Right around New Years I took a lesson from Chris Phelan, aka, Pro-To-Go in Palm Springs. At one point Chris met me at the net and said, “Look, you hit the ball great. You move Ok. But, you work too hard.”
I admit it. I didn’t get it. In fact, I thought about it a great deal for the rest of our trip and after we got home. Gradually, very gradually, I came to understand. The point Chris was trying to make was, that at my level, what I needed to do is hit the ball deep, with top spin rather than always, or at least usually, putting great value on simply hitting the ball hard.
Today I hit with Old Pete, an off and on student of Caesar.
As we walked onto the court he said. “Listen, I like to hit hard.”
I said, “Rock on, dude. Hit it as hard as you like.”
And, he did.
Chris Phelan in Palm Springs
It took me about five minutes to find myself wondering what, exactly, was the point of relentlessly trying to hit the ball as Old Pete? I still do not have an answer but when I shared my experience with Chris he said: “Sad, but his loss. In the bigger picture, consistency equals a longer tennis life. Since no one enjoys self-destruction, the real fun is in developing a more versatile toolbox—one that includes a soft grip and relaxed wrist to get you out of trouble and make your opponent play one more ball, maybe one more than he’s able to return.”
Sure, I am pointing the finger at Old Pete, and he deserves it. His style of play is neither effective nor enjoyable but if I am being honest, I’ve been guilty of something similar. It says something about me and my development as a tennis player that I didn’t get what Chris Phelan said when he said what he said back in January, in a sincere effort to help me play better tennis for longer.
But now I do, and I’m happy about that and endlessly thankful to Chris Phelan. I can’t wait to get onto the tennis court with him again — maybe this fall. Maybe over the winter, it doesn’t matter.
This time, I’m gonna get what he’s telling me without having to mull it over for a few weeks or a month.
My experience with the Wilson Shift started when I flew home from Detroit with MIB’s personal racket. I guess it wasn’t his personal racket if we are defining personal as the racket he was using at the time. Long story short, Jonas at tennisnerd steered MIB toward the Shift 99. I found it a rather odd suggestion, knowing MIB’s game first hand. At the same time, I was somewhat heartened MIB had reached out to someone for racket help when he already owned a fantastic tennis game, especially in doubles. As good as he is, MIB was still striving for improvement!
By the time El Shifto (300G / 16×20) was in my hands it had been through some changes, courtesy of the MIB. It had a leather grip and a Tourna overgrip as well as significant quantities of lead tape at 3 and 9. It felt a little like the tennis racket equivalent of Manny Sanguillén’s bat from the 70s. If you don’t get the reference, oh well. The point is that MIB’s Shift was heavy.
Me? I like a heavy racket as much as the next guy but Michael’s tuning of it felt more than a little off to me so bit by bit I undid what had been done. First to go was the lead tape. Then I lost the leather grip. That’s when things got wild. You see, MIB uses a 4 3/8 grip while I prefer a 4 1/4. My solution was to go Modified Djoker. I heard Novak Djokovic used two overgrips and no main grip. True? False? Who knows or cares? But I added a twist. I placed vertical strips of blue masking tape on the bare grip (five layers to be precise) and finished the grip with a single Yonex Super Grap Wet.
Before I get to the results let me tell all of you who don’t know and, really, why would any of you know, I find the grip sizing system to be totally stupid. I think tennis grips should be sized by measured dimensions rather than a reference to something that’s actually not a reference but a simplistic effort at correlation, in this case a bizarre attempt at correlation between the length of one’s palm and the added length of their ring finger and the correct grip size.
What?
I’ve probably lost you by now and that’s Ok since this is my tennis fever dream. Back to the five layers of blue masking tape. Quality 3M masking tape actually builds up quite a bit of cushion, especially five layers of the stuff so once I had the Yonex overgrip installed the Shift’s grip felt pretty much like a 4 1/4 with nicely pronounced bevels.
Voila!
MIB’s El Shifto with a couple grams of lead tape in the throat now tips the scale to a svelt 310 grams.
Not quite. But here’s the thing. El Shifto felt and played great. Even though at 310G strung it was my lightest racket it felt exceptionally solid on volleys and quite precise on groundies. My serve had great pop and El Shifto rewarded a smooth stroke, happy to do a good deal of the work for me. Notwithstanding my general disinclination against Wilson tennis rackets I have to say the modified El Shifto has become my favorite racket. It has me thinking about grabbing a Son of El Shifto or hunting down a Wilson Labs version. As if I need another tennis racket. Then, right as my enthusiasm for the Wilson Shift was in its ascendance I read that Wilson had ditched the racket for a yet unnamed successor. I say unnamed even though I’ve read rumors that Shift’s replacement will be called the Python.
You know. Snakes. Tennis. Sure.
This is what I don’t get. Wilson, by all indications, did a lot of work creating the Shift, similar to the effort put behind the development of the Clash. The Clash is now in Version 3 but Shift has been unceremoniously consigned to the ash heap of tennis racket history without the common courtesy of even a Version 2.
Why?
