Defining Body Tension

I've been absolutely swamped by "real work" for some time now, and, like many of the blog authors out there frequently lament, the fun stuff has been shoved aside temporarily.

However, I did have a minute to respond to a post on the Self-Coached Climber blog a few days ago. The SCC was one of my first training books and helped me to really gain an understanding for how to not just suffer through but actually get better at movement. I started routesetting very early in my climbing career, and that urge to improve quality of movement I think is a huge factor in my setting as well - not just setting to get a route up, but setting something that will force quality of movement as a criteria for success.

Flaws in the scope of the definition

The next post on the SCC was an interesting one attempting to define body tension. Here's a fascinating topic, mainly because I don't think anyone can agree on what the topic is. Body tension is a term that gets thrown around pretty willy-nilly as it relates to climbing. I'm not a movement expert, just a routesetter, and even for an expert body tension is tough to define. If we just replace it with a more discrete term like "isometric contraction" - which Douglas was right to correct me for using in the comments - we still have some fundamental issues:

• We have to account for several different methods of generating tension. Compression, where two holds facing opposite directions are pulled in a direction other than downward; could be two hands, a hand and a foot, or in some cases two feet. Opposition, where the holds are facing each other and are pushed outwards. The obvious example being a stemming corner, with something more extreme like an elevator move in a steep wall being the higher end progression of the same idea. Finally, there's the pure resistance style - everything pulls in the same downward direction, and the climber produces all the tension from their body.
• The above three types of tension are very rarely used in isolation. Purely anecdotally, I would say most routes, even if they are biased toward a certain style, involve a considerable amount of moving in and out of different types of tension. For instance, if I make three foot moves to put my heel up, I'm probably in more of a resistant tension for those foot moves, and then the compression allows me to relax those muscles just enough to make a hand movement.
• This is probably in every bulleted list I've ever made on this blog, even when I try to generalize, but morphology plays a tremendous role in body tension. A tall, apey climber with larger levers is simply going to struggle more in a tight elevator position on a steep wall than a shorter climber.
• Finally, and this is the one that probably hurts the most: as with most movement analysis in climbing, there is no standardized measurement for "tension" of any kind!

Body tension in routesetting

All of this makes it difficult to define something as ambiguous as "body tension." But we can make it a bit easier on ourselves for the purposes of this thought exercise. Let's make a few reductions:

First, let's assume we are trying to define body tension for the purposes of routesetting. How a setter should use body tension to their ends, rather than how a climber should understand it in order to solve a sequence. Our goal isn't to define body tension for getting to the top of the wall, but to define body tension for how it can make it easier for us to get the climber to do what we want.

Second, we're looking for the most broadly applicable version of the term. So for the time being, let's be egregious and take all dynamic movement out of the equation. We're going to define body tension as if every move is made in a static position - as thoroughly unrealistic as that may be. Dynamic tension adds elements, both time-wise and kinesiologically, that are way too complex for me to grasp yet, much less put into words.

OK, so now our goal is "to define body tension, for the purposes of setting, for static movements, mostly." Perhaps not as heroic as the original thesis, but a bit easier to corner.

Here's the meat, and it's gonna sound obvious: Climbers, when possible, want to avoid tension. Resting, finding easier sequences, and using intermediates instead of performing moves with a point of contact off are all examples of this. If climbers seek to avoid body tension, then it is our job as routesetters to ensure that the intended sequence is the one that follows the path with the least body tension. Unanticipated sequences and rests plague competition sequences because the climber has found a point where they can reduce the load on their core muscles (whatever those may be - we're being vague here!)

As routesetters, how can we use this definition to our advantage?

• Knowing that a "rest" doesn't just imply a large hold the climber can dangle from - it implies any position where the climber isn't in an actively tense position. Many times, a non-extreme compressing or opposing position with a foot will allow a reduction of body tension for an arm. Heel hooks and drop-knees are great examples of times when you will see competition climbers shake their hand before moving, because they offer a chance to have less body tension momentarily.
• A skipped sequence (for a climber of the appropriate skill level) often occurs in a similar scenario - when a climber can find an easier form of body tension through a move. A hidden toe hook, greater hip flexibility that allows a more dramatic rockover, and the unplanned use of (or unplanned way of using) intermediates are all examples of this.
• Tricky sequences are great for testing a climber's route reading skills, but for a sufficiently technically adept climber, they often present enough options to let climbers find positions that either benefit their body type or skip sequences. The more holds are available to a climber = the more options a climber has for body position = the more opportunity for reduction of tension through positioning.
• If you need to tire a climber out quickly, maintaining the same kind of tension over a long problem or route is better than rotating through different types. After doing many compression moves in a row, a downward pulling hold with an edge on it can be restful. After doing many downward-pulling resistance moves in a row, having a chance to heel hook and squeeze can be restful. In both of these examples, the same position might not be restful at the end of the other problem!
• Conversely, if you want to test a climber's ability to read the sequence, be liberal with the need for tension. This is why you don't see a lot of incut holds on the world cup circuit - the same sequences can usually be achieved with neutral-edged-holds that have a much smaller margin for body position and thus require more tension to maintain.

This post is just a brief glimpse into a dense topic. I'm sure Douglas will continue to provide insight on his blog. In the mean time, ABS season is coming up and I'll probably have a bit more to talk about before I take off to travel for the winter. Happy setting!

