary stuff from your song.

But what elements should you take? This in fact is completely up to you and depends on the song you are writing. Generally it works fine to pick some of the more melodic parts of your song, simply because most people remember a melodic piece of music better than a monotone piece. And that's about all there is to say on this issue, but there are some pitfalls to look out for.

These tips might help you avoiding them:

Don't copy too much

While putting the best elements of your song together into your chorus, you are taking the risk of ending up with a chorus that unveils all the secrets of your song making the rest of the song predictable and dull. Therefor it's better not to copy too literally but hussle things a little.

Tricks like changing the key of the parts while played during the chorus can help. Just consider all the best parts to be some sort of colour-palette, which enables you to make various versions of the same picture.

Don't make the chorus too long. Better leave out some good parts than desperately putting everything together in the chorus! Good choruses almost never exceed 6 lines.

As you can see, this part of writing songs can be very tricky. Don't forget your skills will grow after every song you've finished, even the more technical skills that you'll need to write a good song, like evaluating your song and deciding what parts should be reflected into the chorus. I deliberatly used the term reflect, because this is one of the most vague issues of writing songs, making it one of the most difficult parts of it. But aren't things always getting more difficult when technique meets feelings?

Rule 3: a chorus shouldn't be an anti-climax

The third important rule seems simple but, unfortunatly, is not. Just like the second rule we discussed above, we will discover it's again a matter of walking on the edge. You will have to carefully find your way between what's good and what is bad, and there isn't a clear path to follow. But again, experience is something you can't buy but which comes free with endurance and perseverance. So just don't give up when it's getting tough; your peaks will get higher and your downs won't be as low as they used to be!

So a chorus shouldn't be an anti-climax. Clear! But why is this rule not as simple as it seems? I will try to explain this. If you follow the first two rules you won't too quickly end up with a chorus that's an anti-climax, just because these two rules ensure your chorus will be more or less the heart of the song. But still your chorus can become an anti-climax, simply because another part of the song attrackts too much the attention. A very impressive instrumental break can easily put the chorus in the shadows. So if your chorus is an anti-climax depends not only on the chorus itself, but on the rest of the song too. To avoid this disturbing effect, you will have to be very careful where to put that instrumental break, charismatic leadvocal-line etc.

To make things even more complicated, you will have to watch out for the chorus to become the climax of the song itself! This can be disasterous to your song, because you will end up with a song which repeats it's climax over and over again, with the result that you end up with a song that doesn't seem to have a climax at all! So every time you write a song you will have to deal with the problem to write a strong, catchy chorus but on the other hand not to make it too strong....

This virtual contradictionary is hard to solve, just listen to daily radio. But there are some ways to help you with this:

Distinction

To avoid the chorus and the climax of the song to interfere with each other, you can try to make a very clear distinction between these two rivals. You can do so by putting them apart from each other "physically" (give each of them their own space in the song), or by making them sound as different as the song allows you to.

The clearer the difference, the less chance of interference.

If you can't beat them...

Another aproach is to put the climax in the chorus itself. This works best when done in the final chorus. This solution requires you to change that chorus, otherwise it won't work, as we discussed earlier in this lesson. These changes can range from just changing the key, adding additional instruments (like backing-vocals) to even changing the lead-vocal line. When done right you will end up with a super-chorus, which won't be forgotten easily!

Some Examples

I will briefly discuss each example and will try to show you how the above is implemented into the examples. I also will point at some tricks I used in these choruses. Don't forget there are numerous examples to come up with, each with different combinations and interpretations of the rules we discussed in this lesson. Just consider these soundfiles as my contribution to what this is all about: music and the fun of it!

The first example is the chorus of Alien Tune, taken from the live-recorded third cassette of The Stag, Reset. Lesson 6 included the intro of this spacy song so maybe it's not a complete new-one for some of you.

This version of the chorus is played at the end of the song, and to make it stand out to the other choruses just because it's the last one, the third line is added to it, which is actually a repetition of the first line. The original chorus has only three lines, this final one has four.

Another trick I used in this chorus is as simple as efficiënt to draw the attention a chorus needs. I used an effects-processor to distort the lead-vocals. Keeping the original lead-vocaltrack and putting the distorted vocals behind it creates a very dramatic effect. A band like ZZ-Top used a trick like this in their song Manic Mechanic.

The next example is also taken from Reset, and is more melodic than the previous example. This will make it a lot easier to remember this chorus as you will probably notice, but this of course is also due to the fact that parts of the lyrics are repeated a few times.

Another trick used in this chorus to make it the eye-catcher of this song are the backing-vocals, which answer the questions "asked" by the lead-singer. Using several backing-vocals and making them "fade out" into the lead-vocals enhances the choir-effect. Recorded in a real studio in stead of the rehearsal-room this can sound real impressive.

Please note the sound-sample starts with the last line of the verse, which features a break to focus the attention to the chorus even more.

Another track taken from Reset, so recorded live at the rehearsal-room of The Stag, is the chorus of The Widow's Game. This chorus is an example of a miniature of the entire song. It contains parts of the main riff of the song, but the lead-vocals switch to a melodic, strong line, while they stick more to the rhythm of the song during the verses.

