Coping with Comp Week: Basic Tips for Roped Setting on a Schedule

With local SCS comps well underway, I thought it would be good to go over some basics for roped setting. Setting 50 routes in a sprint is a lot to deal with. Starting with the general:

Have a plan. Re-setting most of the gym is a huge task, and one that shouldn't be played by ear. If you don't have one, designate a head routesetter to take responsibility for final decision-making. Take an hour the first day, walk around the gym, and decide what should go where. The team goal is very likely to be separating the competitors, so make sure each range of routes has a mixture of terrain, style, length, setter, etc. For an onsight comp, the plan will need to be much more comprehensive, including setting up isolation, organizing the routes so that competitors can't see other routes in their category, and a mixture of other challenges. Onsight comps are a topic in themselves which deserve a focused post.

Stick to the plan. Don't let setters get off track by making ad hoc decisions about what should be done. Include a work plan for each day - when to strip which walls, what will be set, and even by whom and when. There will always be exceptions, but those decisions should be made by the head routesetter and not on the spot.

Work complex tasks first. For instance, deciding where large volumes should go and getting them on the wall is a task that can require teamwork and time. Waiting until there are routes up can be limiting. If you're creating any custom features, best to do it early in the week when complications won't threaten the comp schedule. Decide where they will go, how to integrate them, needed materials, and estimates of cost and time. Creating an interesting and unique comp atmosphere is crucial, but it shouldn't (and doesn't need to) threaten the setting schedule.

Prioritization is crucial in competition setting. When you have a lot of routes to set, focus on skeleton setting. Get the ideas up, then come back and tweak them. When you've been setting all day for several days in a row, it can be daunting to do the hard work: I've seen many setters make the mistake (myself included) of constantly tweaking the opening boulder problem of a route as a means of delaying roping up. Set the skeleton, discuss what needs to be fixed, and execute with fair attention to each sequence of each route.

Prioritize your effort on sequences. Are you so dead set on forcing your flashy crux sequence that you blitzed through the rest of the route? Each move builds on the last. Routesetters care about that specific cool sequence - gym climbers and competitors care about the experience of the whole route. You need to be the first, and think like the second. Especially with route climbing, "flow" can be more important than style points. Save the boulder problems for learning how to force a tricky new move - then you can put it up your sleeve for the next route.

There is always another move. If you're having a hard time forcing a move, drop the ego and set something else. Sometimes it can be frustrating when an innovative sequence just won't work out for you; instead, set something you know and move on. If the sequence needs tweaking later, it'll be tweaked later. Set a move, change the body position, and you have a fresh chance to be creative.

There is always another route. If you're dead set on a hard sequence, don't sandbag an easy climb because you can't step up and adjust. It makes ordering and forerunning the routes a nightmare. Similarly, if you're feeling tired, you might feel like setting something easier than you have to. Maybe this means hopping off the ladder and setting a different route right now - not always an option for routesetters who operate on a fixed schedule. But it might also mean saving up that inspiration, setting the route in front of you, and having that extra creative gas in the tank for the next route.

Stay organized. When there's a lot of setting to do, something as mundane as making a list of minor tasks / tweaks can feel like a waste of time. In reality, keeping a running task list can drastically alter how well a setting sprint goes. Anyone with downtime or facing setter's block can refer to the list and check off a few quick items. These tasks might be setting-related: adding a new foothold, adding or removing tape, adding a set screw, or forerunning and tweaking a sequence for consistency or equity. They could also be event related tasks - routesetters are often expected to follow through on creating route placards, printing scorecards, setting up seating and safety lines, or helpful secondary tasks like printing out a map of the gym for visiting competitors.

Manage the mundane tasks. Some of the most important things that happen during hectic setting are forgotten by most setters. And yep, that means doing jobs everyone hates. If there isn't someone designated to keep a load of holds in the wash at all times, there probably should be. Organizing holds for better access. Keeping the task list and route plan updated.

