NEW MAGICIAN ALERT

Aug 4, 2015
75
38
Practice when you want to. Practice should be fun, not work. A lot of the books are available on Amazon but also magic sites like Penguin Magic, L&L Publishing, Hermetic Press.

For color change and vanish type effects, your best bet is to start with Card College Volumes 1 and 2 and then move on to the Art of Astonishment series using Card College 3 through 5 as references for the moves Expensive, but you will be learning correctly.



If you are in the Northeast, send me a PM with your location and I can point you in the right direction. Also, if you are anywhere near Philadelphia or New York, there are a lot of great venues to meet other magicians. Plus, I'm always willing to grab a coffee, lunch or dinner with other Magi in that area. My advice is to check for local SAM or IBM rings.



Obviously, he can use any method he wants. The question is the BEST method. What is the best method depends on the context of the effect. A Marlo Tilt could work in some instances where the magician has control of reinserting the card (especially if you have a double backed card on top) ; a side steal to palm might be great if you want to hand the deck to the spectator to shuffle and then put the card on top; a control to the bottom followed by a gambler's cop might work it you want to reverse the card; a diagonal insertion is simple and clean; getting a break, cutting and riffle shuffling is easy and flies by anyone; Lee Asher's Losing Control is amazingly clean; an injog shuffle done casually could be perfect.

The problem is you are learning a sleight and then trying to find a context to use it. It is like learning to bang a hammer and then using it to pound nails, crack walnuts, kill flys and type on your computer. Use the right tool for the job.



Why learn something that you will rarely use? The pass has acquired this mystical aura of being some sort of holy grail of skill. I can't tell you how many kids I've met that want to show me their pass. Then when I ask them to if they use it in an effect, the answer is "but didn't you see how good my pass was?" I simply smile and tell them that the idea is "not to see" for a move to be good. Anytime someone asks to show me their pass, I know that they have little experience actually performing for live people.

I have probably around 200 magic books in my library with around 75 effects on average in each book. I would guess that out of the 15,000 effects there are less than 100 that use the classic pass.

Other than goofing around with cards, name one effect where you use the pass in performance.



No. Spend your time learning fundamentals. In time you spend working on a classic pass to get it performance ready, you could go through an entire volume of Card College. You are best learning a variety of methods, sleights and plots than spending countless hours learning a sleight you will never use.

Also, focus on learning effects (what other call tricks). Learning sleights does you no good if you don't know how to use them.

Thank you for the offer, but I live in southern Virginia.
 

obrienmagic

Elite Member
Nov 4, 2014
1,469
1,422
Orange County, Ca
www.obrienmagic.com
To be honest I rarely use the pass..... it requires too much misdirection imo.... Howver having said that, I know people who swear by the pass and only use it in their routines. It really depends on you and what you are comfortable with.

I will add this one last thing though... The simplest method to pull of the desired outcome you want should be the one you chose. So if you notice that it is easier to use the pass than say a top change or tilt (in the context of the effect you are trying to achieve) then use it. But try not to use it because you feel obligated to (well I put all this time practicing it so I may as well use it.) lol hope that makes sense.
 

Colin

Elite Member
Jan 25, 2013
152
22
Expert at the Card Table is difficult to understand without knowing a good amount of background. Most people who recommend it haven't worked through it and can't perform most of the material in it. They just recommend it because others recommend it. If you do work through it, you should have a couple of years of experience and go through it using Darwin Ortiz's Annotated Erdnase.

Totally agree that most people that recommend this haven't read it. Annotated Erdnase is great but I would also suggest checking out The Experts at the Card Table by David Ben & E.S. Andrews from Magicana. Has 700+ photographs of hand positions and easier to understand text.
 
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RealityOne

Elite Member
Nov 1, 2009
3,744
4,076
New Jersey
The simplest method to pull of the desired outcome you want should be the one you chose.

I'm not sure about simplest method. Take an example. I need to remove a selected card from the deck after it is reinserted and place it in my pocket. Maybe a simple method is using a Feidler's Flyer gimmick, but I want the spectator to take the card and show it to the audience. The simplest method is an overhand shuffle with a top palm but for my effect that is too much handling. Maybe using the Losing Control and then a top palm. What about doing a move where you palm the selected card which is returned to the middle of the deck as you square the deck? Not easy. It took me two months to get that to work to where the action lworks 100% of the time and looks completely natural without any movements that wouldn't be made when squaring the deck and handing it to the spectator. Simple? Not really. But it is the BEST move for the effect. Could you use a pass... maybe but the cover for the pass is a squaring move and then the palm has an additional squaring move which looks suspicious.