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.

Movement Analysis: Gecko Assis Swinging Heel

The first time I saw this problem was in Between the Trees. Ty Landman makes short work of it, though not quite as short as Adam Ondra's recent flash ascent.

The problem links some interesting and difficult climbing into the 8A+ stand start. The swinging heel is what I find most interesting, because it bridges between two otherwise basic body positions. Also, dynamic foot movements are interesting to learn, execute, and watch, and easily break up otherwise monotonous hand-foot-hand-foot style climbing.

Intended grade: Probably no easier than ~V3 (evidently, up to at least V14)
Ease of setting: Moderate. The sequence can come out quite awkward if placement & directionality aren't right.

The setup:



The foothold(s) are high and left, which prevents upward motion. Directionality of the starting holds is mostly leftward, making upward motion difficult. There are no available footholds underneath the starting holds, so to be set in sequence, this move would need to be traversing.

Opposition between the hands and foot is the primary tension creator, until the target hold (B) is latched. This generates enough compression to cut the feet, match the heel, and bump the right hand again.

The handholds need to be far enough apart that downward motion is difficult to generate between them; if they're in the happy range of motion for shoulders, the climber might be able to smear or campus the next move. The holds should be relatively close in vertical placement, to keep the heel swing from being overly strenuous; but a good (if extreme) variation would be an overhead heel hook.

The tension in the move is such that removal of the starting footholds creates swing, that is then used to help curl the body the opposite direction. So the starting footholds are going to need to be pretty close to the starting hands, allowing a bit of spring in the legs and spine. Also, the target hold for the heel needs to be sloped and directional enough that the climber can't miss the heel and then try again - the swing should be (for a climber of the appropriate grade) essential to stick the move.

Note that I've only added one foothold in the diagram, but a combination could be used if preferred.

Terrain:

Some steepness is good. The main thing is just to have the wall steep enough that the swing doesn't involve the climber smearing or navigating their knees around a minefield of painful plastic blobs. Steepness can also make the sequence much more difficult to skip.

It can help for the terrain to be convex, but too much will quickly make the move awkward, as the climber has to swing around the wall. However, on an ultra-steep prow feature, this move becomes recognizable as simply a normal compression-style heel hook, followed by a cross move.

Hold selection:

Hold A - Placed directionally facing towards the foot. Too much downwards will make the move awkward, difficult, or, if the hold is too good, allow passage directly to hold C. Too much upwards will allow a sequence skip, as well as opening up a huge foot option for a left heel. Facing to the side at just less than a 90 degree angle is about right. Two holds would also suffice (especially if you wanted to add the bumping move that occurs in the real problem before the big move out.)

Hold B - Should be relatively poor. Campusing or smearing to match should be much more difficult than the sequence. The climber should only be able to pull up on it enough to do a crunchie and get their heel up. The majority of exertion in the second move should be happening with the hand on hold A and the heel on hold B.

Hold C - Needs to be directional facing right, to force a right hand preference. Should be difficult to match on.

Troubleshooting: (as usual, for movement of the appropriate grade.)

The climber can skip to hold C from the start.

• Try turning hold A a bit further downwards
• Try moving the starting foot upwards, closer to the handholds, or both. If you have time to learn how to set the move, I strongly suggest just putting on 6-8 feet and trying the move from each option until you find the right positioning.
• Try making hold A slightly worse

The climber can match on hold B. In some cases, this is okay - notably if hold C is unmatchable, and the sequence cannot be continued with the left hand on hold C.

• If they're smearing: the terrain might not be steep enough, hold B needs to be rotated or made worse, or the distance between hold A and B needs to be increased slightly.
• If they're campusing, hold B needs to be rotated or made worse.

The climber doesn't need to cut their foot to get the heel hook.

• The positioning needs to be revisited; either B is too low, or the foothold is too low, or both; it's also possible that they're not far enough apart.
• It's important to note that the swing is created not by the distance between holds A and B, but by the distance between the opening foothold and hold B.

Variations:



For harder sequences, it can be good to force a "one try only" element into the foot swing. Usually this means using a poor hold for B, and rotating it to such an angle that the initial push off of the starting foothold is what allows the climber to kick their heel up, and strength through the shoulder cannot be utilized as well. This will cause the climber to need to "pop" off of the foothold,



Enter the sequence by gastoning hold A, then hand-foot matching the prior hold as the foothold to enter the sequence. The opening move could be from an undercling, from a gaston into an elevator-type move, etc. Here I've shown the elevator option.



Another great variation would be, rather than continuing right, to cross under (or rose) past hold C, to continue right. In this case, hold B must be very well selected and oriented to prevent skipping.

Exit the sequence by using hold A as a downward-facing heel hook. This would require the opening foothold to be directional facing straight sideways. More than likely this means hold C will need to be slopey, to prevent just floating sideways with their heel still on hold B.

Or, as usual, any number of other movement concoctions.. what can you come up with? Happy setting!

Ergonomics, Part 2: Movement and Levers

This is a lot more specific than the first post on ergonomics. Before I get into this post, please note that I am not a medical professional. This is a basic overview of climbing movement as it relates to ergonomics; it's not a complete list, just food for thought.

