The Quiet Brain of the Athlete

The brains of fit, young athletes dial down extraneous noise and attend to important sounds better than those of other young people.

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Top athletes’ brains are not as noisy as yours and mine, according to a fascinating new study of elite competitors and how they process sound. The study finds that the brains of fit, young athletes dial down extraneous noise and attend to important sounds better than those of other young people, suggesting that playing sports may change brains in ways that alter how well people sense and respond to the world around them.

For most of us with normal hearing, of course, listening to and processing sounds are such automatic mental activities that we take them for granted.

But “making sense of sound is actually one of the most complex jobs we ask of our brains,” says Nina Kraus, a professor and director of the Auditory Neuroscience Laboratory at Northwestern University in Evanston, Ill., who oversaw the new study.

Sound processing also can be a reflection of broader brain health, she says, since it involves so many interconnected areas of the brain that must coordinate to decide whether any given sound is familiar, what it means, if the body should respond and how a particular sound fits into the broader orchestration of other noises that constantly bombard us.

And they have found interesting variations in proficiency. The brains of trained musicians, for instance, tend to show greater spikes in processing activity when they hear the “da” than do the brains of other people, indicating that learning and practicing musicianship also hones and refines the portions of the brain that process sound.

Some of the athletes’ acoustic agility most likely developed during years of attending to crucial sounds despite clatter, Dr. Kraus says. “You have to be able to hear the coach yelling something or what a teammate is saying,” she says. “Brains change in response to that kind of repeated experience,” and the sound-processing components within the brain strengthen.

But many of the athletes played sports that, typically, are not noisy, she points out. Cross-country running and golf, for instance, most likely demand less sound filtering during most practices and competitions than a sport like football or basketball. But the university’s runners and golfers had brains just as quiet as those of linemen.

For them, “fitness and regular movement of the body also change the brain,” Dr. Kraus says. And sports that seem quiet can still demand a focus on subtle sounds and signals, like the whoosh of a breeze through branches alerting golfers and runners to wind speed or a creak in a joint that could warn of early injury.

Over all, the results suggest that being active, whether as part of a team or on your own, may alter how well brains respond to and understand sounds.

This kind of study cannot tell us definitively, though, whether being an athlete changed the young people’s brains or whether they succeeded as athletes because they were better at sound processing from the start. Dr. Kraus hopes that her continuing research with the university’s sports teams will help to answer that question, as well as whether older people can reshape their sound processing by becoming active.

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AskThePro: What Constitutes a Good String Job?

So what constitutes a GOOD STRING JOB asked several players this past week?

The tournament pros are absolutely fanatical about their choice of strings and the associated string tension — which they change to suit both surface and playing conditions — and often during a match.  I still carry two rackets in my bag each with a slightly different tension to accommodate the changing playing conditions at Manly Lawn.

Conversely, our average tennis player puts what I euphemistically call “two dollars worth of nylon” in a $200+ high performance frame — and expects to play consistently well and without injury, especially tennis elbow.

Most club players who play two or more times a week are well advised to get a GOOD STRING JOB every 8 to 10 weeks depending on the season.  Aggressive players who blast the ball with big western forehands (Andrew, Bosko, Harry & Co) need to update every 3 to 4 weeks or so.  Yep, strings go loose and dead — and performance suffers!

Trust me when I say, your game will improve at least a POINT A GAME with a good restring! You might even be encouraged to take a few lessons to help better manage the rest of your limitations.

First a little science education since modern strings come in different materials and thicknesses, each designed to suit different playing styles. In the table below, you’ll notice the differences in the main and cross strings and the dependence on whether you want control, power, comfort (did I mention managing tennis elbow?).

Thickness is pretty screwy since 18 gauge string is thinner than 16 gauge, go figure!

You can see from the graph above that the typical $2 nylon (16G) has high durability (to ensure rackets have a good shelf life) and low spin potential ( aka “feel/control”)! How did that new Wilson play Jordan with the $2 nylon??

Even at my tender age, I still use a hybrid combination of 18G multifilament Gamma Live Wire on the mains and Babolat Blast (Nadal’s string) on the crosses. Yep as I’ve aged and reverted to social player status, I’ve gone for more control and less power by reversing the mains and the crosses per the table. The 18G Live Wire is more lively (plays like gut) and gives me much more feel. The Blast allows me to give the ball a nudge and more topspin when I need to (sorry Richard).

And now the string tension.  Most players string the crosses the same as the mains and expect the tension to be even itself out throughout the racket during stringing. Well that’s the logic anyway. The GOAL was always to get an even string tension in the racket to increase the ‘sweet spot’. Yep, for most of my playing life I relied on that logic too. Of course my ball watching was so much better than, and I played with gut, so miss hits were infrequent. And yep it’s SOoooooo Wrong!

Several years ago I ran into a older, chain smoking racket stringer in California who set me straight — and he didn’t hold back!  Turns out that what most people miss is the impact of FRICTION on the Crosses when you’re feeding the string under and over through the Mains. Whatever tension you string the Mains at, you ADD 5lb to the Crosses to counter the friction. Here’s my current stringing pattern to illustrate this key point:

 

So Obi Wan (thanks Howard) how should I translate this to my game? Well most rackets come with a suggested stringing guide for tension. Start with the mid range for the racket for the Mains and then string the Crosses 5lb more.  Then adjust up and down as required until you’re comfortable with the tension. Aside, typically you can use a lower tension that the one you used previously; helps your feel and control.

Just ask Tommie for ‘Rob’s restring’ if you want to try this type of restring at the Manly Tennis Centre. You’ll find an immediate benefit of a bigger sweet spot — and most of your misshits will go over now as your control is significantly improved. Just ask Howard, Ken Grey or some of our other playmates what the effect has been on our games!

As for the choice of string, well that depends on your game. I’ve given you the guidelines in the table above which you can probably figure out yourself. Even so, probably better to go talk to Scottie, Tebbs or Howard when you want some pro advice about what strings may suit your individual playing style.

To repeat what my mate Howard the pro says, you’ve got to manage your limitations — and using better technology (whether frame and/or strings) is a great way to do this. Cunning and guile will only get you so far! Invest in the technology!

Make a regular investment in a GOOD STRING JOB using the latest materials technology; it’s absolutely worth it for your psyche alone!

Sincerely,
Rob
USPTA