I generally tend to prefer simple (as do most performers) and I think my solution above is the most simple in that it directly does in one move what would typically take two. It is not simple in terms of being easy.

Totally agree that most people that recommend this haven't read it. Annotated Erdnase is great but I would also suggest checking out The Experts at the Card Table by David Ben & E.S. Andrews from Magicana. Has 700+ photographs of hand positions and easier to understand text.

Other than the fact Erdnase wasn't E.S. Andrews... but Wilbur Edgerton Sanders or mabe Jose Antenor de Gago y Zavala.
I've heard good things about David's book but haven't read it.
 
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Nov 27, 2015
3
1
For card magic, Roberto Giobbi's Card College series. Start with the first two books (if you can't afford all of the series) and Card College Light. If you are on a budget, start with Royal Road to Card Magic, Scarne on Card Tricks, Fulves Foolproof Card Tricks and Expert Card Technique. Later, check out the Art of Astonishment books, any of John Bannon's books and any of John Gustaferro's books.

For general sleight of hand, the best starting place is Mark Wilson's Complete Course in Magic. For coin, Bobo's Modern Coin Magic.

If you give me examples of the types of effects you like, I can give more specific recommendations.



Actually, false cuts are good for false cuts, a simple top change works for a top change and there are a lot more controls that work in the context of most effects. Your idea that it is more "fun" shows that you don't understand how to construct an effect using the most suitable sleights for the situation so that the audience isn't aware that anything happens. Most passes that I've seen learned off the internet have too much unnatural movement so the audience thinks "something" has happened. If I ever use a pass, it will be in the context of keeping a stack after a spectator makes a cut or some other similar need for moving the packets - not just a single card.



Again, you are assuming that the tutorials are good because you probably don't know the difference. I've seen the channels you mention and (besides their presentations using awful say-do-see patter) their technique is usually not the best. Most of the others are copying what they learned incorrectly from those guys. The key is not being able to figure out what they did, but not even knowing that they did something. Their focus is on the "move" without the depth of understanding that is necessary to properly performing the move. Physical dexterity is only a small part of the performance.



Expert at the Card Table is difficult to understand without knowing a good amount of background. Most people who recommend it haven't worked through it and can't perform most of the material in it. They just recommend it because others recommend it. If you do work through it, you should have a couple of years of experience and go through it using Darwin Ortiz's Annotated Erdnase.
For card magic, Roberto Giobbi's Card College series. Start with the first two books (if you can't afford all of the series) and Card College Light. If you are on a budget, start with Royal Road to Card Magic, Scarne on Card Tricks, Fulves Foolproof Card Tricks and Expert Card Technique. Later, check out the Art of Astonishment books, any of John Bannon's books and any of John Gustaferro's books.

For general sleight of hand, the best starting place is Mark Wilson's Complete Course in Magic. For coin, Bobo's Modern Coin Magic.

If you give me examples of the types of effects you like, I can give more specific recommendations.



Actually, false cuts are good for false cuts, a simple top change works for a top change and there are a lot more controls that work in the context of most effects. Your idea that it is more "fun" shows that you don't understand how to construct an effect using the most suitable sleights for the situation so that the audience isn't aware that anything happens. Most passes that I've seen learned off the internet have too much unnatural movement so the audience thinks "something" has happened. If I ever use a pass, it will be in the context of keeping a stack after a spectator makes a cut or some other similar need for moving the packets - not just a single card.



Again, you are assuming that the tutorials are good because you probably don't know the difference. I've seen the channels you mention and (besides their presentations using awful say-do-see patter) their technique is usually not the best. Most of the others are copying what they learned incorrectly from those guys. The key is not being able to figure out what they did, but not even knowing that they did something. Their focus is on the "move" without the depth of understanding that is necessary to properly performing the move. Physical dexterity is only a small part of the performance.



Expert at the Card Table is difficult to understand without knowing a good amount of background. Most people who recommend it haven't worked through it and can't perform most of the material in it. They just recommend it because others recommend it. If you do work through it, you should have a couple of years of experience and go through it using Darwin Ortiz's Annotated Erdnase.
For card magic, Roberto Giobbi's Card College series. Start with the first two books (if you can't afford all of the series) and Card College Light. If you are on a budget, start with Royal Road to Card Magic, Scarne on Card Tricks, Fulves Foolproof Card Tricks and Expert Card Technique. Later, check out the Art of Astonishment books, any of John Bannon's books and any of John Gustaferro's books.

For general sleight of hand, the best starting place is Mark Wilson's Complete Course in Magic. For coin, Bobo's Modern Coin Magic.

If you give me examples of the types of effects you like, I can give more specific recommendations.



