I am very happy to see Elliott's work is getting such good reviews. He deserves it. He put a lot of time and effort into this collection of switches.
I was there for the first drafts and ideas and I was amazed on all the various ideas and permutations he kept coming up with. For awhile it seemed like Elliott must have locked himself in a room with nothing but a pen and several thousands of pieces of papers to switch.
Great work, Elliott!!!

Greg

In addition to being a very generous author, Elliott is also a very caring vendor. I bought the book and had trouble downloading it. Elliott immediately sent me the ebook in various forms until I was able to succeed. Great customer service! And now I get the chance to read it!

Bob

His a class act,fantastic service and great material.Im delighted with my purchase!

Pete

Tom,

THANK YOU! THANK YOU! THANK YOU!

Dave,

I’m really glad to hear that the pages printed ok. I was a little worried about that. Thank you so much for the update.


Greg,

Thank you again!! As you know, it was the early feedback I got from you and a few others that motivated me to keep going with this stuff. If it was not for you, there would be no book. By the way, your remote viewing skills are dead accurate.


Bob,

I’m so glad we finally got that book into your hands (figuratively speaking.)
I hope you like it.


Pete,

Thank you. I’m really glad you like the book!!


Everyone,

These reviews are really great!!!! If possible, I would love to be able to quote some of these posts on my site. If anyone is interested, please send me an email with the “green light.” Also, if interested, let me know how you would like me to show your name (1st name, 1st and last, stage name, alias etc.)


Thanks again,


Elliott

Just updated the site for some of the new quotes.

Thanks again,

Elliott

HI
I am practicing with my billets and the first switch is going well but when I
am opening the spectator's billet, the whispering is very loud
As I will be working real close up (nearly elbow to elbow)
, this would be a real problem
I am working with index cards cut to different sizes
Would a softer card or even paper help?
I know I should experiment but I am already doing that with the move and the paper size
Any advice would be a great help
TJ

Hi TJ,

The first switch is not an opening switch, so I am not 100% sure what you mean by the whispering being loud when opening the spectator’s billet.

I think, perhaps, you are talking about opening and reading the spectator’s billet on the sly within the context of a routine found later in the book.

That routine is demonstrated with Switch # 1, so I am guessing that it is what you are referring to

I will definitely help you with both the specific routine and anything else found in the book.

However, I can’t discuss the technical side of my material on a public board.

I think I previously sent you my email address. Feel free to send me all the gritty details and I will do my best to work things out for you as early as possible. We will have you up and switching in no time at all

Thanks again,

Elliott

Hi again TJ,

Yes. Now that I think about it, you must be referring to opening the dummy on the sly within the context of a routine. This is a general billet question, so I suppose it doesn’t expose any of my material. Usually, where I tend perform, there is more than enough background noise to cover opening the dummy on the sly. Background noise can be annoying, but sometimes it works in your favor. Also, consider that (without going into a terrible amount of detail) the spectator will often be quite busy doing his own thing while you get your “read.”

That being said, you should absolutely experiment with different types of paper. Some kinds of card stock are noisier than others.

Also, if working in a particularly quiet environment, you can patter to cover any sounds you don’t want heard. Now, that I think about it, I should have mentioned this in the book. This tip will go in the planned free summer update edition. Thank you so much for discussing your concerns TJ. Your post will no doubt help many who have experienced the same problem.

If all else fails (and I guessed correctly on the routine), you can always try “Path Three”. There you get the “read” in the open, and sound is irrelevant. I tried to give people all sorts of options to cover all sorts of circumstances.

Still, I’m not exactly the king of billets ( ). Does anyone here have any advice to offer TJ on different types of paper?