I’m sure Python or Viper or Garter Snake or whatever Shift’s successor is called will incorporate some and perhaps many of Shift’s innovations. Abandoning Shift bothers me as a marketer and I think it makes Wilson look bad, at least in my eyes. If they knew they had a good racket in the Shift, and they obviously did and likely still do, what’s the hurry to dump it? Is the Wilson Burn really flying off the shelves? I don’t think so.
Maybe Wilson thinks the Shift is too close to the Clash, but I don’t think that’s correct. Obviously, the Blade V9 is a darling of the professional game for both women and men. For a while, the Ultra V5 with its flashy blue paint, looked like it was going to catch on for both pros and recreational players but its appeal to both sectors seems to have flattened somewhat.
The Shift deserved more respect from Wilson. At least it has mine. Tt
I really enjoy taking one-off tennis lessons. I like to see how I will respond and I also like to see how a tennis pro facing the challenge of helping a student they are unlikely ever to see again faces the challenge. This time the fun took place during an unusual heatwave that made it all the way to California’s Central Coast where we have had a four-day getaway planned for months.
The pro was a lefty and even older than me, if you can imagine. I was quite upfront that I was looking for someone to rally with but that instructive comment was always welcome. The rally lasted all but five minutes before the question, “Can you slice your forehand?” I said I could but found the shot less than common. Sure, it’s fun but it’s seldom needed or effective. But, I was game so I hit a few to show the shot was no problem for me
Here’s where things got weird. The coach wanted to talk about the split step. It seems that a lot of his students land flat footed when asked to split step. He then asked if I knew about split step and float? I confessed that I did not. The coach went on to say that split step and float means the player lands on one foot, so as to aid their ability to move in that direction.
No.
That’s what I said, for a couple reasons. First, how is the player supposed to know which direction they need to know at the moment they split step? Second, the idea of hopping off both feet and landing on one seems like an unwise practice.
Sorry.
After the lesson I really felt badly. You see, the coach had hit on two genuinely good points. The first was a more level driving motion on high bouncing one-handed backhands. The second was to use the ball point to rotate the off arm toward the striking arm to aid in spacing. Both of those thoughts worked great.
Yup, I would take another lesson from this guy.
Yes, I think he was dead-wrong about the split step.
Yes, I learned something during the lesson and I enjoyed myself.
MIB has been using the Cancha Racket Bag Pro for a year. I know because I shipped the bag to him last February. He’s been using it as his one and only bag ever since.
Now, MIB is not your typical recreational player. No, he’s a three to four day a week doubles warrior. He not only admits to being hard on tennis gear, he occasionally celebrates the fact. Tennis racket blood sacrifices into trash cans and the like—you get the idea. When MIB told me he had shipped the back back to me I was expecting the worst. Instead, the Cancha Racket Bag Pro looked new.
Have a look.
MIB used the hell out of the Cancha Racket Bag Pro but you could not tell by how the bag looks after a full year.
Zippers are perfect.
MOLLE points are perfect.
Fabric is perfect.
Straps and handle the same.
I am quite certain the bag could pass for new. Ok, so my trusty California patch would give it away but otherwise the bag looks like new. So, now it’s my turn with the Cancha Racket Bag Pro. It swallows up my rackets and two pair of shoes and everything else that needs to be inside. I am really looking forward to traveling with the bag on a tennis trip later this month and for my birthday getaway in April. I will report back once I get the Cancha Racket Bag Pro out on court. But if I were you, I would cut to the chase and expect me to be even more impressed with this fantastic bag once I have had the chance to use it myself. Well done, Cancha! Tt
When I started playing tennis, MIB warned me I would find it a challenge to find suitable tennis partners. He was right. My plan, to engage in formal instruction rather than developing what I somewhat disparagingly have referred to as a park game was the right way to go—for me. The downside was that the social or networking aspect of tennis—the ability to get a game or a hit—had to be developed after I’d gotten fairly adept at hitting the ball. Connections are not always easily made. So, I want to write a bit about a few of the tennis partners I’ve shared a court with.
Phil: I found Phil on the Tennis Players Looking for partners database at Calabasas. He was a commercial property manager. He emphasized that he only did commercial, no residential. When I asked him why he said it was because a commercial property manager didn’t have to listen to as many sob stories as a residential property manager. “You know, it’s not personal. You’re not paying. It’s time to move your business or go out of business.” It made sense. Phil was 45 I think, but his pattern of play has become well-known to me over the last year or so. Even though he was in decent shape, he didn’t move much. So, I either had to hit it right at him, preferably at his forehand, or my ball was going straight to the back fence. He did give two interesting bits of advice. First, was about two local guys who organized mixed-doubles meetups, one at CSUN and the other at Sherman Oaks Park. His other bit of advice was a good one. Phil said, “I’ll tell you what I’ve learned about doubles. Only play mixed. Taking out 50% of the testosterone out of tennis makes the game a lot more fun.”
