Cam-Over, Classic Golf Swing Mechanics

Best Approach to the Classic Golf Swing Mechanics

Golf swing coach

My Grandfather, Homer E.Q. Boatright, and golf swing coach.

My Grandfather Homer E.Q. Boatright, also my golf coach, along with Ben Hogan, had the best approach to the classic golf swing mechanics. My grandfather and Ben Hogan used supination and pronation terms to assist the golfer to understand how to preset their wrists and sync and lock their dominant elbow with the shoulders. But just supinating and pronating doesn’t set up the classic golf swing mechanics needed. The golfer needs to preset the wristbands and sync their elbows properly. The Sync and Preset maneuvers are illustrated in the Preset Figure below.

A more precise term for the golfer to use in presetting the wristbands and syncing and locking the elbows are two mechanical terms, Cam and Cam-over. The terms Cam and Cam-over deal with a more modified version of supination and pronation of the wrists and lower forearms, or what I refer to as the wristbands. This classic golf swing mechanics of cam and cam-over can easily be applied to the golfer’s sequence without difficulty.

Cam and Cam-over Techniques

In regard to the right-handed golfer as noted in the above illustration, The term cam is in reference to the right Supinator muscle and cam-over is in reference to the left Thenar muscle in my book, The ESPY Golf Swing Coach. The golfer is using the right Supinator muscle in the upper right forearms and the left Thenar muscle to help synchronized the right elbow with the shoulders. These are two of the three muscles that form The Critical Swing Path to cam the right Supinator Muscle and cam-over the golfer’s left Thenar Muscle to preset the golfer’s wrists and Sync and Lock right elbow position as shown above.

This allows the golfer to engage two of the most powerful muscle in the forearms and wrists. The Thenar are the most dexterous muscles in the hand. The Thenar is the pad at the base of each thumb. This muscle comes in direct contact with the handle of the golf club. The Thenar is one of two muscles in the hand that is capable of transferring the torque developed from the core of the body, the arms and forearms.

The Supination (cam) of the right Supinator muscle and Pronation (cam-over) of the left Thenar muscle allows the Radial bone to cam about the Ulna bone in the forearm that functions much like a camshaft. The third muscle in The Critical Swing Path is the Brachio-Radialis Muscle that works like a linkage muscle between with left Thenar Muscle and the Supinator Muscle, that acts like a gear at the golfer’s right elbow. What makes the Brachio-Radialis Muscle unique is the three maneuvers it can perform. In addition to Supinating and Pronating, the Brachio-Radialis Muscle can flex (bend) the forearm at the elbow. This is critical to taking the golf club to the top of the golf swing.

The Brachio-Radialis Muscle originate at the Humerus bone and terminates at a lobe, or nodular, called the Radial Styloid Process just above the thumbs. These are the three muscles that I establish my key muscle memory. I use the Supinator, or what I call the SUPER-NATOR muscle to cam my right elbow to sync my right elbow with my shoulders. I use the thenars to stabilize two critical points at the end of the Supinator Muscle and the Brachio-Radialis Muscle. Where the Brachio-Radialis Muscle terminates is at the top part of wristband on a EVERLAST Boxing glove, green dot. Where the Supinator Muscle terminates is at the bottom part of the wristband of the EVERLAST, red dot, on the right boxing glove shown below.


This makes setting up the golf swing sequence shown in the CAM and CAM-OVER Technique simple by first using the Supinator Muscle synced with the right Radius Styloid Process, green dot, where the Brachio-Radialis Muscle terminates. The left Thenar Muscle is synced with termination of the Supinator Muscle, red dot. These two maneuvers Syncs and Locks the right elbow with the shoulders and Presets the wrists. The elbows acting as gears provides the power to coil the core muscles in the upper and lower body in the takeaway swing. This is where the small sprocket (dominant elbow) coils the large sprocket (the shoulders). Then during the downswing, the large sprocket (the shoulders) turns the small sprocket (dominant elbow) to develop speed and to transfer power through impact. This cam and cam-over technique fulfills the requirements needed in a classic golf swing mechanics.

Substantiation of my Golf Coach Approach

How the golfer cams and cams-over properly sets the Supinator, thenars, and Brachio-Radialis muscles helps the golfer develop the classic golf swing mechanics used by many professional golfers, like Marco Dawson, Ken Duke, Angela Stanford, and both Ben Hogan and P.J. Boatwright.

My grandfather stressed three things in his coaching technique for the golfer to establish a powerful and consistent golf swing:

  1. Preset the wristbands and thenars in a deliberate method.
  2. Keep the handle of the club on a single plane.
  3. Use the drop technique to start the downswing.

The first golf swing coach technique used by my grandfather was substantiated by the five professional golfers I mentioned above. P.J. Boatwright played in the 1950 U.S. Open with Ben Hogan. He is my distant cousin. Ken Duke even was interviewed by Lisa Cornwell at the Alotian Golf Club, just west of Little Rock, Arkansas. Ken Duke, instead of using cam and cam-over terms, used the term hinge maneuver.

The second golf swing coach technique used by my grandfather was substantiated by one of the top golf coaches today, David Leadbetter. In the January 2002 Golf Digest issue, on page 59, talks about, “Start on plane and you won’t have to make compensations- you’ll be more consistent. David, on the same page, talks about “Stay inside The Golden Triangle.”

Also in this same article, on page 56, in Golf Digest, David Leadbetter talks about how to Synchronize the parts. This is the first element in the ESPY Golf Swing of SYNC. The Letter (E) stands for Ergonomics, a major component for maintaining the body’s structure, while reducing injuries, especially to the lower back.

The third golf swing coach technique used by my grandfather was substantiated by Tom Watson in the March 2003 issue, on page 48, in Golf Digest. The title of the article was For better rhythm on the downswing, simply let your arms drop.


The Preset Position of the wrists and elbows in the classic golf swing mechanics.

Simply dropping your arms is discussed in my book, The ESPY Golf Swing Coach, in Section 1.15. Dropping the arms also allows the golfer to let their dominant elbow sync with the shoulders on the downswing, providing speed through impact. This was discussed in an article in the November 2001 issue, on page 85, of Golf Digest. This was a Harvey Penick’s technique of getting the right elbow to the golfer’s hip as soon as possible. This was the exact golf swing technique that Mr. Arnold Palmer was trying to get President Eisenhower to do at a Pro-Am.

Cam and Cam-over are very specific techniques that I discuss in my book to help the golfer to sync and preset their golfer swing. This technique develops the natural biomechanics the golfer has by using the elbows and shoulders as sprockets, similar to how the ten-speed bicycle functions. You will experience more power and speed with the X- Factor and, more importantly, control.

For more information about how to Cam and Cam-over to sync and preset your golf swing, purchase your copy of The ESPY Golf Swing Coach from one of the links below:

Golf Books

The ESPY Golf Swing Book.



My book can also be purchased at Edwin Watts Golf Store in Jackson, Mississippi. Phone No. 601-956-8784
820 East County Line Road, Ridgeland, MS 39157

Please take advantage of my SR-925 Diet Program, where I lost 6 inches in my waist in 3- months (FREE of CHARGE) with the CASPER Workout Program, detailed in Section 20 of my book:

SR-925 Diet Program


Please include an exercise routine in your weekly schedule.

Also, learning The ESPY Golf Swing Coach process is an excellent way to develop Rhythm without experiencing the Blues: