The classic pass. Why?

Discussion in 'Magic Forum' started by theory11rocks, Aug 31, 2009.

  1. im not a pro or a beginner but less than an intermidiete. and i was thinkin about the classic pass i know the mechanic but should i learn the pass. the are like thousands of different methods of movin cards (cherry control and cascade im workin on both) and with all these methods why learn the pass its hard takes months while other control can do the same thing with out the hassle. what do u think. im not a pro so dont judge this is just my opinion.


    Alex
     
  2. Well I took Jeff McBrides advice and I don't do the pass
     
  3. where did he give this advice
     
  4. Here is a list of its advantages.

    *Done right is one of the fastest controls out there, you just need a second of misdirection and pop! you are done.

    *It has a lot more uses than a simple control:

    -Color changes

    -Packet switches

    -a utility move for sandwich tricks

    -Cleanup (in case you end dirty with your setup on top)

    And I dont want to dis either the cherry control or the cascade control, but they are both awful, for example, cherry control has very bad angles and the cascade control looks suspicious, ( I know that DnD uses "airing the cards" as an excuse for doing the move, but, lets be honest how many people know that you are "airing the cards" that way?) where the classic pass just looks like you putted the card in the middle and thats all.

    Believe me, learn the pass, and learn it well, It was one of my first learned sleights and still use it (and practice it) until this day. BTW check my signature, there is a tutorial there for some tips on the classic pass ;)
     
  5. His lecture when he was in Washington DC
     
  6. i dont understand people who hate the pass. all you gotta do is make some slight body movements and execute the move.

    Bigger action covers the smaller action.
     
  7. i dont hate it but im just askin why. but i think it is a good idea to to start my pass training lol any good resouses
     
  8. Expert at the Card Table
    nuff said
     
  9. I do the pass since 1 year and yesterday I perform the pass while a friend of mine was really burning my hand and he did not see anything and i also was saying " your card is in the middle, no move, no misdirection" and he was completly fooled.

    In other word the pass is the perfect control.

    If you practice a lot your pass, layman will never catch you. I also create my handling of the pass with some finesses that give steroid to the pass.


    So work on it everyday and work only on it and you soon will see the improvement.
    PRACTICE PRACTICE PRACTICE
     
  10. You have asked one question but you could be asking two different ones.

    First, You could ask why anyone should bother learning the pass?

    Even if you have other invisible controls available to you (side steal, cascade control and so on), there are some effects where you absolutely need a pass. Look up Dr. Daley's Cavorting Aces and you will find there is no way of doing it without a pass. I'm sure there are other examples (I also remembered Roy Walton's smiling mule). If you are not performing these type of effects, you could manage without a pass.

    Second, you could ask why anyone should bother with the classic pass?

    The answer is that you don't need to. You could use a Herrmann style pass instead, or maybe some other type of pass (there are so many out there).
     
  11. If you use it just as a control then it is probably a waste of time but it can do a lot more. I frequently use it in sandwich routines (E.g. Chad Nelson's Criterion, Dorian Rhodell's Joyride, Daniel Madison's Colt 45). I also use it as a cleanup, many effects leave you with something on top of the deck, e.g. a 4 for 4 switch. From time to time spectators ask to see the top card of the deck, if you do a pass this allows you to freely show the top cards.

    If you do decide to use it as a control it's one of the best. If you fan or cascade the deck each time a card is returned spectators may suspect you're doing something in these actions. When a classic pass is done well it appears that nothing has happened. When done well you don't even need misdirection, your hands can be burned, while this shouldn't be encouraged it's good to know that it can be done if necessary. You can also easily control it to the top, bottom, second or third from bottom, second or third from top etc.

    It also has many other applications including a false cut, colour change, revelation, vanish, transpositions (cavorting aces) and placing a reversed card in the centre (great for inversion routines). The Cherry and Cascade controls can't do a tenth of the things you could do with a a classic pass.
     
  12. no offense, but most people who dont perform the pass are people who are scared of it or are ****e at it.
     
  13. There is a place and time for all things. The pass is great once you have practiced it to the point where you no longer need to think of it and you are experience in misdirection. It is very useful when you need to keep the order of a deck. You can cut the deck and in an instant have the entire deck order, from top to bottom, remain the same.

    There are many other sleights out there though that in many instances may well be better than the pass in certain situations. Learn lots of sleights, figure out what works well for you in every situation, and then practice them all, forgetting the ones that are only somewhat useful.

    L
     
  14. Not to be mean, but it hear that you don't what to take the time to pratice this move.
     
  15. Only practice sleights that you need to know. Ive spent years working on a bunch of sleights(pass included) and only use about 4 of them now,total.
    I use the spread pass because it allows the spectators to SEE a block of cards going above theirs and thats all I really need a pass for.
    I at times perform the classic pass super slow in performances in front of some magician friends just a prove a point.
    I trust some of you can figure out what it is.
     
  16. There are many pass out there which you can find in DVD or books, find one which you really like and suits you, it doesn't really have to be the classic pass. Personally for me, i never learn the pass cos i don't think i will be using it. IF you are really going to learn the pass, be prepare that you have to put in much more time and effort into it. :)
     
  17. I think the pass is essential sleight to add to your arsenal. Like previously stated by some other members, in certain situations, the pass is the only option. After a considerable amount of practice, it is one of the cleanest controls out there. To the spectator, nothing happens. They have absolutely nothing to suspect if you don't do anything. Something as simple as a dribble can sometimes spark unwanted suspicions. Anyways, learn a pass that suits you, practice practice practice, and reap the fruits of your labor. It's a sleight you'll be glad you learned.
     
  18. If you look at what the classic pass was invented for, it is irreplaceable.

    The classic pass was developed as a way to negate a cut at a card table, a way to return your stock to the top or bottom of the deck after another player cuts the cards.

    There is really nothing else that can do that, save palming, but learning how to pass is a damn sight easier than learning how to bottom palm 4 cards or so.

    Of course, who actually cheats at card tables? But it's a nice touch getting your spectators to cut the cards for you.

    and yeah, I use it as a control, I like it better than most others.
     
  19. I think that the classic pass is a very misunderstood sleight.

    You dont need to spend years of practice on it and it does not have to be done super fast.

    You can learn how to do a slow but very smooth pass in a few weeks.

    If your performing for a real audience and not a bunch of magicians it does not matter if your pass takes 0,5 seconds or 5 seconds to complete.

    Use missdirection, if they are watching your hands they are going to see that you did something no matter how good you are at the pass. They might not see what you did or how you did it, but most people will probably suspect that you did something.
     

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