In the last ergonomics post, we talked about pressure. Well, it's time for another physics lesson. This one's about levers. A lever is simply any object that has a load applied at one side, and rotates along another point, called the fulcrum. For now let's look at the simple version.

A basic, normal lever.

In climbing, levers are somewhat more complex, as the load is at one end of the fulcrum. This is called a third class lever, although most often you'll see the load at the other end of the arm, such as lifting a weight. In climbing, as other bodyweight exercises, the body itself is the load.

A climbing lever, such as an elbow.

The fulcrum is the joint, the load the body. For the purposes of setting, we'll view effort as being the climber pulling down on the holds, resisting gravity.

Elbow levers in action.

Note that this photo is very simplified - there are many more levers in play, including the wrists, joints of each finger and thumb, and knees. The hips and shoulders are more complex mechanical structures, with lateral and rotational flexion, but can be viewed much the same way as a normal lever - rotation is created by applying force to load at a pivot point.

Understanding how levers work in climbing technique is quite simple. Just raising the center of gravity on four perfectly spaced holds means that a lever (or levers, really) somewhere in the body must engage. For example, a beginner climber might use their arm as a lever. An advanced climber is likely to use their legs as levers as much as possible, because they know the size ratio of the involved muscles makes it a much stronger mechanism. This is where "twist-in" technique comes from - it relies on turning/bending the legs, and keeping the load off of the weaker lever (the arm) by keeping it straighter.

What's all this lever business mean for ergonomics? I'm glad you asked. A move becomes dangerous when the limb acting as a lever is hyperextended or hyperflexed. This endangers the joint mechanisms (fulcrums) which have to bear the most load. I'll talk a little bit about specific moves and how they can be tailored to be more ergonomic. In these cases, I'm usually talking about more static climbing or specific body positions. The ergonomics of dynamic movement are complex to a degree that I don't think I could cover it in a single blog post. Needless to say, any mainly dynamic movement is putting all of the involved joints at great risk, because the load is immediate, uneven and inaccurate. However, in a future post I'll go over some basic Dos and Don'ts which apply to both static and dynamic movement.

Vertical lockoffs are a simple example. Lockoffs are well-known for troubling elbows. In a deep lockoff, we see that the shoulder joint can quickly become endangered. Especially given most climbers' predisposition to an overdeveloped back and an underdeveloped chest, this can be a bad position. Also note that locking off on a deep hold like a sloper (or a very deep lockoff on a smaller hold) can put a lot of stress on the fingers and wrist. As the move gets deeper and eventually becomes a press, this wrist strain increases proportionally.

Avoid danger by: being aware of the angle of the shoulder and wrist levers when forerunning the move. Increase difficulty by altering the directionality of the source and target holds, rather than by adding distance. If distance is important, consider moving the feet upwards, or using larger footholds, to decrease the load placed on the endangered joints.

Gastons are a great case study for ergonomics, because used incorrectly they can endanger many of the upper body joints. Load is created at the fingers, and forced against the plumb line of both the elbow and shoulder. Straightening the arm to remove load is rarely an option, so we see even greater stress than usual placed on the elbows and shoulders. The further away from center mass the gaston is, the more load. A gaston far away from the body (overextension) will place extreme force on the fingers, shoulder, and wrist, while one closer (overflexion) will emphasize the elbow fulcrum. Gastons are notorious for a reason.

Avoid danger by: being cautious with dynamic movement on gastons. Use body position and foot placement to emphasize static movement. Gaston holds should allow a range of body positions - holds with extremely specific directionality will force climbers' fingers into strange positions to allow them to move vertically.

Underclings present a good, obvious case of hyperflexion and hyperextension. Like a gaston, an undercling that's too far away will require overextension of the muscles, placing great load on the joints. An undercling that is at chest height will require overflexed wrist, elbow and shoulder joints, and can be especially painful on the wrists.

Avoid danger by: Keeping underclings in the comfort zone between flexion and extension for the average body type. Adding an extra foot or two is a good compromise to allow the climber to find their ideal body position. Be wary of slopey underclings that must be held close in, as the body position range quickly becomes limited and climbers' wrists can get overflexed easily. Juggy underclings are less of a concern, because they allow the wrist to relax. In cases where a hold must be used like an undercling around the chest area, another option for moderate routes is to use a hold that can be meathooked (AKA monkey-wrapped, bugled, etc.) upside down, as it allows the wrist a more natural position.

High-steps ergonomically refer to any foot movement where the climber has to lean away from the wall, get maximum flexion of their hip joint, move a foot up high, and then load that foot. Performed wrong, this move places extreme stress on the hip joint, which can be dangerous to the lower back. In many high step scenarios, the knee may also be flexed past the point of safety, and loading it can be disastrous. High, heavily weighted heel hooks, especially overhead heel hooks, place similar stresses on the knee (not to mention being very muscularly asymmetrical.)

Avoid danger by: setting routes where unsequenced extreme high-steps are discouraged by practical use of feet. When high-steps are in the sequence, keep them closer to the center of gravity, respective of course to the intended grade. The rest is largely up to the climber's posture and ability to fire their leg muscles ergonomically, but you can gently push them in the right direction.

