Hi all,

Need your advice here.

I am using a vanishing radio by Vladimir Mikek. Instead of vanishing at the end...I decide to vanish at the opening.

The Vanishing radio & other props is on stage. I came on, put the CD in, but it will NOT play...then I vanish it...hand my CD to the DJ(station on the side of the stage) to play the music & proceed on to my opening bird act & other effects.

However I feel something is not so right cos some will say why you need to use our own 'radio' on stage when there is another DJ with full system on the side. however my main aim is to perform the radio effect cos if I use the the end, it will be even worst cos the audience will though all along the music is from the DJ speaker & not from my radio...so I am a bit confused, what is the best way to perform this effect.

P/S: What I seen on YouTube is the performer already have the radio on stage....they perform their regular show with music...obviously is from the speaker from the hall....but at the end, they just vanish the radio, hope the audience will think that the music all long is from the radio..etc

Thanks for any help

I believe you are over thinking the sound coming from the radio. As with today's electronics have a dummy box sound splitter on the the stage. I cannot think of the name of the device that sends sounds to many speakers. Getting old, I guess.

Anyway, that will sold concern. You can try the bit at the beginning, but I believe your audience will be annoyed with this going on, and not think it funny or mysterious. It actually shows you do not prepare properly for you shows.

The only way this may work is for the music to start, then mess up, and a girl come out and "acts" like she is trying to fix it. You must then act like you are upset and tell her to hurry up, etc. Making it a skit scenario will be more entertaining, and take the bad thoughts off you.

To pull this off, you need more then just you on stage, in my opinion.

I also used the vanishing boombox in the beginning of the show...

In our recent Halloween shows, we began with me entering the stage and "starting" the boombox (mine is retro Vienna Magic w/cassette deck), and then exiting. The song that came on was "Monster Mash". This was lip-synced by a Frankenstein puppet and two 2 skeleton puppets singing back-up (life-size puppets).

A few minutes in, I came back to the stage tapping my watch to indicate this had gone on long enough. The monsters pay no attention, so I exit. A few minutes later, I enter again holding a severed arm that's holding a giant watch. I am tapping and frantically waving to get the puppets' attention. Still nothing, so I exit.

Then, I come back with the cover cloth and vanish the boombox, leaving the monster puppets grumbling and glaring at me. After a moment of them hassling me with jokes, we all exit, and the show then continues.

There were four of us on the show, so everyone had a role in this bit. The music was on the computer and pre-edited to cut off when needed.

If you're worried about the sound coming from the speakers, why not put a mic in front of the vanishing radio? Then when it's vanished, you resort to your backup option. Perhaps the DJ is even a little reticent to let you use his gear, so you have to beg him a little.

I don't believe you are over thinking this. I believe you are doing the correct thing in considering the details of your show. Highly regarded ventriloquist the late Ray Allen used to have a small lapel mic on his dummy. While such a detail was not necessary it was a great touch and one that I, for instance, remember.

Whether, having considered the detail of where the sound from your radio/CD player emanates from, is an issue is another matter. As Bill suggests, there's no reason why the sound coming from your Radio/CD player wouldn't be coming over the main sound system but Michel Fouche's suggestion is a good one if you are bothered by it.

I guess then you have to weigh up the slight amateur look that mic-ing up a radio/CD player in this way has as compared to the subtle impression it gives to enhance the illusion.

I think, the best way is to use a dummy microfon in front of the radio. People have feeling, the sound comes from radio and goes over microfon to the hause sound system... I use this way many years... You find my presentation on http://www.youtube.com/watch?v=8dh5-NCIEzQ...

There's a nice microphone subtlety that I use with Spellbinder's 2007 Radio Vanish from the Wizards' Journal #14 (but it will work with any version of Vanishing Radio). You need a backstage assistant with a volume control to the sound system. Both the sound system and microphone are plugged into the amplifier, but there is no volume control on the microphone, so you can hear noises from it when you pick it up and set it down.You start with the radio sound volume very low and ask the audience if they can hear the radio when the microphone is about 3 feet away from it. They will indicate that it is not very loud, so you pick the microphone up and set it down next to the radio as the backstage assistant increases the volume of the radio sound. They can still hear the sound of the microphone being moved coming through as well. It makes a very convincing sound illusion.

Beautiful job on your vanishing radio Mr. Baker! I am currently building one myself and one to sell. My version will light up and actually play. With my vintage version,I use my Iphone to play the music sitting behind the radio, I place it in my pocket as I cover the radio. The sound moves with me! Then I have the MP3 song cut off at a particular moment. Very effective!

I want one. I may have a go at building one in the summer.

I hate to sound cruel but dump all vanishing radios. They have no place on stage and many younger people won't even know what a boom box is.

Nobody in their right mind, apart from collectors of 80's memorabilia, carries one of these around. If your act is based around the 80's, then fair enough.

At least Michael looks like it is something he might own from his youth, but dove-boy, these were obsolete before you were born..

I would like to note that mine is used in context with a "retro" Halloween party routine. This is the theatrical leeway that justifies its use in the show. Quentin makes it sound like it fits my show because of my age, whereas it wouldn't for a younger performer. That would be akin to saying that a "sock-hop" dance routine (c. 1950s) could not be done by some kids, and that only someone who lived through that era would be justified in doing the routine.

It's kind of a fine line, though. I tend to agree with Quentin's thinking, but feel it needs additional exploration. Beyond prop and character is context. In a stage production, this is an important consideration.