Cleaning up that lack of the definition between the two, and then leaning on the four-seam, having it become my primary fastball over my two-seam, it's just benefited me as a whole.
To make harmonics scream, I first dump my Floyd Rose real quick, hit a harmonic with my left hand while the string is still flapping, and then use the bar to pull it up to the pitch I wanna hit.
Later, I could take something off my slider and I could make my fastball sink, so I really had four pitches.
That's why it's so important to have that gap between your fastball and off-speed pitches: then, when you effectively locate your fastball, it plays at a higher velocity.
When I was in college and reading music and doing ear training, I was a little more advanced than the other people in my choir classes. So to entertain myself and kind of annoy the friends around me, I would sing just under the pitch or just above the pitch.
You have to be smart on your feet. It will be hard on wickets where the ball will keep low. Hopefully, you can get one to fly, and that puts doubts in the batsman's mind.
I don't agree with the theory that removing grass and pace from the pitch nullifies Mitchell Johnson.
If you can constantly just put pressure on all four quadrants, it gives you a little more leverage to be able to fill the zone up with breaking balls and fastball counts - or with breaking balls when guys are maybe sitting on the fastball that you've established.