Kneebars can be painful, especially if set wrong. The nomenclature often leads climbers to attempt to jam their knee into a hold, when the action should really be happening in the thigh area. Jamming directly on your kneecap is dangerous for obvious reasons and I shouldn't even have to say not to purposefully set a "knee-cap-bar" type of move. Kneebars on the thigh, while notably more comfortable, can still be loaded to a degree that they become dangerous, especially when combined with extreme twisting to reach further from the locked position. Sharp kneebars on the thigh, while uncomfortable, are fine so long as the point of contact remains over the muscle and not near the patella.

Avoid danger by: using appropriately sized kneebars, leaving space for different size legs, and never overloading a kneebar in a twisted position. To generalize, kneebars should be used for body positioning and resting. Setting a kneebar as a way to extend static reach is possible, but should be meticulously forerun and tweaked.

Other quick notes:

Jams involving the fingers, such as hand jams, finger locks, ring locks, etc. are always going to have some inherent pain. It can sometimes be fun to use these moves indoors, and they can still be set safely. However, use them sparingly and mix up the hand/fingers used to avoid as much danger as possible. These positions are inherently stressful, especially on a gym population who are likely to have little (if any) crack climbing experience.

Heel-toe cams should always be set with a "dead man's handle" effect. In other words, it should be bomber only when the ankle is consciously flexed into position. A heel cam that locks by positioning only can be extremely dangerous, especially when coupled with dynamic, extended movement. The climber should have to focus to keep the cam, so there is no danger of the cam staying locked in during a fall.

Full extension upwards can be stressful on the back, ankles and shoulders. Often when trying to reach as far as possible, climbers hyperextend the tiny supporting muscles of the posterior chain. However, I consider this one fairly minor since routesetters usually know better than to set repetitive, body-size-dependent full extension moves.

This list is in no way comprehensive. The possibilities for movement might as well be infinite, and you shouldn't be held back by these precautions - just keep them in mind when setting. Climbers are taking a risk walking into the gym - your job is to reach a balance between danger and fun, not to minimize the danger to the point that the moves are homogenized. As always, take my advice with a grain of salt and think for yourself. And of course, the harder movement becomes, the higher the danger is. I highly doubt there is a V15 in the world which could be considered joint-friendly - but V15 climbers are the ones whose bodies are prepared for this level of exertion. That is your goal: the relative danger should match the difficulty and specificity of the move, so climbers can keep getting stronger and smarter.

For further reading on related topics:

Check out the book One Move Too Many. It is easily the most important climbing injury text I've ever read. Both for your own climbing and for knowledge on these subjects, I suggest finding a copy.

For more info on body mechanics, check out ExRx: the articles on levers and angle of pull would be good starting points.

I'll post again on this topic to go over some basic tactics for keeping climbers safe and healthy. Happy setting!

Rotation in Dynamic Moves

The entire idea of movement in climbing revolves around moving from one body position to the next. Knowing that it's more of a gradient rather than a binary concept, let's quickly look at the two main types of movement:

In more static climbing, a climber uses the holds they have to move comfortably into a body position where they are ready to change to the next hold. Examples of this might be perching weight on a good foothold before moving the hands, finding balance on one leg before stepping up to the next foothold, and locking off on one arm to move the other hand.

More dynamic climbing revolves around the climber making similar movements, but with momentum. A lockoff made dynamic might involve a lot more motion coming from the leg and hip, rather than the arm and shoulder. Especially on steep walls, and for very large moves, the ability to create and control momentum becomes crucial.

However, in these dynamic movements, the thesis I started with remains true. A dynamic movement is simply using momentum to move from one body position to the next, rather than tension. There are many applications of forced dynamic movement: most notably, larger upward movement becomes possible. Lateral movement can be added in to spice things up. Dynamic movement to poor holds can require immediate resistance ("holding the swing") rather than the constant tension offered by static resistance climbing.

Lately, I was inspired by a post on Facebook to think about how we can use body position planning to add rotation to dynamic movement. If the target holds require the climber to be in an externally rotated position, a twist is added into the dynamic movement. If the movement is also large enough to require a foot-cut, that twist becomes a full body rotation. In many cases, like Sharma's beta used here on Evilution, this is just enough rotation to get the body underneath the target hold. (Perhaps not the best beta, but we're just examining movement here.)

Moving B laterally will make rotation more or less evident.

Moving from A to B isn't a lateral movement, but requires rotation to get underneath B and grab it from a proper angle. Failure to do so would keep the climber from being able to weight the hold. The climber starts facing slightly right, but close to the wall, and ends facing straight rightward. In this case, when I say "the climber," I really mean "the climber's hips," because that's where the rotation is evident. The starting position will have the hips square to the wall, and in the finishing position they're facing nearly horizontal, with the direction of movement. Watch that video again and watch Sharma's hips to see what I mean.

It is also possible to rotate past 90 degrees. The big boy beta on Toxic Avenger (not a great angle, but you get the gist) involves a dynamic move that sends the climber from almost fully laid back facing left to facing right and almost away from the boulder.

Notably, Toxic Avenger climbs out of the opposite terrain (exiting a roof, rather than entering one) - this setup would present much less difficulty.

In this case, moving from A to B requires a much larger rotation, as the climber would start facing left. Again, the rotation is evident in the climber's hips. The starting body position will be nearly square to the wall, but the end position (before swinging the feet back on) will have the hips facing outward, in this case opposite the direction the climber moved.