Communicate well, especially on small tasks like holds in the wash. This helps with sharing of gear. Keep track of your tools - if you're borrowing someone else's ratchet or drill, or taking a hold from their pile, let them know so they don't spend 15 minutes looking for it. And for the love of red wrenches, write down which routes are being set! Nothing says disorganization like an inexplicable 51st route on the last day. Communication is also crucial when tweaking, which I'd like to talk about more - for now, read the forerunning primer.

Distribute resources. In a smaller gym, aid gear and ladders might be in short supply. Set in rotation to maximize their usage. Setters should never be waiting for gear; there's always something to forerun, tweak, holds to wash, etc. If holds or bolts are at a premium, set up a ration. Set clear limitations and expectations for route length. Strategically save holds, but don't allow hoarding. If absolutely necessary, consider a lottery for choice holds. It can be tough to remember that the primo holds are better spent on a route that'll see a lot of traffic than the hardest route.

Delegate to save time and energy. If you're working from a plan, either delegate routes to specific setters, or let them pick.  Be flexible, but have a plan ready. Don't expect one setter to handle steep terrain several days in a row - mix up terrain to keep ideas and muscles fresh. Newer setters may be expected to set the easiest routes, handle secondary tasks, and assist the setters, so that those with experience can work faster - just like any other workplace.

Work in batches. This should be rote for any serious routesetter by now, but never make a trip twice. If you're heading up to finish setting a route, ask yourself what else you might be able while roped up. Check the task list to see if routes on the same anchor need any edits, set screws, tape, etc. Check with setters of nearby routes. And of course, bring extra feet, bolts, screws and tape. Need to grab a hold from the pile? Check for what else you might need, and save yourself a trip across the gym. Better yet, if you're setting from a pile or set, bring them all over from the get go. Setting from a ladder and need a tap? Grab your harness and aid gear for when you rope up later. Heading to lunch? Grab everyone else a burrito... okay, that last one is dubious.

Small efficiency is big efficiency. Learn from your mistakes. Try to set every route faster and better than the last one. Use fixed lines, jumars, and other aid devices to save muscular effort for forerunning. Tweak by directionality, not by changing holds. Practice, practice, practice. Proper setup seems like a lot of extra work, but it saves more time in the long run. Check this list of basic efficiency tips to brush up on the basics.

That covers a good chunk of it. I'll make a specific post about forerunning for sport comps. For now, what did I miss? Share your secrets to a smooth comp week either here on the Facebook page.

Quality Assurance

What do newspapers, websites, household goods, food, computers, cars, and virtually every other consumable product have in common that routesetting often lacks? QA.

What is QA for routesetting?

• Good forerunning - ego at the door; objectivity; fair, concise and constructive communication. No one should be exempt from having their routes forerun.
• A plan for improvement - if you have too many of a certain move, too much of a certain style, too many sequences being skipped by climbers, etc - how will you prevent that from happening next time?
• All routes are equal - spend time on routes based on the attention they will receive, not the attention you want to give them. Harder routes sometimes necessitate more effort, but easier and moderate routes will receive the most traffic, abuse and criticism.
• The primary goal of QA is to make a better product. Are your routes better this week than last week? This month than last month? Where can your process be improved?

Ergonomics of Setting, Part 1

This is a concept I've been wanting to get to for a while. Most recently a nagging finger injury brought it to the front of my mind, as the gym I train at most frequently has a bad habit. I've covered this problem in this blog before: who cares about the V0 climbers when you climb V10? A jug is a jug is a jug, right? Unfortunately, basic physics interferes with this notion:

Force / Area = Pressure

Therefore, more Force (harder moves) or smaller Area (smaller holds / less ergonomic holds) = more pressure on the fingers. Pretty straightforward math.

Injury prevention is a subject often avoided in routesetting. Usually considered the responsibility of the climber, routesetters who consider injury avoidance are an utterly crucial asset to their gym. Ergonomic setting makes for symmetrical, strong, well-rounded climbers. Unergonomic setting makes for muscular imbalance, shared weaknesses, and injuries. Which set of climbers will be happier? Which gym's competitive teams will perform better?

