Thanks milamber…good stuff! I usually just mention books, but would like to mention Eric Jones’ fine work, Metal. The first DVD, I believe is dedicated to basic coin sleights and routines. Anything by Eric Jones is well-worth a good look-see.

And if you’re not in the mood to spend a lot of money, I actually have a Mini-Lecture download where I go over the basic coin moves and some helpful others, and with a little coin routine included to help practice the moves. 😉

https://mb217magic.gumroad.com/l/DZZAA

Eric Jones' material is great. I do own a few of his DVDs, including a couple of his Metal series.

Your mini-lecture is great! Got is a few years back... great talk about coin magic along with the basic sleights and the coins across. Definitely worth the $$.

All the best,
Steve

Having just received Al Schneider's "Al Schneider Magic", I can enthusiastically recommend it. The first four chapters alone are worth the price.

Hi there,
I'm doing magic as a hobby and I made my first steps in coin magic,
these sources I would like to add:

The pocket book from Curtis Kam: Just a few pages, but: (from the preface)
„My study of coin magic pretty much began with a copy of J.B. Bobo’s
Modern Coin Magic and a lot of questions. Over the next 35 years I found
answers, which in turn led to more questions, hopefully better ones.
Recently, those old questions have been popping up on the internet and
from students. So the first reason for this little book is to set down the
answers I do have, once and for all.“

Helped me a lot: Basic Coin Magic 2.0 by Ian Kendall. Why? He breaks it down to the basics. No fanzy moves. Direct and easy to follow, basically you don't need more.

As a personal recommendation: Learn with Danny Goldsmith. Apart from the "sleights" that everyone teaches, he also brings in new ones. He teaches you a lot of important theory. motivation of movements, how to practice, dealing with angles, presentation, ect. For me it is hard to imagine that it can be better.

Who has not discovered it yet: Rick Holcombe has some fantastic tutorials on youtube that anyone getting into coin magic should have seen.
As it comes to youtube: here is a better hidden treasure: https://www.youtube.com/watch?v=wEzTDg0lA2g In this Interview Craig Petty talks to Danny Goldsmith, it includes a kind of mini lecture. If you love coin magic you will like this for sure.

I wanted to point out what Dr. Rubinstein asked in this thread: What you want to learn? The moves or routines?

When it comes to the routines: Charming Chinese Challenge from Troy Hooser and Tresor from Copeland coins. Go and check Copeland.

When it comes to the props (off topic I know): You will need a purse and I like the Traveler. It comes with an very detailed tutorial, some nice routines and tips on handling.
Thought about Okito? I would really recommend to buy one, for me it helps a lot (magic wand principle). You will see progress relativly fast. Out there in the web is "J. Burke Whittaker Coin Box concepts."(don't pay for it, he gives this away for free). For me a good start: "Brass Class" from again, Copeland. I'm not getting paid for this...

I forgot to mention one of my hidden treasures:
There are hundreds of Magic books outhere for free. Incl. Bobo and some other book mentioned here. However If you don't want to search every single one of them, take a look at this: https://thedailymagician.thrivecart.com/......ion-new/
The guys did an awesome job, gathered them all together and made an Index.
"368 magic books, 30,000+ pages of content, 91 professional commentaries, an extensively detailed index with 4429 effects, authors featuring. Houdini, Erdanase, Tarbell, Hugard, and MORE—this is a veritable ‘cup of life’ to any and all amateur or professional magicians.

At this point I would like to refer to "One Coin Series" Vol. 1 by Ponta the Smith:
"In part one of the series, the legendary Ponta the Smith will show you an elegant, fooling sequence that is smooth as silk, yet is achieved with nothing more than finger palm. This is more an "etude" than a full routine, designed to teach Ponta's concept of "flow"."

The release has already been presented under "latest and greatest", but has not received much response.
www.themagiccafe.com/forums/viewtopic.ph......orum=218

Probably because it might not be very impressive to most in this forum. But for beginners it's a nice way to practice, at least for me.
Doesn't even cost $5.