That's all for now. And yes.. I do love responding to these kinds of questions on Facebook. Thanks for commenting, Aaron!

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!

An Easily Avoidable Trap

"Feet outside suck. People need to learn how to smear better."

"Outside, the holds are not always comfortable."

"Well, Problem X at our local crag has this huge move in it that no girl can do. This move is just like that one."

Yep. Sometimes, outdoor climbing is unfair, sharp, and miserable.

It also rains outside, but I don't see anyone trying to patent a climbing gym weather system.

The bonus of indoor climbing is that the variables are controllable. Using outdoor conditions as an excuse for bad routesetting is an easily avoidable trap.

Movement Analysis: Hulk-esque Foot Cuts

One of my favorite boulder problems ever is The Hulk, in the Happies. My first trip to Bishop, I gleefully ran laps on it. Feel free to google it - as you can tell from the results, it's a very popular problem.

What makes the Hulk so classic is its uniqueness. It's rare that a combination of holds creates such an intriguing sequence for human physiology. And, while there are multiple ways to go about climbing the Hulk, the original sequence offers a fantastic lesson in routesetting technique.

The spacing of the moves, directionality of the holds and consistent difficulty through the crux sequence are all part of what make the Hulk such a fantastic example sequence to try to set. More than once on this blog I've spoken abouts these, and here's a boulder problem which incorporates all of them in perfect synchrony.

To me, the most interesting move in the standard sequence is a huge cross-through with a toe hook. Many people find this move committing (and frustrating.) It can also be described as reachy, so the move might not be the best for a wide audience. However, for an Open route or a harder route in the gym, it's reasonably enough sized to be worth learning how to set.



Here's a route I set which involves this move. It opens with a barn door and moves through a directional pocket to set up for the toe hook. After the cut move, I've also demonstrated here an undercling cross-through, another of my favorite moves, and finish with a big foot move and a press before topping out.

Setup:

As usual, the black arrows indicate the general movement direction. Blobs are holds; 2 is directional.

Hold selection:

Hold 1 must be sufficiently large enough to form a good toe hook. Suggestions: Papa Elephant, Pinchtite, Atomik Stalactite.. really, any stalactite hold.

Hold 2 must be directional and unmatchable. Could be anything; a directional pocket is great. A pinch offers the climber some extra compression while positioning their toe hook. Ideally, it's dual tex, and/or placed directionally / around terrain so that it's difficult to use as a foot.

Hold 3 must be a hold that's good enough (and interesting) to cut your feet on. A variety of holds will work for this, although in the example I've used a hold which requires some squeezing with the chest. Suggestions: Pinchtite, QED

Other suggestions: for 1 and 3: De Blocs, the Bubble Wrap wedges/ledges (for moderate difficulty) or just any large, blobby slopers (for extreme difficulty.)

For first timers setting this move, I suggest stalactite-style holds. They make great toe hooks, they can be grabbed from a variety of angles while the climber attempts to understand the move, they're fun to cut feet on, and they give the route some big feet to play with later in the sequence.

Terrain:

This move is generally easier to set in certain types of terrain: some steepness is needed to prevent the foot cut from being grovelly and uncomfortable. Going around an arete helps somewhat with the compression aspect of the toe hook. However, assuming sufficient steepness, the move could be set on everything from a gently overhanging traverse to a fully horizontal (or, for great difficulty, even climbing downwards) roof.

If the terrain doesn't have an arete / convex aspect to it, the majority of climbers will wind up heel hooking hold 1 to make the move. If the wall's not steep enough, the toe hook & release sequence will be scummy, uncomfortable and probably unnecessary. If it's too steep, and especially if hold 3 is placed lower than hold 1, the move can easily become the popular bat hang sequence.

Spacing:

The route is easiest to set if holds 1 and 3 are about even horizontally. They should be too far apart to span between (or at least not without great difficulty.) Hold 2 should be just below hold 3 and within reach of the majority of climbers.

Troubleshooting:

- The toe hook is difficult to maintain: the terrain is improper; the span is not big enough (toe hooking is more difficult the closer to your center of gravity, depending on the positioning of your other foot), or the hold is simply not large enough to fit a solid toe hook.

- The climber can dyno to hold 3: the terrain isn't constricting enough for movement (try using an arete), the span is too small, or (most likely) hold 3 is too positive. Try a hold which requires extremely specific hand placement to stick. Increasing the necessary accuracy of the move will force the climber to use static beta before cutting their feet.

- The move is too easy: Try moving or rotating hold 2 to an undercling position, increasing the span distance, or making hold 3 poorer.

- The move is too hard: Isolate the difficulty and try to troubleshoot one at a time. Is the span too big? Is the swing too hard? Is the movement awkward due to poor terrain choice? etc.

That's all for now - happy setting.

Forerunning, Part I: Guidelines & Basics

One topic crucial to routesetting that hasn't been very well covered in this blog is forerunning. Forerunning is a hard job. Competitors are prepared, well-rested and psyched, dealing with one problem at a time. Forerunners are often tired, stressed, working on multiple problems or routes near their limit at once. Taking the physical and emotional stresses of comp organization into account, it's easy to see why forerunning can easily devolve into egoism and arguments. Last week I touched briefly on understanding movement difficulty and how it can be used to aid effective communication during forerunning, but I thought we might revisit some of the basics before moving into movement critique.