Actually, false cuts are good for false cuts, a simple top change works for a top change and there are a lot more controls that work in the context of most effects. Your idea that it is more "fun" shows that you don't understand how to construct an effect using the most suitable sleights for the situation so that the audience isn't aware that anything happens. Most passes that I've seen learned off the internet have too much unnatural movement so the audience thinks "something" has happened. If I ever use a pass, it will be in the context of keeping a stack after a spectator makes a cut or some other similar need for moving the packets - not just a single card.



Again, you are assuming that the tutorials are good because you probably don't know the difference. I've seen the channels you mention and (besides their presentations using awful say-do-see patter) their technique is usually not the best. Most of the others are copying what they learned incorrectly from those guys. The key is not being able to figure out what they did, but not even knowing that they did something. Their focus is on the "move" without the depth of understanding that is necessary to properly performing the move. Physical dexterity is only a small part of the performance.



Expert at the Card Table is difficult to understand without knowing a good amount of background. Most people who recommend it haven't worked through it and can't perform most of the material in it. They just recommend it because others recommend it. If you do work through it, you should have a couple of years of experience and go through it using Darwin Ortiz's Annotated Erdnase.
For card magic, Roberto Giobbi's Card College series. Start with the first two books (if you can't afford all of the series) and Card College Light. If you are on a budget, start with Royal Road to Card Magic, Scarne on Card Tricks, Fulves Foolproof Card Tricks and Expert Card Technique. Later, check out the Art of Astonishment books, any of John Bannon's books and any of John Gustaferro's books.

For general sleight of hand, the best starting place is Mark Wilson's Complete Course in Magic. For coin, Bobo's Modern Coin Magic.

If you give me examples of the types of effects you like, I can give more specific recommendations.



Actually, false cuts are good for false cuts, a simple top change works for a top change and there are a lot more controls that work in the context of most effects. Your idea that it is more "fun" shows that you don't understand how to construct an effect using the most suitable sleights for the situation so that the audience isn't aware that anything happens. Most passes that I've seen learned off the internet have too much unnatural movement so the audience thinks "something" has happened. If I ever use a pass, it will be in the context of keeping a stack after a spectator makes a cut or some other similar need for moving the packets - not just a single card.



Again, you are assuming that the tutorials are good because you probably don't know the difference. I've seen the channels you mention and (besides their presentations using awful say-do-see patter) their technique is usually not the best. Most of the others are copying what they learned incorrectly from those guys. The key is not being able to figure out what they did, but not even knowing that they did something. Their focus is on the "move" without the depth of understanding that is necessary to properly performing the move. Physical dexterity is only a small part of the performance.







Expert at the Card Table is difficult to understand without knowing a good amount of background. Most people who recommend it haven't worked through it and can't perform most of the material in it. They just recommend it because others recommend it. If you do work through it, you should have a couple of years of experience and go through it using Darwin Ortiz's Annotated Erdnase.
Expert at the Card Table is a great book , it is difficult to understand but after a lot of re-reading you can figure it out , i did
 
Jun 13, 2013
72
19
SO here is the thing, everyone is going to give you their two cents about what is best. The best thing to do is start somewhere good and 9 times out of 10 its a book. Royal road to card magic, Card College, By Forces Unseen (by no means a beginner book, but I love it).
Also when RealityOne gives some advice, always, always take it to heart.
Once you get comfortable with card magic start looking into books about patter, showmanship, and character so that your magic will be something worth remember more than a wow that was cool.

One final thing. I live in Poway, Ca about 30mins south on the I-15 so don't feel like your alone in Temecula. Hit me up
 
May 3, 2016
102
22
For card magic, Roberto Giobbi's Card College series. Start with the first two books (if you can't afford all of the series) and Card College Light. If you are on a budget, start with Royal Road to Card Magic, Scarne on Card Tricks, Fulves Foolproof Card Tricks and Expert Card Technique. Later, check out the Art of Astonishment books, any of John Bannon's books and any of John Gustaferro's books.

For general sleight of hand, the best starting place is Mark Wilson's Complete Course in Magic. For coin, Bobo's Modern Coin Magic.

If you give me examples of the types of effects you like, I can give more specific recommendations.



Actually, false cuts are good for false cuts, a simple top change works for a top change and there are a lot more controls that work in the context of most effects. Your idea that it is more "fun" shows that you don't understand how to construct an effect using the most suitable sleights for the situation so that the audience isn't aware that anything happens. Most passes that I've seen learned off the internet have too much unnatural movement so the audience thinks "something" has happened. If I ever use a pass, it will be in the context of keeping a stack after a spectator makes a cut or some other similar need for moving the packets - not just a single card.