I enjoyed this. I like how he's decided to make use of the one technique to examine flow in a routine. I don't know that I'll learn the full routine, but I enjoyed hearing how he constructed it and broke down the decisions he made when he could vanish in several ways. Nice explanation of how it builds. Lots of little components you could apply elsewhere. You could make use of other palms, etc to achieve it, but the value is in hearing his thinking on the construction of the routine. Tempted to get more of the one coin series.

Here's what gives me pause on "One Coin Series Vol.1":


If one is moderately familiar with coin sleights, then it's obvious while watching the "One Coin Series Vol.1" trailer that there are more sleights involved than the finger palm. So, what is being touted as a routine using a basic sleight (basic to learn...challenging to master), is not so, and attaining performance level of this routine may prove more challenging than one might anticipate given the marketing description.

I'm not an amazing coin magician, but having bought and watched this, it is finger palm. There's different moves in terms of moving it into finger palm. The majority of it isn't necessarily hard, but it will take a lot of practice to get it looking like the trailer. I wouldn't say it's a good starting point for coin magic but enjoyable none the less. Might only be 15 minutes, but felt well spent watching and an afternoon playing with the moves.

Dr. Michael Rubinstein’s ROPS move is used in the trailer.

No, it's not. The advertising is pretty accurat, it's about flow. If you think difficult sleights are necessary here, it only shows how well the routine is done.

What’s the double tap vanish at :33 into the teaser video?
Looks like Rubinstein’s ROPS to me.

Since it is only a very small download, it seems wrong to give away details at this point, but I have sent you a PM.

R.O.P.S.

Same to you, PM sent. Well, I'm not going to explain it to everyone, (exposure) but I own this downoad. No R.O.P.S. involved, so believe me.

Yes, I see it now.

Let's envision a different approach for a beginner.
All the great magicians will suggest you to find an EFFECT and to work at it until you are better at it than any master. (recommandation by David Devant, Dai Vernon, Curtis Kam...)
How can you do this ?
First choose an effect that you are likely to find yourself in situations where it will be natural for you to perform it.
Let's take (only as an example) coins through the table.
Go to Stars of magic and learn Kangaroo coins which is not a difficult routine but it teaches you more than just sleight of hand technique. It starts teaching you audience perception. Thus it will help you to quit the usual narcissistic need for recognition and will help you understand how audiences perceive magic.
Then get three books at the same time:
1) Arturo Ascanio: The Magic of Ascanio Volume 1 forget the other volumes and study (not just readà only the first chapters on In Transit Actions and Forgetfulness Parenthesis. Start applying it to your Kangaroo Coin routine. You will soon realize that, by doing this, you are improving on a Dai Vernon routine!!!
2) Dr Rubinstein's Encyclopedia of Coin Sleights. Now start looking into Mike's DVD, the move that are bringing your routine to your fingertips for your family and friends to enjoy your routine better by having chosen, not the moves you prefer but the moves that appear as most natural for you in this routine
Practice it using the practice advice of Gerald Edmunson in his "Ostrich Factor"
Then, but only then, try to find all of the versions that you can come across with technical variations involving various denomination coins, and involving an expanded shell, a Tango TUC, some split coins, a Flipper coin and try using each of them to create audience participation and make some things happen in their hands. Basically use the possibilities offered by gaff coins TO SHARE? rather than to show. You may get help in this with Juan Tamariz's book The Magic Way, keeping the EFFECT in mind, not focusing on the technique
Then introduce a feint (when working under Fred Kaps, he told me there must be a feint in each and every one in your routine) For example, the last coin gets stuck between your mat and the table top (like in Juan Tamariz's Monedas, Monedas Y Monedas)
Then find a different climax (the coins comming back up along the Gallo's plot is common and not very climatic) for instance the coins are compacted into a $ or € bill, or by passing all the coins at once, the hole changes color, or the coins get welded into a messy stack...