Super quick - what is forerunning? It's simple - running the route beforehand, to help a setter mold the route to perfection. Forerunners are not always required. Basic gym routes that go up every day at most gyms probably get a few test runs at most; world cup problems might get hours of forerunning, tweaking individual moves over and over. However, even for the simplest 5.7, a forerunner can smooth the edges off a decent route and help shape it into something great.

In my experience, the majority of routesetters could benefit from one main skill: Listen. Whether the person climbing your route is a brand new gumby or an experienced routesetter, listening to their feedback and using it to make adjustments is the biggest tool in your arsenal. If you're the only person running your routes, it's easy to get stuck in a cycle of self-back-patting. If others are running it and you simply refuse to value their input, why bother having them run it at all? Drop the ego and listen to what the climbers have to say.

Quick basics

Communicate clearly. Offer descriptions about which moves feel harder and why, and be specific. Don't cloud the topic - be concise, brief and effective.

Movement is the best language. Sometimes it's better to simply let the setter watch you do the moves, and similarly, sometimes it's better to have the setter try the move to see what the forerunner means. It's a movement oriented sport, and even the most eloquent climber can't explain movement. This has another added side benefit: Movement is universal - on the world stage, your forerunners and setters might not always speak the same spoken language.

Leave your ego at the door. Rampant sandbagging, arguing, or going behind someone's back will only detract from the end result quality of the competition.

Don't offer unsolicited advice. In a hectic comp environment, "poaching" someone's route and then offering criticism can be a great way to piss someone off. Let the setters ask for help, or at least be sure that the route is complete and they want your opinion before you open your mouth.

Know your audience. If the route is for Youth D, climb it for Youth D. Even if you're 6'2". Cut your feet when a Youth D climber would. Don't campus moves that female or youth climbers wouldn't campus. If your gym population struggle with a certain style, take that into account when discussing grade and fairness.

Read, run, review. In that order. Don't run the route without reading it, unless the format specifies it. If you aren't sure, run it again. Don't offer feedback before you try (and preferably complete) the route.

Especially for competitions, routesetting is iterative. A route starts rough, and it is never finished. If you're completely 100% satisfied with a route when it's go time, you a) invested too much time in that route compared to others, b) you are missing something or c) you did an incredibly good job with time and resource management. (Or d) you are missing something. After a while, being completely satisfied with a route just tells me someone is going to skip a move or find a new rest..)

Don't offer problems.

This sounds like (and is) a business cliche, but good communication is good communication. A setter working on problem #4 of 15 for the day doesn't need more work. Instead, try to offer solutions:

"That gaston is way too hard" should be "The fifth move would be more consistent with the rest of the route if you turned that hold clockwise a little more."

"The last move is too reachy" should be "Consider adding another foothold for the last move to make it fairer for shorter competitors."

This method avoids confrontation, speeds up the process and makes your opinion more valuable. "Well, I was able to rest a lot and the move at the fifth clip was super hard" is the critique I would expect from any climber in my gym. I have higher expectations of a forerunner - they're an expert, and I want to hear expertise. If you can't think of a solution to an issue with a move, then it's still better to bring it up constructively. Never avoid an issue with a move, just try to have a solution ready before you spray.

Feedback methods

The main two ways I see frequently used in forerunning are to either go in knowing everything, or knowing nothing. I think personally it's important the forerunner know the category of the climb (men's or women's, youth or open, etc) because it should affect the way they choose to climb the route. However, some setters prefer the forerunner to not know the grade or beta, and let them offer their opinion on grade after climbing the route. Others prefer the forerunner to know the intended grade, and provide feedback on its accuracy. Both methods can be used with success.

Work with the format

A forerunner's job is to experience the route from the competitor's perspective beforehand, and offer that opinion to the setter. The format will have some effect on this - for instance, for a flash format, where competitors are given beta, the forerunner simply needs to be someone strong enough to execute the moves as instructed. Redpoint format forerunning may require more time to allow the forerunner to adjust and learn moves the way they would in a competition. If the route is just for general gym climbing, forerunning is still worthwhile! Equitability and consistency can be just as important to your gym population as they are to competitors.

If you're the forerunner, know the format and how it will affect the way a competitor reads the route. For onsight format, remember that the climbers only have a set amount of time to preview the route, and do not have the benefit of being able to ask the setter about beta. Forerunners have to compromise when working redpoint routes, because they have limited energy to run a lot of routes, some of which are expected to require the best climbers to work for a long time. Obviously a climber who only has to work on the 5 hardest open problems is going to have a lot more energy at their disposal than a forerunner who goes into the hardest problem having already climbed 59 others. Work the moves individually and try to get as clear a picture as possible.

If you're the setter, view the forerunner's performance through the lens of the format. How did they do on their first attempt? The first 5 minutes? Did they struggle several times on a single move? Don't expect your climber to work moves in onsight - it's no fun for the crowd to watch a climber not even get close to a move, and even less fun to see a climber give up with 2 minutes left on the clock. Similarly, remember that the climbers will sometimes be stronger, weaker, or have different strengths than the forerunner. Take everything with a grain of salt.