Thanks again,

Elliott

Hi Elliot
You are spot on about what the problem is
I have 'safed' the dummy and now have to the read the spectator's billet
I am sitting side by side with the spectator with possibly 12 inches between our shoulders or even closer
Let's say my left shoulder is close to the spectator
I am concealing the billet in my right hand
I turn away and peek it down by my right side easily but I'm not happy with the
logic used for turning away
I want to hold the billet in my left hand and read it slyly
Your switches are working great but, because of the closeness of the spec,
the noise and dancing fingers as I open the billet with one hand are FAR too obvious
Remember that my hand is now very close to them and the concealment angle is very
poor
I have tried the Annemann fold but that whispers as well but not as much BUT
there is very little finger movement
Because we are sitting side by side there is a problem with angles for concealment of the billet and I can't risk any whispering drawing attention
Any advice is appreciated
I have had a great idea by PM already but it is not solution to this particular
problem
I want to be able to peek while shouder to shoulder i.e so close that I could
not be doing anything dodgy (Don't we all? LOL)
PM if you prefer
Thanks for the help so far
TJ

This may be completely irrelevant to your situation, but when I pick apart any whispering that I get, I find that it is not from the paper itself, but from the fact that I tend to have rather dry hands. The whispering comes from the sound my fingers make as they are moving on the paper (particularly across the edge of the card), not from the paper itself as it unfolds, etc. So, what helps me is to make certain that my hands are moist (lotion, etc.). This also makes it easier to get the job done (added tackyness so less fumbling). I have also found that it is possible to open and close with minimal contact with the edges. Nevertheless, I still tend to cover with some sort of relevant verbage or by asking a question that causes the participant to focus inward for brief moment. Hope this helps = even a little. I must admit, my typical venue makes it a lot easier for me. It sounds like you are REALLY working up close! Best Wishes!

I think is was Corrinda who said that if you are going to have the person close their eyes, that's when you read the billet . Using the same thought process, you tell the person that in order to make a mental connection you are going to need them to say "OMMMMMM". When the say this you will need them to put the tip of their first fingers in each ear, so they can experiance the resonace.If they are holding the D**** billet they can close their eyes. When they are doing this it is impossible for them to hear most noises, like you oppenong the billet. This can be played seriously or lightly.I have not tried this yet so it is just food for thought. Kent

Hi again TJ,

There are a number of published “reads” similar to what you are attempting. Off the top of my head, there is the “Behind the Scene” method from Mainly Mental and something described in “The Open Switch and Read” from The Artful Mentalism of Bob Cassidy.

I have, so far, shied away from these methods primarily because of the exact problems you are experiencing; you open the billet too close to the spectator’s head. That doesn’t mean these methods are bad, it’s just a matter of personal preference.

Now, Bob Cassidy uses the method on stage where there is plenty of background noise.

Boarde does it close-up, and covers in a manner similar to what I came up with (can’t I think of something original?)

He writes “during this operation, the performer occupies the spectator with a continuous stream of chatter.”

So, I guess there a few options:

1. Experiment with different types of paper

2. Use these “reads” only when you have sufficient background noise to cover the sound of opening the billet so close to the spectator’s head

3. Patter to cover any sounds you don’t want heard

4. Use Kent’s idea. It’s actually quite cool IMO.

5. If you have dry hands, try Nicholas’s suggestion

Thanks again,

Elliott

Hi
Great stuff. I'll be working with all of it
Perhaps there is a bit too much methodology being revealed Perhaps we should move to to the Inner Thoughts?
Does anybody know how to do this?
Thanks again for all the input
TJ

Good point. But then, all my reviews will be unavailable to the public. Is there a way to move only part of a thread?

Yikes!!!

Elliott

'LOL
Hi Elliott
I had considered that but perhaps this is a better idea instead:
http://www.themagiccafe.com/forums/viewt......82&0
It is a new post in Inner Thoughts
This will give readers in both sections a chance to read about your great book
Thanks for the excellent help so far and thanks to the other posters and PMers
for their help
TJ

Hi
Thanks to Kent and Malchat for the excellent advice in their PMs and Nicholas and Elliott for their advice above
If anybody has any ideas on this problem and doesn't want to post in so public a place, this thread is also at:

http://www.themagiccafe.com/forums/viewt......82&0

Please post there
TJ

I added something to the update page of my site to help address sound issues. It’s just a repetition of what we already discussed here, though.

I haven’t forgotten about my promise to come up with additional solutions for you. Hopefully, I’ll PM you later this week with some alternatives.

Thanks again for asking the "sound" question.

Elliott

Hi Nicholas



Great advice
Thanks again
TJ

I was working like mad to get everybody into one giant email, but seeing as it is already already after 12:00, we will revert to plan B...

I would like to thank all of you folks who made Switchcraft a success and wish you all a happy and healthy new year.

Elliott

You too, buddy.

Tony