Stan / Johann: These guys were great fun. I started out with Stan, a mid-40s accountant. He’d been playing for years but wasn’t very good. He moved like a fit 40 year old, which I enjoyed. We were hitting once a week and chatted about the idea of playing doubles. As the birth of his daughter drew near, he was nice enough to pass me off to his buddy Johann. He was more fit but his tennis skills were a little shaky but he was such a pleasant guy. Then one day he just kind of vanished. When he surfaced again he said he’d been inundated by work and family life. I get it.
Brisbane Stew: I was practicing my serve at The Rose Bowl, earbuds wedged into my ears, when I thought I heard someone talking to me from the court next to me. That someone was none other than Brisbane Stew. He was looking for a quick hit so we rallied for a while. Turns out he was a pilot for Qantas and found himself in Pasadena for a few days before flying back to Australia. A couple years younger, but a lot more fit, Stew gave me all I could handle. In fact, he was a big motivation in my (somewhat shaky) decision to convert to a two-handed backhand. We tried to meet up once a trip and I had gotten used to an occasional text from him saying when he would be in town. Stew has an excellent serve and likes to play angles you would expect to see in a good doubles match. Then one day Stew told me Qantas was changing planes for the BNE to LAX flight. I hope I’ve not seen the last of Brisbane Stew. He was great fun to play with.
Pasadena Steve: The tennis gods take and then they give. Not long ago I was practicing my serve at Grant Park in Pasadena when Pasadena Steve strolled up, resplendent in his bucket hat, and asked me if I wanted to hit a few balls. Since then, we try to meet up every week or so. Steve’s a retired schoolteacher from LAUSD and is a relatively new Pasadena resident and a refugee from nearby Glendale. There’s a lot of talking during our sessions and that’s fine by me. It’s nice to blather on about politics, writing, baseball and Mexican food with someone who shares many of my same reference points. Steve plays in a long-established doubles group at the Rose Bowl that’s been going through some changes of late with one player going to the great tennis court in the sky and another threatening to move. Tennis is always about adjustment.
MIB: I will always be able to brag that someone traveled 2,000 miles to play tennis with me, on my birthday no less. Sure, that was MIB. And, sure, he was in Los Angeles on business but he still went out of his way to extend his trip by a day so he could get all the way to hell and gone (Calabasas) on my birthday. We played during my lesson with Caesar and it was a great experience for me and one I detailed in Tennis thing the book.
Then, last summer, following our family reunion in the QCs, we made the trip to SE Michigan to see the MIB in his own back yard. Yes, tennis was played. Yes, bourbon was sipped. Yes, LPs were played. Playing tennis with MIB was a hoot. He honored me by playing full out and I really savored the challenge. It reminded me of the movie The Rookie, where high school baseball players in a small Texas town in get better by trying to catch up with the major-league fastball of their coach, Jim Morris.
I think you have to see high-level athletic performance to get an Idea for how close you can get to it yourself. Better than seeing is actually experiencing. I imagine some people would shrink from such experience, worried about proof beyond doubt that they could never deal whatever the athletic prowess they admire. Me? I think the experience itself can exalting, so long as one is serious, like I was when I played with MIB. Playing with MIB, even more so than Stew, gave me the sense of what I could do and what I could not. It clarified the size of the court and what it meant to actually cover it. One thing is certain, if I were lucky enough to play with MIB on a regular basis I would be a far better tennis player.
Federer said that in tennis you could feel your opponent through contact with the ball. As soon as I heard this I nodded. The same is true in baseball. I can still remember the sense of hitting a heavy slider off some guys. My hands remember the feeling and in my brain that fragment of sense-memory connects me with those guys, even after all these years. It’s only been a few months since I played tennis with MIB but I still remember how it looked and felt.
Lord willing, MIB and I will find ourselves on another tennis court someday soon. I’m looking forward to it.Tt
This has been bothering me for a while. How should a club player warm up to serve? My main problem is this: I tend to hit too fast too early. What’s strange to me is that the speed seems to come automatically. In other words, I am not trying to hit my serves fast or hard. Compare this to my baseball career where I found it very easy to warm up gradually. I enjoyed playing short toss before moving up to long toss before refocusing on pitching at full speed from 60 feet 6 inches. For me, properly warming up to serve would take a little more thought. At first I tried to work it out by myself but I continued to find myself at 75% with two or three serves.
That can’t be good.
Lexie, My tennis coach!
So, I decided to reach out to two trusted experts. Coach Lexie is one of my favorite tennis coaches at Instagram. Every time she says, “I’m Lexie, your tennis coach.” I smile. It’s nice to think that I’m actually Lexie’s student and her posts always make it feel that way. When I asked her about warm up to serve she was generous enough to write this for me.
“When I warm up the serve, I start by preparing the body and shoulder before hitting balls. I use light dynamic movements like arm circles, shoulder rolls, torso rotations, and wrist prep to open up my range of motion.
On court, I add shadow swings and light throwing to groove the service motion and rhythm without tension. From there, I move into a progressive serving routine—starting easy to find feel, then gradually adding direction, different targets, and serve types (flat, slice, kick), always focusing on a consistent toss.
A good serve warm-up is about rhythm and feel first—speed comes last.”