Respect the forerunner's time and energy

As a setter, it's easy to have someone climb your route, then dismiss their efforts with an excuse. "I doubt the climbers will do it that way", "That's not how I intended it", etc. It can be frustrating to put time into a route, then have someone reveal a flaw in your plan. However, try to remain constructive and work with the forerunner to find a solution. Being unbiased about your own routes is a huge challenge, especially during the stresses of competition setting. Just remember that the forerunner isn't trying to fight you - they're trying to help you create a good experience for the climber.

Respect the setter's vision

As the forerunner, your job is similar to that of a translator. Take the climber's intended movement, and help them communicate that to the climber. This is done by offering a physical example, then following up with constructive advice and specific physiological reasoning.

When running skeletons or the base of routes, take moves with a grain of salt, and simply try to understand the moves the setter plans on forcing. The early stages of a route would often be unrecognizable next to the finished product. Expediting that transition is your job as a forerunner. Later on, as the route is more polished, it becomes more important not to compromise the style of the route or alter the fundamental movement. As a route approaches completion, try to maintain the integrity of the setter's route, while making subtle tweaks in directionality and placement to make things more fair and consistent (if possible.)

Respect the climber

Most importantly, setter and forerunner must work together to create an end product that is fair and fun for the climber. Without teamwork and effective communication, this becomes vastly more difficult. The forerunner's performance and communication catalyze this process, and I'll revisit this topic to go into more detail. For now, happy setting!

One other quick note - if you haven't been watching the live streams of the World Cup at ifsc.tv, you've been missing out on a ton of great routesetting! The WC guys obviously bust their ass and I've seen all kinds of exciting movement being set. Climbing might not be ready for the global stage, but we as routesetters are the ones who create the spectacle that gets the crowd involved. Tune in and learn something. The next broadcast is June 17/18, from Eindhoven.

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!

Aesthetics in Routesetting: a Design Primer

Our job as routesetters is to set the stage for a relationship between a climber and the wall. That relationship is the foundation of the rock climbing experience, whether it's indoors or outdoors, boulder or route. Every sensory element in the equation has potential to affect the climber's experience: the fingertips feeling texture, the ears hearing belayer calls or the cheering crowd, and, maybe most powerful of all, the eyes seeking a path upwards.

The main goal of setting a route could be many things: to create enjoyable movement, to give climbers a puzzle to solve, to challenge a climber physically, to separate a field of competitors. Any of these goals can benefit from an element that many new routesetters overlook: the aesthetic. The field of design in general asserts that there are certain inalienable patterns that are pleasing to the eye. Routesetting is no exception.

It's not just holds on the wall - it's part of the experience. Embracing that and adding aesthetics into your setting is not an easy task, and takes practice. Here's a quick primer on some elements to consider incorporating into your setting. Warning: Nerdy and/or subjective design opinions follow.

Figure-Ground

The figure-ground relationship is fundamental to graphic design, and refers to the use of space as a design element. You know when a wall starts to get cluttered, because the figure-ground relationship dissipates and the wall just looks like a cluster of junk. Nice, open spaces keep the general look of the route balanced and clean. In addition, they make routefinding easier for the climber, and make it easier for a crowd to tell what's going on.

Some of the main elements of good figure-ground relationship in routesetting include:

• Managing hold sizes - using lots of similar-sized holds, or changing up the hold size proportionally through the route.
• Movement size and spacing - with an open, clean wall, a large dynamic move will be obvious from the ground to both the climber and the crowd. Cluttered walls make it harder to build drama for a big move. In a dihedral, a massive blank space where the climber has to palm the wall or perform hand-foot matches to get through the sequence can be intimidating from the ground.
• Clustering holds - the right-left-right-left ladder tends to create a homogenous zig-zag of holds. Break up the movement with sets of holds. Don't let the route wander, but allow spaces in the route to keep it looking organic.

Color

Color is obviously a huge factor in routesetting, and maybe the first design element most setters become aware of. Colors can be used to create similarity or contrast to enhance the route's image. Some experiments with route colors could include:

• Using color to signify route changes. Use several holds from one set, then several holds from a different set to subconsciously let the climber know that a change in style or difficulty is coming up. Or break up the sets with a feature hold.
• Tape color is a bigger factor than most setters allow. Black, dark blue and purple tape underneath fluorescent lights become the same shiny dark hue, especially for looking down at feet.
• Colorblindness is becoming a factor for professional routesetting, and should be noted. Consider not using similar tints of color tape, such as green and orange, next together. Alternatively, using an additional indicator can be useful, such as wider or thinner tape, a sharpie stripe/pattern, or patterned tape (who doesn't love zebra-print tape?)
• Just using the same color hold for an entire route can be boring, and isn't always possible. Consider using a complimentary or contrasting color, rather than mixing up the few extra holds. I often set a route with a main color, and also one monochromatic grouping of holds - green and black, purple and white, blue and gray, etc. It opens up the creativity, and still keeps the route thematic.

