Café Members,

Can anyone recommend a decent and affordable set of either 10" or 12" rings?

When I say decent, I don't mean the top of the line.

I mean something that is functional and does not look cheap.

By cheap, I mean things such as obvious weld points or discoloration where the weld is.

I know that you get what you pay for most of the time, but there must be a half way decent set in the $50.00 to $75.00 range.

Can anyone suggest such a set from personal experience (you own and have used them)?

I know that DiFatta sells an moderately priced set, but I have no idea how they look up close.

Does anyone have any suggestions?

I am sure that there are older posts on this issue, but new products come out all the time and my search here didn't reveal any such posts.

Thanks for any help you can give me.

Peter Cuddihy

DiFatta is okay, but solid steel is heavy. Light on the wallet, heavy on your hands. I had the stainless steel version, but they flaked with time. Sanded the chrome off and they are ok now. I have long ago switched to hollow 13-inch rings, but the old set is practically indestructible.

For many years I Used Suds rings/ They were very serviceable, but as Rolf mentioned, solid steel is heavy. After many years the chrome plating was chipping, but honestly it was very hard to see unless you were looking for it.

A turning point for me was realizing that the rings are ALWAYS part of every show I do. They've always been very popular, so I decided to invest more in an effect that has served me very well indeed. I now use two sets of Owen 10" hollow rings; 10" and 12". I almost immediately sold my Suds rings and have never missed them, though they were good as starters.

Suds are no longer available, but Klamm-Magic still has some sets available. His are very good and will last a long time. They are solid and not that heavy.

I don't know why the comments on weight, as all performers should be fit and able to handle a set of steel linking rings.

DiFatta also sells a stainless steel set if you don't want the chrome ones they sell.

Good to know Bill.

I guess as far as weight goes, it is ultimately a moot point. I used the solid steel ones for many years with no complaints. I never felt like was struggling or anything like that. But once I switched to the Owen rings it was a very noticeable difference. I suppose it's a bit like going from driving a Chevy to a Lamborghini. Certainly nothing wrong with the Chevy, but once you've driven the Lamborghini you really never want to go back!

Has anyone tried the locking rings? I have been considering ordering them to try... any yeas or nays?

I have had Klamm rings for about 7 years now, they are still fine. Very nice seams and heavy duty 12"

My advice is forget about locking rings, but if you must get it and see for yourself. If you have the dollars, the Joe Porper items will most likely work the best.

Difatta stainless steel set has a chrome film. Go figure. And it flakes off over time, but so do most.

It depends on your routine. Richard Ross used one with great success so does Levent.

You can buy Levent's dvd's on the subject, there are very complete and interesting.

Yes, but to get a locking ring like Richard Ross' it would be very expensive. I have not seen any that works as well as his, I believe it was made by Auke Van Dokkum in the Netherlands.

Auke Van Dokkum Locking Key is super expensive for the average magicians or enthusiast. The last time the prices were listed they were over $100 per ring. The locking twice that price.

http://www.cupsandballs.nl/

I think you mean locking K**s!

In 1971, after 25 years of performing, I decided to break in a "new trick"! I bought a good set of Merv Taylor 10" rings from Jay Marshall. (Jay gave me the "friendly" price!)I "played" with them and finally settled on a 5 ring routine. The routine played very well from the first day! In a few weeks, it was strong enough to close the high school show.

Then, another friend, who must remain anonymous, for now, showed me his 3 ring routine. (Two less rings to carry) I bought another set of 11 rings (not Merv T's) The set included a lock k**. I have used three of those rings (including the locker)since 1979. That's a lot of school shows! A few of the rings have minor blemishes (which the audience can't see)and the k** has worn a bit, but is still very usable.

There are techniques involved in using the k**! --Just as there are techniques involved in using a TT!!! I would strongly advise you to seek out someone who has learned the proper techniques before you even think of trying to perform with a locker in public. Otherwise, you might expose one of the few remaining secrets in the business.

In the routine, my friend gave me, the audience volunteer (Anyone from 7-8 years of age, through senior adulthood)holds all the rings. A 'principle' learned from the late Faucett Ross, makes this possible.

I'm not sure Auke still makes them, I don't find them on his website. But indeed they were expensive.

To me a locking k** would be just another something to get hung up on. It only takes a split second of hesitation to telegraph to the audience that something is up. And the good ones cost far too much considering spectators can handle rings and be convinced with the proper handling and routining of regular rings.

Yes, the are on Auke's site, just have to look a little more. I found them without a price. Probably have to inquire.

Hi CJ!
I was concerned also about the lock**, but after Karrell (oops, I've tipped it) showed me his handling, I found that when ever the 'work' was necessary, it was on the 'off beat' and attention was on the spectator/helper.

I started looking for the appropriate prop, and was having no luck. Then, at the '78 SAM in NYC, I was working Jay's booth, when Abb Dickson came up and said, "Still looking for a lock**?" "Yes!" "Come with me!" I followed.

I don't remember the dealer's name. He was from India. I was immediately CAUTIOUS! So much schlock comes from there. BUT, he had a set of 8" rings (plus oversize, undersize, and a lock**!) The rings were chromed, no joints visible, etc. So, I asked the price. The dealer said $50.00. As the old gag from my Svengali Pitch days goes: I NEARLY TORE MY UNDERWEAR GETTING OUT MY WALLET!

I sold the 10 rings to a young man who was just starting out (he got the "friendly price") and I took 2 matching singles from an old used set that I had. I'm still using them.

As mentioned above, the k** is showing some wear, but is still perfectly usable.

When Karrell died, I inherited his 3 ring set, so I do have a back up set. I also inherited 2 mint condition Sterling/Mardo style egg bags, and the props for INERTIA (the egg juggling bit which I had shown Karrell for his W.C. Fields act).

Once again, it's the performer not the props!!! Don't be afraid of doing it, just plan to do the work on the off beat.

Note: that might be trickier if you're doing a 'display' routine rather than an audience participation routine.

It really isn't whether to use a lock*** or not, it is finding a lock*** that works properly. There are so many different designs and most you need very good finger strength to operate. An example, I worked with the Klamm model in 10 inch at the local magic store. I could never get it closed. Then one day, I walked in and said to the owner, see I can't ----- oh, they closed? How did that happen, then I was visiting several weeks later, picked up the ring, and could not do It for the life of me. I was planning on buying it, but as it was again impossible, I just let it go.

That is my story on lock*** rings and I am sticking to it!!

Go to Fab Magic, he is making some relly nice linking rings. Heavy duty stuff, well made right here in the good ol' USA too.

Hi Bill 10/4 on the KLAMM K**!!!

I picked one up somewhere, I think it was either a ring auction or 'yard sale'.

I couldn't make it work either!!! (It's for sale cheap!)

I guess I was lucky with the one I found in NYC. I forgot to mention above that when Abb and I opened the box of rings, WE COULDN'T FIND THE LOCK**!!! (It was that well made!) We each went through the singles and we did look closely. Finally, after about 5 minutes of SCRUTINY! we were able to find it. After over 30 years of use, I can see the a slight crack, but the spectator never has the chance to see it.

I used it for all ages elementary thru college and no one ever mentioned it.

@@@ 723 Sabre...Thanx for the info. I don't need one, but if anyone asks me now, I'll send them to Rick. He's an old friend.

Dick, how did you know where the position was after spinning and handling? In other words, if it was impossible to locate, then how did you locate it in performance?