Healthy, happy climbers rely on routesetters to subtly suggest good climbing habits. This is applicable at any and all grade - from the first-timer complaining about how tight climbing shoes are to the mutant warming up on your hard problems to the 55 year old that throws down on his lunch break.

A jug is not always a jug. What do we know about new climbers?

• They move quickly and inaccurately ("thrutching")
• They weight holds before grabbing them properly
• They are not as good at positioning their body to keep their weight on their feet
• They do not optimize their hand/arm positioning
• They are not experienced enough to recognize when a move or sequence may be dangerous

With these factors in mind, let's go back to our math equation.

Let's say a new climber comes into a climbing gym and climbs two VB-rated problems. The problems involve the exact same movement on the same terrain. On one problem, the setters carefully picked each hold to be rounded. On the other, any hold from the "jug" pile is used as the next hold.

Red areas represent surface area of contact with the hold, Area. Assuming the same movement off of each hold, Force remains constant. Note that with the hold on the left, advanced climbers will automatically lean back, straighten their arms, and put more of their hands' contact area on the hold. Beginners will lock the hold in to their chest, endangering their fingers.

"But RC," you say, staring poignantly at your boxes of flat, sharply incut jugs laying in the corner. "If we only set with the comfortable jugs, what do we do with all these things?"

Our job is never easy, and this is one part of it. There are times that unrounded jugs are acceptable. In a steep enough roof, the pressure = force / area argument is largely nullified. Let's rotate the previous example image 90 degrees, as if the holds were in a roof:

More incut holds are a bit friendlier on steep walls.

As you can see from this picture, the goal is to maintain the hold's sharpest point at a 90 degree or more angle away from the climber's plumb line of hand positioning. In other words, when making the move, you want as much surface area of your hand touching the jug as possible. Any time a hold is contacting across one segment/phalange of the fingers is a danger zone for connective tissue. (I am in no way suggesting here that you should intentionally set with sharp holds in a roof - just illustrating the ergonomic difference between profile and incut.)

A good basic rule of thumb is: for vert or gently overhanging, a jug is a hold with a deep profile and a slight incut. For steeper walls, a jug is a hold with a deep incut. It will still be more comfortable if it also has some depth, so that the contact area is a bit more rounded.

Explaining profile vs incut. While it might be slightly harder to make a move from the hold on the right, beginners' fingers will thank you.

If you simply don't have enough comfortable holds, then you get to work extra hard at finding the ideal position for the hold to not be tweaky. This is a fine art.

Some holds, of course, have sufficient incut and profile depth to be usable anywhere with no issue. Most gyms reserve these size of holds for steeper walls anyway, where beginners need the largest possible grip surface and depth possible. These type of "mega jugs" are irreplaceable for a commercial gym - beginners can use them just to hang on, intermediate climbers can make hard moves off of them as they learn how to negotiate large moves on steep terrain without destroying their fingers, and advanced climbers can use them to practice dynos, recovery / power endurance, and campusing. New holds these days are much more comfortable, ergonomic and (in most cases) intelligently designed than they used to be. If your gym has a budget, ergonomic jugs should be a significant part of it.

Let's quickly cover our knowledge of new climbers again:

• They move quickly and inaccurately, so beginner jugs should be mostly grabbable surface, with no extraneous sharp parts
• They weight holds before grabbing them properly, so holds should be fairly uniform
• They are not as good at positioning their body to keep their weight on their feet, so holds should be directly above footholds, especially if they're sharp/incut - never expect beginners to smear.
• They do not optimize hand/arm positioning, so pulling sideways or outwards on holds should be just as safe as pulling down (probably not as functional or "good" of a hold - but safe!)
• They are not experienced enough to recognize when a move or sequence may be dangerous, so don't put them in a dangerous situation.

To summarize: You can't change the amount of force a climber will put on a hold, but you can change the surface area that force will be distributed around. Good routesetting should be fun, but it should also be safe.