All of that make sense to me but it’s not easy. I have tried to formalize the process as much as I can. I start by tossing along the fence (another technique Lexie shared on Instagram). My toss tends to creep lower and lower as I hit my serves faster but a fence-high toss allows me body more time to impact the ball with a nice sense of flow.
Then, I move to the baseline and I toss and catch, another bit of advice from Lexie. This is very helpful because it gives me instant feedback about whether my toss is even in the ballpark. Sometimes it’s not.
Then, I finally make contact with the ball. My goal for the first ball is to hit the ball as slowly as possible for at least five balls. That’s not easy for me, but I am trying. I promise. In fact, my practice goal is not to exceed 30% when I am hitting serve after serve. Hey, I’m gonna be 65 in April. Sixty–fucking–five!
Another Instagram coach who has helped with my warm up is Coach Kirsche. As soon as I started to follow him he came out with a warm up guide for the shoulder. Talk about timing!
Me? I love this dynamic resistance band stuff but I have to admit that I have a hard time implementing it. Why? Did I mention I was going to be 65 in April? Thing is, every time I’ve tried any resistance band work, even light stuff, I have ended up with a shoulder that’s more sore than it would be after thirty serves. Still, I am going to dedicate myself to doing more of this. I just need to find the sweet spot between overdoing it (my style) and not doing it at all (also my style. You figure that out.
I’d like to extend my sincere thanks and gratitude to Lexie and Kirsche. Just the feeling of having two great coaches out there who want me to improve makes me want to improve even more.
As those of you who have read Tennis thing know, I owe my tennis to my brother, MIB. He was the one who told me, before even meeting me in person, “Paulie, you would love tennis.” MIB was right, as he so often is. What I doubt, though, was that MIB would have expected how long I would take my twice-a-week lessons with my coach, Caesar Schwarz. It’s been a bit over two years since I started studying tennis with Caesar. I didn’t start out studying the game, I think it became a study gradually, but it is what tennis remains for me.
What’s the diff, you might be asking? Think back to playing dodge ball when you were a kid. How long was it between your first hearing of the word dodge and the moment when someone was chucking a ball at your head? Most games are learned as they are played. Many people, most people, likely, learn terms by playing it.
But, I have not. I have learned to play tennis while studying it. I like to watch tennis played whether I am watching a WTA or ATP pro or a little kid with marvelous footwork.
And, I love to hit the ball.
What I have not focused on is competition. This is true partly because at my age I am not especially competitive. I’m not even in a competition with myself, to be honest. I want to play tennis correctly out of a motivation to master something at once new and satisfying. That’s an intoxicating combination. But, the question is does the person on the other side of the net count and is anyone keeping score? When Caesar is the guy, he matters. It’s the precision and intentionality of his play that allows me the physical and mental opportunity to learn. He has raised me since I was a 60+ year old tennis newborn and has been instrumental to everything I’ve learned. If any elements of my game are AOK, it’s because of my coach.
But, and this is something I mused about in Tennis thing, does one need to play tennis, keep score, enter tournaments, seek the humiliation of their opponents to really play tennis?
There’s this old broad at Calabasas who seems only to hit with whichever pro is available. I have never seen her playing with anyone other than a coach. There’s no serving and each coach tends to hit the ball directly toward the old broad. But, the old broad bashes the ball back with fierce effort and likes to collect winners. And, this brings me to this quote:
“Some people, they keep on working with a coach, but the coach is just teeing the ball up for them. That’s no way to learn tennis. This is how you learn the game, right here.”
The previous quote is from Brisbane Stew. He’s a Qantas pilot I met at Pasadena’s Rose Bowl tennis courts. Unlike me, he has scads of tennis experience and is quite fit for 60. Unfortunately, he just told me the Qantas Brizzy to Los Angeles route is now flown using the Boeing 787. Unless Stew changes aircrafts I won’t be seeing him soon. Bummer. Playing with him was always amusing and educational. Back to his quote. He’s not wrong. Playing with him or MIB is not as easy as playing with Caesar but there’s more to it than that.
I have mentioned before that an example of Caesar‘s particular genius is the ability to hit shots that are consistently challenging for me, but only rarely beyond my capabilities. The other day, I was watching as he served to an elderly, but very fit student. Caesar had to abbreviate no fewer than three elements of his motion, that I could see, in order to hit a serve that was challenging to his student but not overwhelming. Now, can I imagine that I could get better faster if I consistently played with someone like Stew or MIB? I think the answer is undoubtedly, yes, especially if better is defined by advanced competitive ability. However, there’s a significant caveat. And that caveat involves the questions of form and balance. When the ball is coming too fast or bouncing too high or has been hit too wide or too shallow or too deep the kinds of corrections a beginning player like I have to make must ofetn be done in great haste. Not surprisingly, great haste, seldom results in a shot struck with good form or balance. And, there’s the rub, at least for me.
It’s a great understatement to say that I’ve enjoyed the meditative aspects of tennis. You see, I am on the eve of cutting back on my lessons with Caesar. This change is driven solely by economics. If a small shitpile of cash were to drop onto my head, I would gladly spend it on more frequent and longer lessons with Caesar, but this does not seem likely.