The final example of this lesson features the first track of The Last Season, the first cassette of The Stag. This chorus is short and melodic, yet it sounds simple. A chorus like this is hard to forget, whether you like it or not. In this particular case, the trick I used to make the chorus stand out to the rest of the song is the addition of backing-vocals (again) and a more prominent role for the keyboards in comparison to the verses. Changes like this are great to draw the attention to the chorus.

Taken from: http://www.geocities.com/Athens/Marble/9607

Adding Salt To Your Raw Meat

How many times have you heard, "Salting raw meat (or poultry or fish) will draw the juices out and make it tough?" I see this statement repeated in cookbook after cookbook as if it were a fact.

Yet in older cookbooks, especially the ones based on European cooking techniques, salting meat before cooking is done routinely, without loss of juices. In fact, if you do it right, meat that is salted before cooking can be much juicier and more succulent than meat that isn't salted!

So who's right? Is it the people who say don't salt, or the old-fashioned cooks who say you SHOULD salt? They BOTH are. The issue isn't the salt. The issue is WHEN you should apply salt to raw foods, especially meat, poultry, and fish.

The basic rule is, if you're going to use salt, do it early. Never apply salt to meat right before you put it in the pan or on the grill. Salting at the last minute will definitely pull juices out of the meat. It will toughen and dry out the surface of the meat, without adding any extra flavor to the inside.

But if you salt your meat early - even a few days before cooking - you will be pleasantly surprised at the results! Many old-fashioned cooks, especially chefs who were trained in classical French or German methods, salt their meat well in advance of cooking. They sprinkle salt evenly and lightly over the meat as soon as it comes into their kitchen. Then they wrap it carefully, and refrigerate until it's cooking time.

This early salting will actually improve the texture, juiciness, and flavor of the meat. It has an almost miraculous tenderizing power, without MSG and without turning the meat to flabby mush. Salting is especially beneficial for cuts of meat that are firm or tough, like wild game, the chewier types of steak (such as skirt and flank steak), firm roasts, brisket, and pot roast. But you can also lightly salt tender steaks, poultry, and fish ahead of time. An added benefit is the salt will help keep the meat fresh and lively tasting, even after several days of refrigeration.

Why does this early salting work so well? Salt reacts with the proteins inside the muscle fibers in meat. Given time, it dissolves them slightly, making the meat more tender. But what's more important, salt encourages the movement of moisture inside the meat cells.

When salt first hits the meat, it pulls moisture OUT. That's why the meat will be dry if you salt right before cooking. But if you give salt time to penetrate the meat, the cells start to REABSORB the moisture. And because the proteins are now nice and soft, the cells absorb the salt flavor - plus any herbs or spices you may have added to the salt - deep inside the meat. So now you have happy meat that's evenly seasoned and tenderized all the way through!

If you're skeptical about salting your meat ahead of time, don't take my word for it. Respected food authorities like Judy Rodgers, the award-winning chef who runs San Francisco's Zuni Cafe, has a whole section about the early salting of meat and other foods in her "Zuni Cafe Cookbook." She goes into all the chemistry in great detail.

But trust me, you don't need to understand cell osmosis to get the tenderizing benefits of salt. Simply try this early salting method just once, and you will be amazed at how much better your meat tastes.

And you won't see your guests covering their meat with salt at the table, since the meat will be gently flavored with salt all the way through. In fact, if you're watching your salt intake, by salting lightly but early, you can often get superior flavor and even eliminate the need to add salt at the table.

How much salt to use? That's a matter of taste. Start with a very modest amount. Sprinkle on the minimum you would use if the meat were already cooked. I use about 1/4 teaspoon of salt per pound of meat, but thin cuts need less, and thick cuts like roasts might need quite a bit more. Go easy at first, and eventually you'll get the hang of it.

Two more tips about salting early. First, the salt will tenderize and moisturize the meat faster at room temperature than in the fridge (don't bother salting meat if you're going to freeze it, it's pointless). So the colder your fridge, the earlier you need to do the salting. Second, poultry doesn't need to be salted as long as beef, and fish may only need a few hours.

You can also add seasonings to the salt. One of my favorite seasoned salts for steaks is very simple: one tablespoon of plain sea salt, 1/2 tablespoon of sugar, and 1/2 teaspoon of sweet Hungarian paprika. Mix these three ingredients well, then sprinkle lightly on steaks, wrap them individually in good quality plastic wrap, and refrigerate until you're ready to cook. The sugar will help the meat sear nicely without excess heat, and the paprika adds a subtle, warm taste and a wonderful aroma.

Want to find out about low sodium diets and foods high in sodium? Get tips from the Daily Sodium Intake website.

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Five Most Common Putting Mistakes

No one's shocked anymore when Tiger Woods drills a 20-foot putt to win a championship. He's one of the best clutch putters in the game. But did you know that when he practices putting Tiger spends more time working on short putts than long putts. That's right. One media sources estimates he spends about 65 percent of the time he spends practicing putting working on short putts.