Now that you have adapted and reworked your routine to free it from initial bad habits and narcissistic habits, and know every technical possibilities to play with your audiences imaginations, you have covered 20% of the path to real mastery. You will now need A UNIQUE SCRIPT
3) Study the book by Joseph Campbell THE HEROE WITH A THOUSAND FACES. Cambell is the guy that George Lucas took as an adviser to make Star Wars.
By studying Campbell you will get many ideas for including your routine in a well structured story (getting possibly back to solutions that you discarded in your home work).
Now write your story abiding rigorously by the following rules

1) choose a protagonist: it cannot be you directly or inndirectly (by this I mean, "my grand father", "my Uncle" type of story) The protagonist can be represented by your coins (Midas if you took the troble to read its entire story which most people don't really know apart from the fact that everything he was touching was turning into gold). It could be a well known alchemist, or a legendary character like Faustus or Dorian Grey... (you can use the character independently from its reported story since you will design yourself a story for this protagonist, but your choice will give some substance to your protagonist)
2) choose a STRONGER ANTAGONIST, because if your protagonist is stronger than the antagonist he will not need MAgIC to be saved in the conflict opposing them
3) Choose a conflict between the protagonist and the antagonist of an EMOTIONAL nature
4) Input some suspense in your story letting your spectator to be riveted about the outcome. For example, the street banker in the Middle Age is judged by the Spanish inquisition and threaten to be dismembered for claiming that a solid can go through a solid... or that the coins represent the erring souls of street bankers and cannot pass through the River to get to heaven (like Hercules or Theseus)
5) Create logical "causes to effects" relationships at every step of the story (Logic as Kenton Knepper underlines is the strongest misdirection). For example, don't toss all your coins on a spot when only one of them will go through the table. Instead line them up to the left apparently keeping only the one to pass through the table at your right fingertips. SUPPLY A CAUSE for the effect ot work. For example I use a small contrasting portable hole (size of a dollar coin) that I ask spectators to position on the table (the portable hole is the magic way through the table). This creates interaction with the spectators during breaks clearly positioned in your script that you will otherwise rigorously deliver with the need to act very convincingly. (Robert Houdin's advice: "a magician is an actor playing the part of a magician")
6) Write your story on a linear basis and then rewrite it immediately by replacing all the "I" and "you" that might have snuck in with "WE" This is to avoid any conflict and to place yourself on the side of the audience... thus, no challenge, no testing of your spectators... positionning you as a judge of them. Afain, you are just SHARING. Now you will see that your story forces you to include new or different moves...
Now each phase has its own idea and story progression but, no matter how talented you are, you cannot chisel the best phrase for each. So get ot internet and find snappy related quotes (and if need be distort them) "Facts speak louder than words", "facts are stubborn" (or science is stubborn but magic always ends up anticipating it)
Once our script is written let's see how we will slightly alter our tune of voice at different stage or speaking differently about the protagonist differently than for the antagonist and place the breaks for interacting with a spectaor expressing freely but without breaking the rhythm of the routine...

Now after learning your story by heart rehearse it for sharing it emotionally with your audience... and then
Take your phone table it on a little stand and film yourself doing the routine... view it and do the last cuts in your texxt to finally have unarguably the best coins through the table routine that ever existed... and perform it as often as you possibly can. don't worry about putting your personality in it, even if you were trying to avoid it, it would transpire.

Now we took the example of the coin through the tablen we could have followed exactly the same process for a COINS ACROSS or a THREE FLY, or a CYLINDER AND COINS... etc.The beauty is that after your first exceptional routine you will have absorbed technical sleights (or know where to find the ones you then need) You will also have digested Campbell (and possibly Henning Nelms or Tommy WOnder's advice from the book of Wonder, or Kenton Knepper's WOnder Words, or learned about your own character fromm Pop Haydn...)
At any rate, the design of your second and third routine following the same path will take much less time... and be far superior to the existing variants, even if you use exactly the same technique.
Sorry to have been that long but I didn't have the time to make it shorter