Early on, I remember Caesar saying that when he and his younger brother, Darius, were taking tennis lessons as kids their family could only afford one lesson each month. Caesar’s dad was a smart guy because he made sure that his sons actually practiced what they were taught during their lessons. That’s my plan and I will be similarly dedicated even though I will still be having four lessons a month. Still, I’m not going to be happy about it.
When I go to sleep at night I am thinking about my footwork as I move toward a deep, high-bouncing back hand. I’m not thinking about how I can beat someone or keep them from beating me. It will be interesting to see how things differ and stay the same in 2026. Tt
Shortly after I started playing tennis, back in the late summer of 2024, I began to sift through the internet looking for information on players, coaches and the game itself. I wasn’t usually looking for something or someone specific, but I always have a special interest in coaches and the techniques they use to teach. Tennis, it turns out, is not much different from golf. There are a lot of gurus, a lot of experts standing around, ready to tell players how the best players in the world do what they do. After playing for a while, taking lessons twice a week, I began to apply a lot of what I know about golf teachers to what I was learning about tennis coaches. As a group, tennis coaches are far better at what they do than golf teachers. I describe the differences in Tennis thing so give it a read to learn more.
Walter Redondo
One of the more interesting coaches I stumbled upon was Robert Lansdorp. He came, seemingly, from nowhere but was an influential coach to Pete Sampras, Lindsay Davenport, Tracy Austin and Maria Sharapova and many others. Lansdorp, born in the Dutch East Indies, came to California in the early 1960s. Little is known about what he did during that first decade but sometime in the 1970s he was introduced to San Diego’s Walter Redondo.
In an interview given toward the end of his life in 2024, Lansdorp said the most talented player he ever worked with was Walter Redondo. Thinking for moment about the list of other players who Lansdorp coached, they of the 25 grand slam victories, made me want to learn more about Walter Redondo. It turns out Walter Redondo was easy to find at his San Diego art gallery.
Tennis thing: Walter, I’ve been trying to decide whether we should talk about art first or tennis and I’ve settled on art. What got you interested in art and how old were you?
Walter Redondo: Art really became interesting for me around the age of six. Before that, I hadn’t paid too much attention to it. One day, I was walking down the hallway of the house we lived at the time and my older brother was in his room and as I was passing by I saw he was doing a drawing so I walked in and looked at what he was doing and got a piece of paper. And, basically, I drew what he drew with the materials he had around him, and as I looked at my drawing, I recognized that mine was very close to what he was doing. I thought to myself, well, if I can do what my older brother does it must mean I can make art.
Somehow it just registered for me that, OK, I enjoy art! From that point art just started to take shape in everything I was doing. From the time I started first grade my teachers recognized I could draw and I was creative. My teachers and school nurtured my art by having me create their classroom display boards and eventually others at my school started and realizing what I could do. Before I knew it, I was designing and creating works for the stage for performers at my school. So, really, my school nurtured my art early on.
Tennis thing: Ok, same question about tennis. Who got you into the game and how old were you?
Walter Redondo: Oh again, I was around probably the same age, about six or seven. My grandmother was the one that actually got us involved in tennis. Because there were so many of us in the family, there were nine of us, and my father being in the Navy and was away a lot, and my grandmother needed to work and so on, but she had found a sport that she loved. She would watch films of Helen Wills Moody and the other great players and figured out what she could do to get us involved in the sport. Because she truly loved tennis, she would bring us to the tennis courts and so it was my grandmother who introduced tennis to us and from that point it just kinda took off.
Tennis thing: You know Walter, what put you into my mind was an rather offhanded comment by Robert Lansdorp in an interview he gave some years ago. In it, he said you were the most talented player he ever worked with. And I thought to myself, Lansdorp worked with Sampras, Sharapova and Davenport. How many slams among that trio? 25? But, he mentions you, Walter Redondo. But right now I really want to know more about your art and especially your gallery.
Walter Redondo: You know my art is constantly evolving. Obviously, as we move, just as a tennis player does, we’re trying to sharpen skills and trying to evolve into a stronger voice. When I think about art and tennis there’s such a similarity, but when I think about, you know where I am in my life as as as an artist, and where I’m in my career, figure what was important to me as I had a little bit more control over my art career.
Part of that was being able to show and grow because often times when you get involved with the gallery, you develop a clientele that you actually start to paint for, to some degree. And so you kind of move in that way, which is a great thing also because it’s developing me as an artist and as a painter. So, I thought to myself, as I’m sitting in my home, that all this art is on the walls, and I think, as I was evolving I started recognizing, as well as the gallery owners were starting to recognize, that I was selling a lot of my work.
And often times some owners would say that my work kept their gallery open in a given month. Abd, I was so gratified to hear that. It was confirmation that I needed to give my own gallery a shot. I’ve always dreamt of owning my own gallery. That also says a lot about where I am spiritually. I love believing. I love faith. I love entering into something with the understanding that, you know, the work ethic, the whole thing of being able to believe in something that hasn’t yet transpired but will by believing in faith and hard work.