In this post I mostly covered the ergonomics of holds, specifically jugs. In the next two parts of this topic, I'll go into a bit more depth on the ergonomics of directionality and movement. Until then, happy setting!

Difficulty Analysis: The Ingredients of Movement

"That hold is tweaky."
"That foot is too high."
"That move is huge."

Is it so simple? What makes movement hard? It's easy to try a move, "feel" how hard it is, and simply end your analysis there. However, climbing is a technical activity, and the levels of complexity are almost endless. Many of the best routesetters simply intuitively know what's hard about a move, and over time that skill can be developed. But it will help to have some of the basics down to make off-the-cuff setting, tweaking and offering forerunning advice easier. Here's a few of the basics of understanding what makes a move feel hard.

Mechanical Advantage

Mechanical advantage is the term used to describe a move that can be altered in difficulty, significantly or subtly, by a subtle tweak in body position. Here are the major points of mechanical advantage, and the type of moves for which they might apply.

Straight arms - The quintessential example can be found in every coaches' rallying cry to "straighten your arms!" Straight arms use the musculoskeletal structure as a support system, rather relying on the inferior lactic-acid-vulnerable forearm muscles. Any method that allows the climber to achieve straight arms can provide considerable rest opportunities. Three of the easiest contributors to a rest position are: Holds facing straight up and down with feet directly below them; holds facing inward in a dihedral; and holds facing outward on an arete. These rest spots can be quickly tweaked or eliminated by changing the directionality of the restable hold to something less mechanically preferable.

Hold factors - the "incutness" or depth of a hold can allow for significant mechanical advantage, by giving the climber more breathing room in their body position. Larger holds, even slopier ones, provide some mechanical advantage by letting the climber's larger hand and arm muscles do the work without having to redirect their energy and tension through the smaller muscles of the fingers.

Plumb line potential via body position - a mouthful, but the best way of describing what is essentially "ideal body positioning." The best way to understand is simply to look at two angles when considering a move. Angle 1 is the angle of the climber's arm when holding the hold, or more accurately, the angle of a line drawn from the climber's center of gravity to the center of the hold. Angle 2 is the plumb line of the hold. The smaller the difference between these two angles, the more mechanical advantage exists in the route. Often moves with massive discrepancies between these two angles end up feeling "tweaky" or just plain difficult. Plumb line is without question the fastest way to make a route more difficult. A tiny twist in the directionality of a hold takes only a few seconds (compared to at least a minute to change out a hold or foothold) and can change a move from comfortable to desperate instantly.

Ankles - One sometimes overlooked mechanical advantage is the ankle. The larger the foothold, the easier it is for a climber to use the big muscles of their leg, rather than redirect tension through the complicated and smaller muscles of the foot. Huge feet with bad handholds is a great way to test or train finger strength, but simply won't force the climber to engage their core as much as vice versa. In dihedrals, this mechanical advantage can be a nightmare, as feet usually considered completely awful can be enough for the climber to relax their ankle.

Traveling

Travel is my catchall word for the physical movement factors of a move. A frequent complaint among shorter climbers is that moves are too big. Being able to watch a climber try a move and understand specifically which part of the move is giving them difficulty can be a powerful asset for a routesetter. Working efficiently with forerunners for competitions and being able to communicate with and appease a gym community will both require cultivating the ability to understand why a move is "big."

Travel time - the duration of time that the climber must maintain or create body tension or momentum to execute a move. Some moves are better done quickly, and some slowly. Generally speaking, more vertical or slabby routes will be forgiving and allow longer duration movement; simply because of the imposed demand on the body to maintain tension, steeper walls require more alacrity. In some cases, such as unwinding from a deep cross through on a steep wall, the movement must be executed in a manner many climbers refer to as being simultaneously slow and fast. In many cases, a move will have a tipping point, where the move can be executed in a static manner up to that point, and the climber must alter their position to create momentum and complete the move.

