Columbia 300 Sharp Noize

46 Hook   16.5 Length   15 Breakpoint Shape

 

Core Design: The Ti Boss II symmetric core supplies the length and rev action for this medium oil masterpiece. The RG is medium at 2.56 and the Diff is moderate at .040. We saw 4.5” of track flare with the 3” and 4” layouts. Our 5” layout gave us 3” of flare.

Coverstock: The 300-Plus reactive pearl coverstock is designed for easy length in oil with a quick and decisive move off friction. The surface is smoothed with 2000 and then high glossed with Factory polish. Coloring is an attractive combo of blue and gold hues mixed with pearlescence.

Manufacturer’s Intent: Says Columbia’s Web site, “The Sharp Noize was created to give bowlers a sharper, more distinct angle downlane. This ball combines a proven winner both inside and out, featuring our Ti Boss II core design along with Columbia’s 300 Plus Reactive Pearl shell. This ball will provide all bowlers great length on drier lanes while maintaining a sharp turn through the pins.”

Test Results: Columbia 300’s Sharp Noize can deliver a late and sharp move when presented on medium volume patterns with clean backends. Since the move off friction is quick and decisive, the Sharp can definitely be sent away from the pocket and recover when adequate hand rotation is applied. The Sharp Noize will also provide easy length for many styles and retain axis rotation to help conserve hitting power energy. Oil carrydown created some downlane wiggle (as is the case with many medium strength pearls), so use with caution there. Handed players with higher axis rotations will not have these issues on carrydown.

When to Use: The Sharp Noize played best on many light to medium volumes with cleaner friction areas in the last 20 feet. Heavier and longer patterns will require a scuffing with lower Abralon grits to improve friction in the oil. Higher-speed players with higher revs may even find a better midlane look with a light scuffing. Stronger pins of 3” and 4” provided more backend reaction than did our 5” pin layouts, especially when playing inside angles.

-- Joe Cerar Jr.