I like the whole inner person of my being to grow. And I think as a tennis player, or you as a writer, we want to evolve and grow as a person because it’s the person that we basically play with and so our person becomes stronger and more confident in the things we believe. There’s a difference from what I choose to believe and that for me is where I’m with my art. You know understanding that what I’m painting, what I’m receiving from the outside, whether it be someone’s giving me something they look for as far as a commission or whether it be that, you know, I’m picking up things around me in my environment that hopefully will make a difference or change for someone’s perspective our outlook on the way to see life.
Tennis thing: I’m right with you on all of that and I think whenever you create anything, particularly in visual arts but also perhaps in writing, when you start you often don’t know when you’re gonna finish and sometimes you don’t know if you’re going to finish. For me anyway, as a writer in creative and in business writing, you always finish because it’s the job you have to do, but in creative writing you only finish if you want to and if you need to. You have to have faith.
Walter Redondo: Personally I think it’s a such a privilege to be able to move in this way. I think this is for everybody really, you know I was literally thinking and taking notes for myself in regards to my approach to art. And, people will ask me how do you start? And, you know, we basically start with nothing but once we start that first stroke or that first line you’re developing, but then there’s kind of a mess. You know as I’m moving along and I’m just scattering paint. I’m moving paint. I really don’t have anything in mind but I’m doing this with a lot of energy. But, what’s beautiful about it is the discovery that while I’m doing this I’m taking notes of little details here and there so that I can resolve all these mistakes, or what one could think are mistakes, but actually be able to use them. I think that’s the beauty of being able to be creative is understanding how a problem gets solved just like we do on the tennis court. I like that the gathering of thoughts in the energies and even the discipline to focus as long as it takes us to get to a certain place, I think that’s a real privilege for all of us, whether it be in business or being creative with art or playing tennis.
Tennis thing: When you speak about resolving mistakes it reminds me of something one of the tennis coaches where I play said. One day when I was sitting by the courts getting ready to play and he walks by and says, “I’ve just discovered the secret to tennis and I’m gonna share it with you.” I said, “OK, Austin, what’s the secret?” He says, “Adjust. Then, when you’re done adjusting adjust again and just keep on adjusting.”
Walter Redondo: Isn’t that so true? And another thing I’ve discovered, you know, as I have thought about this and spoken with a number of the students I’ve worked with when we watch the top players: They have come into such a confidence with their own game style we would think that they are not making adjustments to their opponents, but their opponents are making adjustments because of them. And here I’m thinking getting to the point where you are just playing your game and you stick to it, everyone has to adjust to and accommodate what you’re doing. That’s a great place!
Tennis thing: Now let me take you back to Robert Lansdorp, so we know he was impressed with you as a player but how did you come to work with with him and what was the experience like for you?
Walter Redondo: I think I was the first player he worked with who became recognized. While we were over at Morley Field Robert had just started teaching and he recognized that our family was not well-to-do so my grandmother who is the one that got me started. We would go around and pick up aluminum cans out of the trash cans. But, it was really out of the kindness of his heart that Robert started working with me. It was really out of God’s grace to have a gentleman of Robert’s ability become part of the process of my life. He taught about discipline and a work ethic. Robert worked me hard but at the same time he recognized how much I loved tennis. In later years, Robert would come down San Diego and I remember him saying, “You know Walter, as a coach you see a lot of players who come to you, but there will only be a very few who have something that’s truly special. It’s not necessarily how they hit the ball but there’s something that’s a little bit different. It could be a work ethic. It could be a longer focus or it could be a kind of hunger. You’re going see a lot of players, but they may not have the substance that it takes to be a great player.”
Tennis thing: I think tennis more than any other game I can think of brings element of artistic expression and here. I’m thinking about the court as a canvas, the arc of the ball the angles, all those angles! As one who has been a high-level player and a professional artist can you say something about how art relates to tennis and tennis relates to art for you?
Walter Redondo: Oh yeah, so the beautiful thing about this whole thing is that in tennis and art we strike with we make one quick strike at the very beginning, right? We hit a ball. I put a mark on the canvas same thing at the very end. So, regardless of what happens we’re ending with two strokes in both tennis and art you know? The similarity of the intuitiveness, the whole play on how the focus and the way I may use space on the canvas to lead, or mark, or line to lead the eye because all I’m trying to do is lead the eye to a certain place on the canvas in the same way I would with, maybe, locating a ball in the corner of the court to open the space on the court. So, all I’m doing is taking what I’m doing on the tennis court and applying it to a canvas. So, whether it would be a color that’s a little bit more yellow, just for example, yellow being a very happy color. Orange being very energetic, red passionate, so I’m combining all these colors with lines and space. The beauty of this, I think what I love about is, and being involved with the process I’m sure you totally understand. Often times I’ve shared with individuals that in tennis when I go to sit down between sets, I’m just not drinking water. It’s like me stepping away from the canvas. What I’m doing as I’m looking at the canvas and I’m organizing my mind how I’m gonna resolve this painting, the same way I would in regards to OK this is what’s happening in the last few games. I’ve got my notes now. I’ve got to try to resolve this match and how I approach it is really going to be Important. So, that’s kind of really my whole take; being confident with my strikes on the canvas, letting go and surrendering to the process and believing in the outcome.