Travel distance - simply the physical size of the move - but notably, not as it appears to many climbers. For instance, if the left hand is low on an undercling at waist height, and the right hand on a crimp above head height, moving to the next hold a few feet above the climber can be a body-height-sized move. However, if the crimp allows for a match, the size of the move is cut in half. This principle is why matchable holds are a huge no-no for forcing sequences (unless the match is the intended sequence) - and, due to the size of kid-fingers, why it is more difficult to set problems that are equitable for children and adults.

Body Position - the effects of body position on travel can't be easily summarized, but the most prominent effects are:

• Twisting during travel - some moves will require the climber to twist in or out while making momentum in another direction. This allows the climber to maintain hip-wall proximity, maximize reach, and prepare to create tension in the body position that the next hold necessitates.
• Traveling with the lower body - ankle, knee, and hip extension are all different factors in creating more distance in a reach during travel. Some moves will necessitate or favor different methods of reach - for instance, with big footholds, many climbers neglect to fully extend their ankle, because it is comfortable in the relaxed position. Climbers who are unused to slab climbing often don't have the trust and tension necessary to extend their ankles all the way. And, contrarily, many climbers on a steep wall will lack the body tension to extend through the knees and hips fully while moving upward.
• Traveling with the upper body - reaching by extending the shoulders and elbows is a given, but for some moves, proper posture can affect a climbers reach. Often the trunk can be rotated one way at the hips, and another at the shoulders, to provide a bit more reach. This occurs frequently during heel hook moves on aretes and during the opening movement of a big barn door move. Other times, the two work in tandem.

Momentum

Momentum is a crucial part of any move, no matter how static. Even an extremely secure, slow move requires generating force on a vector. Being a successful climber requires having a robust knowledge of generating, controlling and canceling momentum. Being a good routesetter depends upon being able to force the climber to call on that knowledge.

Generation through the elbows - necessary for some moves, but far fewer than the average climber thinks. There's a good chance if a climber thinks a move feels hard, they're starting with their elbows and following with their legs. Getting climbers out of this habit is an age-old problem for routesetters. For hard undercling moves, elbow generation becomes a necessity, as the legs will often be fully extended just to be in position.

Generation through the shoulders and back - for gym rats with chronic burl-itis, #2 after elbows. On the steepest walls, creating swing before a move, performing come-in moves and many forms of foot cutting movement necessitate shoulder momentum. Often flexing at the elbows first is not possible, as the holds are poor and it will result in a loss of body tension.

Generation through the hips - hip extension is a popular way to start moves, especially moves that trend sideways. Pulling in with the hips to rock over a foot before pushing off of it is also a common use of hip momentum.

Generation through the knees - generally speaking the most powerful momentum generation tool in a climber's toolbox. Many moves start at the knees. Placing feet to the side, angling them obtusely, or otherwise hindering vertical footwork can help to cancel out knee momentum.

Other methods - the "nod" move, notably, is used by some strong climbers with great success. The pogo or "moon kick" would also be a great example of an unorthodox method of momentum generation.

Setting a problem that requires multiple types of momentum is a good challenge for a setter, and can provide a well-rounded power testpiece for climbers.

Accuracy and Precision

How "accurate" a move must be can be a huge factor in discerning why the move is difficult. Major players in the precision requirements of a move can be:

• Speed and momentum - the more momentum a climber has during a move, the harder it is to hit a hold perfectly, without over- or undershooting.
• Body positioning - coming out of or in to very specific body positions can be stressful on the accuracy of a move. Hitting gastons can be notoriously picky on body position, and getting the shoulder and hip positioning right can be mentally complex enough that hitting the fingers right on the hold becomes difficult.
• Hold size, obviously, is a factor in precision. Slapping enormous feature-slopers doesn't usually require a ton of precision, except in cases where overshooting will bring the climber off of their launch hold. Outdoors, slopers can require precision down to the individual grains in the rock. Indoors, requiring that level of precision on slopers is difficult (but possible.) When setting for precision, many setters will automatically retreat to pockets, and the benefits for that tactic speak for themselves.

