The set I have is part of the Johnson Hopping Half set. The Hopping half includes a copper E[ (head) and a silver E[ (also head)
The actual S&M part of the set is a copper non-E[ (tail) and its matching C/S insert, basically a non-locking Scotch and Soda.

David Neighbors has a good routine on his Coinjurer vid.

Rutabaga: You may want to speak to the man himself... I can't think of anyone that could present ideas about the sliding shell better than Steve himself. I haven't spoken with him for well over a year or so, but he has an aol email address if that helps you. I'm on the road with a new laptop and haven't added all of my "stuff" to it yet, sorry

Best,

-Mike

Posted: Jan 3, 2007 5:04pm
Had to cut that last post short, late lunch... sorry gentlemen.

Dave N.'s S&M stuff is outstanding, as is all of his coin work. Another source for strictly S&M work is my Tavern Magic 2 book. It focuses on work with a classic or standard S&M set, not the newer version using an e] that will cover a half-dollar, however I see no reason that my material would not translate well for that version of the S&M set as well.

When considering the use of Steve's sliding shell to enhance S&M routines remember that one of the main strengths of the gaff is the fact that it can be handled very openly without exposing anything. I regularly do coin rolls with the nested gaff during my routines, for example. This is one way to "set the tone", as I mentioned in my previous post. It also, if done correctly and not overdone, eliminates the need to hand the coin or coins out for examination during or after a routine. If you can handle a coin THAT openly and THAT casually... it must be a regular coin and the heat is never on it to start with. So when using the sliding shell remember that a major selling point of the fairness of the coins is missing and must be replaced by something equally convincing, but not too overt selling point. There are many subtle ways of accomplishing this goal, as I'm sure we all have learned.

Jon... as always you sum up very wide-reaching concepts into very precise and wise words My hat's off to you.

Best to all,

-Mike

Rutabaga

to perform Klause's "sol et lune" (I hope that's spelled correctly), There is only one part where the real half has to fit the copper [- at the switch. His switch, he pushes the real coin right into the shell, pulls out the insert, and then displays it before his "red herring" take.

Instead, stick the real coin between the insert/shell so that it sticks out still, and hold it on the edges of the right fingers to display it- and flash the other side; the audience won't notice the incongruity of copper/silver placement.

From this position, take the left hand as if you are grabbing the silver coin out again, but use your left thumb to push it behind the copper shell, and really take the insert, silver side up in the left hand. Drop the real silver coin to the fingerpalm from behind the copper coin, simultaneously as you display the insert on the right, silver side up.

From this position, a simple palm of the copper shell will get rid of it and you can show the switch from there.

Hope you can follow that- see, there's no need to have the half fit the copper shell!

Scott.

Thanks Scott. In essence, that's what I've been doing, and it works fairly well. Palming the copper [ is a little finicky I find, but doable.

I realise now that I really need to get a proper set for this routine - I do think it's worth it. Thanks for all the help everyone!