·
Again for both, make sure the welded area is smooth,
without rough spots or dimples. A spectator examining the ring will
notice the weld if it is not smooth. They will quickly conclude,
incorrectly, this is the secret and react accordingly. This can blow
your whole routine.
·
Most Solid rings are usually made from steel wire and
chrome plated. Inferior pot metals and other cheep material will not
hold up over time.
·
On a hollow ring the material the tube is made out
most often is aluminum and stainless steel.
·
Avoid hollow rings made from aluminum tube unless this
is all you can afford. If you do choose an aluminum ring, make sure
you get a set with a thick wall tube. This will help resist dents and
provide a strong weld.
·
Hollow rings made from stainless steel are of the best
quality currently available. They are highly polished and will never
rust. Plating is not necessary since the material polishes to a bright
shine. As with an aluminum ring, pay attention to the wall thickness,
an unnecessarily thin tube can cause problems.
·
Make sure that rings with chrome plating have a finish
that is consistent all around the ring. Thin plating will have a dull
appearance and will flake off after time. Missing plating is just as
bad. Both problems will result in rust spots.
On Hollow rings make sure the aluminum or stainless steel is
polished completely, while they do not rust, it can look unsightly.
·
Pay attention to ring thickness, avoid solid rings made
with wire that is too thin. This may reduce the weight, but will
reduce the quality at the same time. The ring will not be as sturdy
and does not offer as much surface area for the weld. Having a ring
split in front of an audience will ruin the routine and your
reputation.
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·
A good way to tell how sturdy a ring is. Take the key
ring and shake it around. Flimsy key rings will flop around at the key
point and loose the alignment.
·
The tones of almost ALL hollow stainless steel rings are
near perfection! The aluminum rings produces a sound that is somewhat
flatter unless the tube well tuned. The only exception is Clifford
Wiggs Pro-Line Rings – which you will swear are stainless steel.
Perhaps his greatest feat yet – was how he was able to
accomplish this perfect tone with aluminum rings.
·
Strike the two single rings together. A good quality
wire will have a clear ring to it. The sound will be a “ting” and
will continue for a short time.
·
Avoid rings that clank, this is an indication that the
ring is made out of an inferior metal.
What type of
key ring is available?
The two major key types available, the standard
open key and a locking key. Both offer advantages and disadvantages. Try
both at your dealer and pick what you think is best. Keep in mind; some
of the classic linking and unlinking moves can be more difficult with a
locking ring.
The standard open key has been in use from the
beginning. When manipulated properly and using the proper misdirection,
audiences will swear all the rings are complete circles. Most of the
moves described in the above reference sources were designed for a
standard key ring.
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The locking key is available in a couple of
different locking methods. Performers that choose the locking ring do
so, so they can freely display all the rings. This is to dispel the
notion of an open ring. The exposure of the linking rings by
unscrupulous magicians and in magic sets has popularized locking key in
recent years.
There you have the long, and short of it. There is
plenty of material available in book, video, and DVD form. Plenty of
options and price ranges on equipment.
I think if you add this effect to your regular
routine, and stay with it you will be pleased with the results. The
classics are classic for a reason, they have stood the test of time, and
still remain fresh.
Happy ringing.
As always questions and comments are always
welcome. jcapaul@sbcglobal.net
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