Again, you are assuming that the tutorials are good because you probably don't know the difference. I've seen the channels you mention and (besides their presentations using awful say-do-see patter) their technique is usually not the best. Most of the others are copying what they learned incorrectly from those guys. The key is not being able to figure out what they did, but not even knowing that they did something. Their focus is on the "move" without the depth of understanding that is necessary to properly performing the move. Physical dexterity is only a small part of the performance.



Expert at the Card Table is difficult to understand without knowing a good amount of background. Most people who recommend it haven't worked through it and can't perform most of the material in it. They just recommend it because others recommend it. If you do work through it, you should have a couple of years of experience and go through it using Darwin Ortiz's Annotated Erdnase.
I said I'm a cardist, not a card illusionist. Books for high budget, youtube for low budget, you get what you pay for.
 
Apr 3, 2016
6
5
Practice when you want to. Practice should be fun, not work. A lot of the books are available on Amazon but also magic sites like Penguin Magic, L&L Publishing, Hermetic Press.

For color change and vanish type effects, your best bet is to start with Card College Volumes 1 and 2 and then move on to the Art of Astonishment series using Card College 3 through 5 as references for the moves Expensive, but you will be learning correctly.



If you are in the Northeast, send me a PM with your location and I can point you in the right direction. Also, if you are anywhere near Philadelphia or New York, there are a lot of great venues to meet other magicians. Plus, I'm always willing to grab a coffee, lunch or dinner with other Magi in that area. My advice is to check for local SAM or IBM rings.



Obviously, he can use any method he wants. The question is the BEST method. What is the best method depends on the context of the effect. A Marlo Tilt could work in some instances where the magician has control of reinserting the card (especially if you have a double backed card on top) ; a side steal to palm might be great if you want to hand the deck to the spectator to shuffle and then put the card on top; a control to the bottom followed by a gambler's cop might work it you want to reverse the card; a diagonal insertion is simple and clean; getting a break, cutting and riffle shuffling is easy and flies by anyone; Lee Asher's Losing Control is amazingly clean; an injog shuffle done casually could be perfect.

The problem is you are learning a sleight and then trying to find a context to use it. It is like learning to bang a hammer and then using it to pound nails, crack walnuts, kill flys and type on your computer. Use the right tool for the job.



Why learn something that you will rarely use? The pass has acquired this mystical aura of being some sort of holy grail of skill. I can't tell you how many kids I've met that want to show me their pass. Then when I ask them to if they use it in an effect, the answer is "but didn't you see how good my pass was?" I simply smile and tell them that the idea is "not to see" for a move to be good. Anytime someone asks to show me their pass, I know that they have little experience actually performing for live people.

I have probably around 200 magic books in my library with around 75 effects on average in each book. I would guess that out of the 15,000 effects there are less than 100 that use the classic pass.

Other than goofing around with cards, name one effect where you use the pass in performance.



No. Spend your time learning fundamentals. In time you spend working on a classic pass to get it performance ready, you could go through an entire volume of Card College. You are best learning a variety of methods, sleights and plots than spending countless hours learning a sleight you will never use.

Also, focus on learning effects (what other call tricks). Learning sleights does you no good if you don't know how to use them.

I COMPLETELY agree. Everybody stresses how important a pass is, how it is the best card control, it helps with dexterity, etc. I feel in this age of YouTube and such everybody thinks the pass is much better than it is. I find it much more work to have to use a pass in an effect rather than something simple (like you said) such as a DPS or a top palm. The pass doesn't necessarily get a card to a desired location any more effectively than a double undercut, hindu shuffle, side steal, etc. Take one of the greatest living magicians on Earth, Juan Tamariz, for example. I have never seen him do a pass in my life. Argue as much as you want, a pass isn't as great as a control as people say. I just find it too much work for something that most will find near impossible to do if somebody won't stop burning your hands. Yes, I have practiced the pass in my life, but in the past year or two I have strayed from it. I just found better ways to do things in my opinion.
 
Dec 31, 2015
236
193
To be honest I rarely use the pass..... it requires too much misdirection imo.... Howver having said that, I know people who swear by the pass and only use it in their routines. It really depends on you and what you are comfortable with.

I will add this one last thing though... The simplest method to pull of the desired outcome you want should be the one you chose. So if you notice that it is easier to use the pass than say a top change or tilt (in the context of the effect you are trying to achieve) then use it. But try not to use it because you feel obligated to (well I put all this time practicing it so I may as well use it.) lol hope that makes sense.

I personally never use any form of the pass in my magic. Since my hands are too small to effectively cover the pass, I never learned it with the intent to use it. The fact that my hands are not large enough to palm a playing card or execute the pass or similar moves without flashing, has caused me to rule out most effects involving those sleights.
 
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