Most putts are from 5 to 15 feet. These short putts probably make up about 25-30 percent of your total score. You don't need a golf lesson to figure out that if you sink more of these short putts, you'd lower your golf handicap by at least a couple of strokes. Unfortunately, weekend golfers tend to commit too many mistakes when facing short putts. Here are some common mistakes golfers make when putting and some drills on how to eliminate them.

Confidence is the Key

Many golfers flinch when they putt. Or, they rush the putt so much their stroke becomes choppy and uneven. You can become a great putter if your putting stroke is smooth and free flowing. Creating good rhythm in your putting stroke is the best way of eliminating flinching and rushing. No matter what style of putting you use, if you flinch or rush you'll probably miss lot of putts. Unfortunately, most golfers concentrate more on sinking putts than working on developing a smooth stroke.

Next time you're on the practice green, make some smooth pendulum strokes with your eyes closed. As you make your stroke, count out a simple cadence "one-two." "one-two." Once you feel a good flow, have a friend place a ball at his discretion in the path of your putter head. No knowing when the ball is coming helps eliminate the flinching or rushing that can cause you to miss those short putts.

No Putting Ritual

Another common mistake in putting is a lack of putting ritual. If watch Tiger Woods, Fred Funk, or Sergio Garcia putt, you'll notice that they all have a putting ritual. Their rituals are all different. One player walks all around the putt before stepping up to hit it. Another takes his practice strokes behind the ball. But the one thing that's not different is that they use the same ritual every time they make a putt, regardless of the length or difficulty. Develop your own putting ritual. Base it on sound putting techniques and what makes you feel comfortable. And use it every time you have a putt. You'll find that a ritual not only relaxes you and helps build confidence in your putting.

Worry about Outcomes

Weekend players worry too much about the outcome of a short putt. What if I miss the putt? This places a lot of pressure on the golfer. Since the pressure of outcomes is tied directly to the hole, try eliminating it when you practice to relieve the pressure. Next time you're on the practice green, work on drills that improve your putting accuracy without using the hole. For example, place a scorecard over the hole and try to roll the ball over the card, so that the ball ends about two feet past the hole. These drills will improve your accuracy without the added pressure of sinking the putt.

Choking the Putter

A common mistake I see in my golf instruction sessions on putting is players gripping their putters too tightly. Some players grip their putters so tight, their hands almost turn white. A soft and constant grip pressure is vital to maintaining a smooth, free-flowing stroke and creating better "feel" when putting. For players who think they may be choking the putter, try holding an uncooked egg between your right index finger (or left index finger, if your left-handed) and the shaft of your putter. Now drop a few balls and stroke some putts. If your grip is too tight, you'll soon know.

Too Handsy

Another common mistake I see in golf instruction sessions on putting is players using too much of their hands in their putting stroke. Being too handsy eliminates the true feel of a smooth, free-swinging pendulum and cause jerky inconsistent putts. One remedy is to use a belly putter. Simply anchor the putter to a comfortable point on your midsection and swing away. Add a "one-two" count to the stroke to improve rhythm. This approach reduces the amount of movement in the smaller muscles in your hand and keeps the blade on plane.

Eliminating these common mistakes from your putting will not only build rhythm in your putting stroke, they'll also help increase your confidence in your putting. That's big. Ask any professional golfer what the key to great putting is and he or she will probably tell you it's confidence. Great putters are shocked when they miss a short putt. That's how confident they are. To improve your golf handicap, you need to work on things that build confidence and increase accuracy your short putting.

Copyright (c) 2007 Jack Moorehouse

How Golf Club Comparisons Can Help You Find The Best Equipment

Do you want to know how to get the best fitting golf equipment? Golf club comparisons are the answer. You will have to try some different types of equipment to find your perfect match.

It's these golf club comparisons that are essential to getting you fitted with the proper gear. Look below to get some great tips for comparing and testing different golf clubs.

1. Look around at your local golf store, driving range or golf course and find a few sets or clubs that are within your budget and price range. Don't be afraid to compare prices.

2. Make sure you like the exterior look of the golf clubs. Check the color, design, and overall aesthetics of the club. It's very important for your comfort level.

3. At the store or pro shop compare the way some different clubs look and feel in the address position. Set the clubs on the ground and get set up like you are going to hit a shot. Look down the shaft and make sure the club is sitting in a good position that you are comfortable with. You are also looking to see if the shaft is ahead of the ball(also known as offset), if the club sits flat on the ground, is it fat, thin, big, small etc. You must check for all these features with every club.

4. Find an area where you can swing the clubs freely (driving net or outside). You are going to check the weight of the clubs. Swing the different clubs to see if the club is heavy or light. Also try to feel if the weight is in the head or shaft of the club. This will have an affect on your swing speed.

5. Now you are going to hit some shots outside. You want to check the way the ball flies off the club face. Is it high and floating, low and penetrating, hooking left, or slicing right? Find a ball flight you like because every club is different. Also what feeling do you get from each club? Is it nice or does it hurt your hand?

After doing these golf club comparisons and trying all these different tips and helpful ideas you should be able to narrow it down to the club or set of clubs you like the best.

If you still can't make up your mind, try playing with the clubs for a round of golf to help you make that final decision. Good luck and enjoy doing your golf club comparisons!

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