Tennis thing: Walter, I want to thank you for spending this time with me and having this chat about art and the game we love.
Walter Redondo: I’m honored, Paul. It’s been a lot of fun!
Until I began playing tennis in 2023, my sports were baseball and golf. Baseball (and I gather Cricket) may be the two most elementally unchanged ball sports. Sure, we’ve been living in baseball’s live-ball era since the time of Babe Ruth but other than that, little has changed between the baseball and the bat over the last century.
Golf is totally different story with technical advancements in ball and club (especially driver) construction that has fundamentally changed the game forever if not for better. The impact of multilayer balls and max-COR drivers is inarguable and these improvements have been augmented by the practice of data-based club and shaft fitting. Today, the average recreational players can avail themselves of most of the tech a touring pro can. Of course, the tour pro doesn’t pay.
I see tennis somewhere between those extremes. Until recently, my favorite racket was a borrowed 2014 Head Prestige Pro. It’s still my favorite racket but my advancing years have suggested that lighter may be better for my game if not my ego. Still, the fact that a twelve year old frame could still be useful to a player at my level gives me great respect for what a great racket Head could build all those years ago and a little less respect for their 2025 offerings which I am sure they describe as far more advanced than my old Prestige.
What all this means is I can easily imagine a day when a tennis player, pro or amateur, can have their tennis racket (and strings) evaluated by measured data. Golf has already done this and more. Golf tour pros, with their unimaginably consistent swings, can tune their clubs to their ball of choice, chasing their ideal of ball speed, spin and feel. I would be surprised if players on the WTA and ATP can’t do something similar right now. And, if they can, you and I will be able to soon. Whether this will help the game of mere mortals like me is anyone’s guess.
I am so glad anyone seeking beneficial alteration of their tennis racket can reach out to Miha Flisek of Impacting tennis. Even tbough my skills were still in their infancy when I first started playing tennis I knew and could feel that details mattered. In fact, everything mattered. The marriage of string, racket velocity, racket weight, weight distribution, racket flex (on multiple axes) and swing shape are a fascinating combination of variables and destined to confuse most players, leading to a great deal of misunderstanding.
I sought to learn all I could, sometimes surprised by how such complicated issues were spoken of with such a cavalier attitude. I was lucky my early searches pointed me toward Miha and his excellent videos. HIs clarity did a lot to demystify that which could easily be mystifying. I’m grateful Miha was generous enough to contribute his time to answering my questions about him and Impacting Tennis.
Tennis thing: Tell me a little about your own history playing tennis? How old were you when you started?
Miha Flisek: I started playing tennis very early, but at the same time I was also into archery and basketball. It wasn’t until an injury took contact sports off the table that I really began focusing on tennis. From the beginning, I was very sensitive to equipment. In archery, even the smallest change can completely alter your shot, and I brought that same mindset into tennis. I was honestly surprised how little attention most tennis players gave to their rackets.
Later in college, I started combining my background in engineering with my growing understanding of tennis equipment. That’s when things really started to click. I began connecting the dots between player movement, stroke mechanics, and racket behavior. That’s how Impacting Tennis was born, from the idea that tennis gear shouldn’t be treated as an afterthought but as a core part of performance.
Tennis thing: How long did it take for you to begin customizing your own rackets? What were some of your early modifications?
Miha Flisek: I started modifying my rackets almost immediately, experimenting with strings, shifting balance points, and later adding lead tape. At the very beginning, I didn’t even have proper materials. I remember finding some old lead pipes and literally hammering them flat to make my own thin strips of lead, that was my first version of lead tape. It was very DIY, but it gave me a hands-on feel for how mass placement affects the racket.
The real transformation came later when I gained the technical knowledge to calculate what I was doing. Instead of just feeling the difference, I could measure swingweight, balance, MGR/I, twistweight, and understand what each change was actually doing. That’s when customization stopped being trial and error and started becoming engineering and that’s really what laid the groundwork for everything I do now.
Tennis thing: When players come to you for customization, do they usually have a specific goal in mind, or do they rely on your guidance to help them improve?
Miha Flisek: Players usually come in with a clear goal in mind, whether it’s more spin, more control, or more stability, and I help them move toward it. But we never start with the racket. First, we look at where the player is in their career, what’s limiting their game, what they’re trying to improve. We take into account their technique, movement patterns, and overall development.
Only after that do we adapt the equipment. The racket becomes a tool that supports their goals. When you get it right, it’s not just a better racket, it’s a better version of their game.
Tennis thing: One of the most interesting aspects of tennis for me are the significance of audible cues. The Octo damper is designed to reduce unwanted vibrations while keeping the higher-frequency feedback that’s important for feel, timing, and contact cues. What led you to choose the thermoplastic elastomer PEBA (Polyether block amide) and were there other materials you considered?