Patterns

Patterns in graphic design can be the orientation of objects, clustering of objects, textures, angles, almost anything. In routesetting this goes for the movement as well. Setting a route where the climber has to overcome multiple undercling sequences in a row? Adding some basic design principles into that already strong pattern can make a good climbing experience into a great one. Some common patterns include:

• Hold clustering, as mentioned above, is a good way to create patterns. Make a few big moves, then a complex sequence of small moves on a pair, triplet or even foursome of small holds. Or, cluster together a couple big holds and force the climber to make multiple hand and hand-foot matches in the same small space.
• Hold type. This is one of the most obvious examples, but if you were to use a full set of similar big holds for an entire route, the design benefits are huge. On the flipside, just grabbing every huge hold you can and using all of them in a row regardless of style, color or grip type tends to look like crap - even if it climbs well.
• Hold angle. Many routes outside feature left- or right-leaning weaknesses, where the climber moves up primarily with a series of sidepulls and gastons. This can get monotonous and frustrating indoors, but used sparingly it does create a strong design pattern from the ground.
• Tape angle. This is much-debated, and personally I find that using one tape angle tends to look better only if the route density is very low. Usually I prefer taping for visibility. However, taping for visibility can also wind up looking chintzy and unprofessional. A good rule of thumb tends to be taping at a downward 45 to one direction, and then breaking that system a) only if the original angle can't be seen for a crucial move; and b) only to switch to the opposite downward 45. Many gyms also forego tape completely, but I find that to be a big enough limiter to creativity (unless your hold selection is extraordinarily well-funded) that it isn't worthwhile. Except maybe in the case of CATS-style gyms, where the demographical emphasis is on people training for climbing, not the inexperienced public.

Symmetry

Symmetry can be a more advanced design element in setting, but I have seen it used (consciously or otherwise) with success. It can refer to the physical design symmetry looking at the route from the ground, or the movement on the route.

• Reflective symmetry. This is commonly found on dihedral or arete/compression routes, where the holds are placed even with each other.
• Rotational symmetry. A route that traverses slowly can easily have symmetry along the 45 degree line. This can require quite a bit of forethought, but when pulled off, looks great.
• Movement symmetry. This is a bit harder to do, but setting up moves coming into and out of a large feature can have great symmetry. For instance, make a big move off a sidepull to a flat edge, then power up to a big feature. Match on the feature, move up to a flat edge, then out to a sidepull of the opposite direction. Sort of a movement palindrome.

Scale

This is mostly covered under patterns, but changing the scale of a route quickly or slowly can be an interesting design element. For instance, starting the route on big slopers, then slowly reducing the hold size to slopey pinches, down to tiny slimpers for the very top. But laziness isn't a design element. Many routesetters make two big mistakes with scale:

1. Grabbing all the huge holds, and expecting movement to spontaneously occur.
2. Grabbing all the tiny holds, because they had a few too many PBRs last night and don't want to haul up a heavy bucket.

Neither of these are criminal offenses, but they both can make for dull movement and route design. If you climb in a gym regularly, you can probably name a setter who overuses one of these two techniques. To use scale well, try some of these ideas:

• Know how to be consistent. Don't just use all medium-size holds - yes, it gets just as monotonous for the climber to climb on it as it does for you to haul them all up. Use big holds, then a few small holds, then big holds. Brief consistency is still good.
• Know how to be inconsistent. Intersperse holds that are otherwise similar (such as in texture, rock type, or grip type) but are different sizes. Try a compression route where the left hand is slapping up an arete or large sloper feature, but the right hand is making bumps on smaller slopers. When that sequence ends, do something completely different, then set the mirror of that movement on crimps and a big edge feature.
• Try changing the scale slowly and consistently, starting with tiny bubbles, then knobs, then normal-size slopers and finally Boss-style features.
• One great tool for hold scale is screw-ins. Especially when used mounted on volumes or large features, a screw-in can completely change the character of a sequence. Best of all, it can be hard to read screw-in moves from the ground, especially if the routesetter is especially devious with the placement.

Shape

The shape of things is another obvious element that can be used. Here are some basic ideas:

• Most hold companies have at least one set of blocky, geometric holds. Using them together looks great. Using them mixed in with blobby holds looks so-so. Using them in alternating sets or groups, broken up by features and tertiary sets looks fantastic. These block holds are a great way to learn how to mingle hold types.
• Choose features that compliment (or contrast) your route's structural theme. Setting with pinches? Consider big tufa features. Slopers get big slopers. Crimps get crimp rails or big edges. Pockets get huecos.
• Keep in mind, most rules exist to be broken. Whether you're striving to make the route completely intuitive or utterly puzzling, it should always be entertaining. It's not as much which holds you choose to use - it's the order you use them in. Set an intro boulder problem on pinches, into a few moves on feature slopers. Then a middle section of mid-size sloper movement. Use a big tufa feature to transition back into a final problem on pinches again. The theme changes, but the climber is comfortably transitioned from section to section.

Summary

Design can be a powerful tool for adding to the experience of a route. Learn and experiment with different techniques for intimidating, assisting, or inspiring climbers, both from the ground viewing the route, and while climbing it. "Art people" are all about breaking rules, so don't take anything in this post too seriously.

One rule that probably shouldn't be broken is never sacrifice movement for aesthetics. I'd hazard a guess that most gym climbers aren't going to compliment you on how pretty your latest route is. However, you are likely to get commentary if the movement sucks. So learn and implement as many of these techniques as possible, but don't overdo it. Try one at a time - similar texture, color, type, OR style. Then start mixing and matching. If the "perfect" hold happens to break the theme of your route, don't chuck it aside - try to find a way to incorporate it into your route and make the theme fit the movement.

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.