Other factors

Obviously there are myriad other elements that come into play for movement difficulty - to name a few, I've ignored balance, breath control, endurance factors, and only glossed over the basics like hold size and distribution, countless aspects of foothold placement, etc. But this should be a good start to being able to analyze what makes a move 'hard.'

Summary

Morphology in combination with the factors in this article makes the entire topic exponentially more complicated than can be covered in a blog post. Climb with a morphologically diverse group of climbers and you will quickly recognize patterns to which moves each body type struggles on. Developing that intuition is the only way to learn how to do some of the most basic tasks required of a routesetter:

1. To set movement that is equitable for different body types, and still performed the same (or similarly)
2. To understand, without having to ask or watch someone try it, what makes a move feel difficult
3. To be able to accurately and quickly look at, analyze and constructively criticize a boulder problem (an extension to #2 in that it requires actual communication)
4. To be able to change a move to add or remove difficulty in the most efficient possible manner.

I will probably return to this overwhelmingly complex topic some time in the future. For now, happy setting!

Movement Analysis: The Frog Pinch

The frog pinch is a pretty specific move, so I thought it would make an excellent candidate for my next movement analysis. I set this move on accident a few times, but the first time I forced it was at the level 2 USAC clinic, with E-Grips' Myorcan Tufapinch. I was somewhat on the spot, since I was setting it specifically for Chris Danielson himself. However, I didn't struggle with it and actually found it fun and intriguing to set. Since then I've set the move a few times with increasing success. The first thing you need to know about this move is that unlike the last movement analysis, this move might be a bit unintuitive - it's more technique than power. Lots of climbers do not have the hip flexibility and lower body tension necessary to quickly grasp this move when they encounter it. That being said, it's most logical to set this move on a slightly harder route, where climbers are likely to see the move as a challenge instead of a frustration. Gym rats hate this move. Flexible strong females, techy people and Smith junkies will eat it alive.

Basic Summary

The gist of the frog-leg is a move where the climber has to create body tension by compressing their legs towards each other. This means a few things off the bat. First, the hand holds need to be poor enough that the climber will fall if their feet aren't secure. If the climber can dyno or campus past the move, it's a no go. Second, The number of feet available needs to be limited; actually, it needs to be one - the pinch. Third, that foot option needs to have zero upward foothold potential. If the climber can use the top of the foot even as a poor smear, they will drop their other leg and make the move without using the frog.

Black denotes the start holds and route trend.

Generally the move works best when the climber is traversing over the frog pinch footholds, because it's hard to generate upward momentum when your legs are both pinching. Since that upward motion would make the move a lot more upper-body dependent, it could ruin the equitability of the sequence. I have found the easiest way to set the Frog Pinch is by having the climber do a cross move from a wide open position. We're going to have them start on the big pinch and a small right hand crimp by hand foot matching their left heel on the pinch from the ground. This sets the climber up for the frog by having half of the body position implied by the time they get to the move.

Starting position.

After they pull on, they'll bump their left hand from the big pinch to the first left hand sloper (Hold 2.) At this point they are creating compression with the three holds.

The opening move, to the first sloper.

Moving their left hand to Hold 3 is not an option because of distance, so the climber knows they need to move their right hand. The logical option is to create compression to replace the right hand's tension by using their right leg - for some climbers this will mean automatically adopting the frog position.

Creating compression with the feet - the Frog Pinch.

Then the climber can cross through to hold 3. Optionally, an extra (very poor) hold can be added above hold 1 to help this body position transition.

Crossing over - not too much upward motion, mostly moving laterally.

The route can go lots of directions afterward, provided none of the holds used in later sequences are accessible from the opening moves.

Hold Considerations

Basically, we're talking about four holds. One big start pinch, one small start crimp, and two non-matchable directional slopers / sloper pinches.

The right hand starting hold, doesn't matter much, as long as it's poor enough to prevent moves from being skipped. Placing it facing straight up will make the opening move easiest; placing it horizontal to the right will make it quite hard. Straight down or left will make the move (almost) impossible.