Octo damper
Miha Flisek: I was already working with PEBA on a different project and found the material really interesting. It was being used in high-performance running shoes for its energy return properties, and it had just started to become available for 3D printing.
The Octo damper actually came out of working with the material. I realized it had the ideal combination of characteristics, soft enough to reduce unwanted low-frequency vibration, but responsive enough to preserve the high-frequency feedback that’s so important for timing and feel. It wasn’t something I set out to create, it just made perfect sense once I started using the material.
Tennis thing: I am really fascinated that you actually 3D printed a tennis racket! Without getting too deep into the technical weeds, how many separate pieces were needed to create TO Stardust and what adhesive did you use? Also, I found your use of rounded string transitions rather than traditional grommets to be exceptionally clever. What was the total print time?
Miha Flisek:TO Stardust was printed as a single solid frame. No adhesives, no bonding. Just one continuous piece. That required a very large and advanced 3D printer along with specialized materials. The handle pallets and buttcap were added afterward, like with a standard racket.
The total print time was about 12 hours. One of the standout features is the integrated rounded string holes, which replace traditional grommets. That not only reduces unnecessary components but also gives the stringbed a more consistent response. The project was a way to test what happens when you throw out legacy design assumptions and build a racket from the ground up using modern tools.
Tennis thing: Many ATP players still use racket designs that are more than a decade old, often under new paint jobs. Do you think racket technology has plateaued or do you see meaningful trends in design or construction that could still benefit players?
Miha Flisek: I don’t see any real leaps in racket technology happening right now. The core materials, like carbon fiber laminates, have been around for a long time, and most of the available geometries and design concepts have already been explored or exhausted. There’s not much on the horizon in terms of radically different materials that would offer meaningful improvements.
What we are seeing today, like the shift toward lighter and more powerful rackets, isn’t so much about technological progress as it is about adjusting to external changes, especially the balls. Balls have become lighter and less consistent, which makes it harder to get penetration through the court, so players are shifting toward rackets that help generate more pace and spin.
TO Stardust on court and ready for play.
The next real shift in racket design will probably come with the maturation of 3D printing technology, particularly once continuous carbon fiber printing becomes viable. That’s when we’ll finally be able to explore forms, layups, and mass distributions that are simply impossible to achieve with traditional molding techniques.
Tennis thing : What’s next for Impacting Tennis? What enhancements can we expect to see in TO Stardust v2?
Miha Flisek:That ties directly into the future of TO Stardust. Right now, with the current 3D printing materials and processes, it’s not quite at the performance level I want, at least not for professional-level play. The design itself showed what’s possible in terms of rethinking racket construction, like grommetless string transitions and integrated frame geometry, but to move to the next stage, we’re waiting for the technology to catch up, especially in terms of continuous fiber reinforcement.
When I saw TO Stardust’s grommetless construction, I knew Impacting Tennis was serious about innovation.
In the meantime, my focus is on consulting and helping players unlock performance through better equipment understanding and customization. I’m also exploring string design using a novel material that hasn’t been used in tennis yet. The long-term goal remains the same: use engineering and first principles to push tennis forward, not just follow trends.
Tennis thing: Thanks for participating, Miha. I will be posting my review of the Octo damper soon. I’ve been evaluating along with a trusted pro at my club. So far, I am really liking it, especially its amazingly light weight.
Yesterday, over a nice, crisp wheat ale (Rasenmäher-Bier [lawnmower beer]) at Enegren, I was waxing lyrical about how much my tennis game would improve if I was able to play with the MIB just once a week.
My ale-sipping companion wondered if my coach, Caesar, wasn’t able to fill that roll. His question revealed the difference between playing for the sheer joy of trying to hang in there, rather like riding a bucking bronco, as opposed to the steady, incremental block-on -block approach of a tennis coach intending to help a player build a complete game.
Outwardly, the best evidence of the kind of play that characterizes a lesson is preparation (anticipating and flowing toward the incoming ball) and executing the proper kind of stroke. It is simple, but simple is often not easy especially in tennis.
Playing with MIB stresses my game to its limits and beyond, but is also just plain fun. A great deal can be learned just by watching him move around the court anticipating and revealing entertaining angles to create.
Caesar would approve of the exercise but I think he’d want to both debrief and decontaminate afterward. I think I will always have the tendency to overhit in tennis, something I never did playing baseball and rarely did on the golf course. I can hear Caesar now, telling me to do all of the same things he has for the last two years. I will sometimes stop just to say that I hear him and that I appreciate what he’s saying and that I am trying my best to put his advice into effective action.
But, the tennis racket and tennis ball contact is simply too enjoyable not to occasionally crank up to 11. Catch that ball in the middle of the racket especially when accompanied by some well-timed movement into the shot and you have an experience that’s hard for me to resist, though I usually do.
Reading Anthony Verghese TheTennis Partner will always stand as a reminder of how rare the best tennis partners will always be. Enjoy it when you find yours.
Tennis thing 