Holds 2 and 3 should be semi directionals so they can be easily tweaked to make the move feel more natural. The fastest way to make the move harder is to make the holds face outwards more, making the climber more reliant on compression and less on being able to actually pull down against gravity. I've found the most natural way to set the move is to have Hold 2 be basically straight down or just a bit left (since the climber will be using it the most.) The optional bump hold should face gently right, so the climber will struggle to bump their left hand from the start hold to hold 3, making the intended sequence more obvious. Hold 3 can be oriented depending on your next sequence, but I try to have it face slightly rightward with a decent thumb catch and keep the route trending left. This also makes it harder to skip moves.

The frog-leg foothold is going to be the centerpiece of the route. I'll emphasize again that this pinch can't be smearable! The three holds I've set this move on are the E-Grips Bubble Wrap Pinch, the Tufapinch and the Atomik Granite Pinch. The granite pinch was the most smearable, but also the most comfortable heel hook for the start. The Tufapinch is quite hard on anything steeper than about 20 degrees. There are several other holds that could theoretically be used for this purpose.

Troubleshooting hold choices:

• Thumb catches can generate a lot more compression than you might think. Consider using holds with no or poor thumb catches.
• If the climber can't pull off the ground, try moving your centerpiece pinch hold down (or in) a bit, or making your right hand starting hold better by rotation or hold change.
• If the climber can smear on top of the centerpiece hold, either it's too low or too good, hold 2 and 3 are too good, or your terrain isn't steep enough.
• If the frog-leg is uncomfortable, watch someone climb it and try to rotate the frog pinch so it points directly at their ideal center of gravity during the move. Just rotate it for fun if nothing else - a five degree shift makes the move completely different. Experiment. Rotating the pinch hold has been the final step of tweaking the move every single time I've set it.

Terrain Considerations

This move works on just about any terrain, but it's easiest to keep the climber from smearing on top of the pinch hold on a wall at least 20 degrees overhanging. Slabs and vertical faces it's just too easy for the climber to forego compression in favor of balance. On a steep enough wall, the hold has to better than the ones I outlined - Lapis volumes are a fun alternative, if you have them; although the move at that point is less like a frog pinch and more like stock gymnastic roof climbing. In fact, I think doing the move on a gently overhanging wall where it feels new and foreign is what makes the move so interesting to set and climb.



Possibly the best place to set this move is on a staggered overhang, if you have one near the ground. In this scenario you can move the entire setup up and down until you find the appropriate average angle to make the move "go." I didn't figure this technique out until I had set the move several times - it's much easier on this type of terrain, so it's a good place to start.

The Answer to Most Setting Questions

This might feel like obvious knowledge, but I still like to think about it. Basics are powerful.

Defined crux, or consistent difficulty?

Cryptic, beta-intensive climbs, or flash fodder?

Aggressive power moves or delicate footwork?

Big moves or small moves?

High feet, low feet, slopey feet, edging feet?

The short answer to this line of questioning is yes. Not all at the same time, not all on the same route, but yes.

If you're worried a route is too much of any one thing, don't - as long as they're not all that way.

Contrarily, if you're starting to feel like your setting is one-dimensional then you already know what to do - expand your scope. We get comfortable setting one style, and tend to neglect the others. My gym has a lot more steep bouldering than not, so it's easy to get stuck in a rut.

I went through a phase recently of setting more technical sequences on vertical terrain. Not exactly my usual style, so it felt good. For me, at least, it takes a different headspace to climb a hard compression problem in a roof than it does to climb a technical lead up dead vertical. Similarly, the techniques and obstacles for setting in varied terrain requires distinct mindsets. These skills need to be developed to be a well-rounded routesetter.

It's something I know I could do more of as a setter - work the weaknesses. Set things you suck at climbing. If you crush at Smith Rock, you might want to set in the steep for a while. If you're more of a Red River Gorge kind of climber, try getting techy. It might take some getting used to, but you (and your climbers) will be happier for it.

Happy setting!