I see in a number of topics that people say to use tricks that you can "Reset" quickly. I watched a Tommy Wonder lecture and his advice was; Don't use tricks that you have to reset. This keeps telling your mind that it isn't real(but you are trying to present it as real). Use the ones that require no setup and can be used over and over. Thus, you are not reminding yourself that you have to reset to get the trick to work, you appear skilled and confident enough in what you are doing and since your mind is free from, oh I got to set up, you can relax and put your energy into presentation, knowing that you can do it again.

They're both wrong.

I don't get this at all.

My spongeball routine needs to be reset but I doubt because of that I shouldn't do it.

When the set is over, I just take the SP out of the TT.

Am I taking this out of context?

Sounds like this might have been a response to a question and taken slightly out of context.

Depends on too many things;
strength of the trick
type of place you're performing
the power it packs
can extra resets be made up ahead
some things are worth continuing to do even if there is a reset. I have a couple of particular things I do in my restaurant/bar work that require re sets, some of them I have more than one of ready to go, and some of them I only do 2-3 times a night because they are just too good to do for each group and are reserved for special times.

After years in the trenches, I learned to keep the "reset" items in a sort of reserve tank. In otherwords, I had a core routine that I could immediately repeat for the next table, that was more or less no reset (unless you count things like putting cards back in the case). The stuff that needed to be reset (secretly) after each use was reserved for the special occasion performance. This may be when I was asked to return to a table later in the evening, or if there was good reason to show something special to a particular customer, such as, a regular repeat customer, or one we had reason to really schmooze.

For these reasons, the "reset" tricks were scrutinized more stringently, and only those of extremely high quality or impact were kept in the arsenal. These were, after all, the "special" tricks. Those that ranked lower were most often eliminated from the queue.

Think of it this way.

A routine has pros and cons. If the cons outweigh the pros then you don't do it. I think we would all agree that reset, particularly complex reset, is a con. Therefore, it needs a big PRO to make it worthwhile!

I prefer effects with no reset because it makes me feel more confident in what I can do and when.

Nicholas, brilliant posting! I personally prefer effects with the biggest pro to con ratio, some of which I've found require reset and some which don't.

Larry

Joseph:

Was this at a lecture you attended? Or, was this on his lecture video in the U.K.? I'm real curious about this; you can bet that if Tommy Wonder says something, he has probably given it a lot of thought. Very interesting!

Ron

Tommy Wonder is brilliant. I'd be very interested in hearing his complete thoughts...there has to be more than the synopsis in the initial posting?

Hmmm. I don't worry too much about reset time. I'm not going to do stuff like JC's Super Closer for tables but things like Anniversary Waltz or a sponge routine where one thing has to be moved from one spot to another is no big deal. I'll even set up in front of spectators at times but they have no idea what's going on. For instance with the anniversary waltz...after the card is given out, I take a new card out of my breast pocket and add it to the deck. People never ask why I do it. On one or two occassions they have and all I said was: well you guys took two of my cards so I have to put at least one back in to have a somewhat full deck. And for some reason it made total sense to them. I think that some magicians get too caught up in "reset time". Although I think it's VERY important you do have to look at the impact ratio of an effect. If the impact outweighs the hassels of a one to two second reset that you can do while walking across a room...then by all means keep the trick in the set. I had that problem with Side Swiped. I love the trick but only do it occassionally while working because of the reset time. The trick stays with me for a heavy hitter but I don't do it more than say 4 times a night.

If I may add my comments about the RESET thread...

Each person has their own opinion on this (reset) and only experience will determine what works for you. I have a few that I carry that does require a reset but nothing that takes more than 20 seconds in a corner or while getting a sip of water to re-do. Usually I have my opening and with that it is not much of a reset. Although I have to pull a sponge ball out of my thumb thing as does Frank Starsini.. If I see other tables watching and they seem interested I won't do the tricks that require a reset for the table that I am working. I will save one or two of them for the other table, so that they won't see the same things as the first table did. After that I will finish and excuse myself to get a bit of water and then reset whatever I have to reset.
Shaun

I believe Tommy Wonder said if you use resetable items (he does) try to work the reset into the routine. This way when your done everything is ready for the next table with no mental list of what is reset and what is not. This requires a little more thought while structuring your routine and it's not always doable but it is something to keep in mind.

Now that makes sense.

David Blaine would never be famous if he didn't use tricks that reset

Blaine, on his TV specials, has the luxury of editing that those of working at restaurants, trade shows and functions do not have.

I am sure Blaine would be just as famous if he chose effects without reset. It’s not Blaine’s tricks that make him famous (after all, we all know Blaine's effects and many people have been performing them for years before Blaine without getting famous)

Unfortunately, some of the best routines/trick in the business do need a reset.
One has to plan - If they are normally a success with your audience - how to *repeat* them when doing table/restaurant magic. It simply depends on the reaction you get. If people like your routine and there is any chance you can do a *reset*, you simply have to find a way.

I just have one simple example, a routine I've done ever since around 1960 or so the Hindu-thread. The audience loves it, when presented the right way.

What to do re a reset? Well, in this case it is simple. One has to have a couple of prepared *spools*. They don't take that much space and when the routine/presentation is worth is, you have to do it all the time. Simply have the spares in your *bag* and load to the place, wherever you take it from later. In my case my right jacket pocket. I always store the prepared spool(s) in little container(s) of plastic that just fits the spool, that container has a snap off lid so the *preparation* never gets disturbed. Just take it out of the container and place it where you need it.

Often when doing it *impromptu* I take it visibly out of the container. It works. It’s just a matter of handling it the right way. There are very few commercial routines/tricks that can be done anywhere, anytime, like the Hindu/gypsy-thread. Lots of the really great performers did it, even Fred Kapps, who was the one I saw first doing it around 1958 or so and I played with it ever since. It's one of my favorite routines for close-up and I mostly open my little close-up act with it, because it makes me relax -as I've done it for so many years and the audience enjoys it.

The next fine performer I saw doing it was Piet Forton, and thereafter I started my own trial and errors doing it. All this just as an example how to overcome the *reset* problem. Of course this example can't be used for too much other stuff, but for small packing equipment, simply have a prepared spare.

Another example is the *Chinese bit* or better known as copper/silver/brass.

Well, what always was a problem for me was I had to prepare a side pocket/trousers pocket with the *prepared*/gimmicked set. I didn't like this. So I found a solution. The
solution is to have ALL coins in a small purse, the prepared one on top.

Now, this is impossible you describe, one should see it done. That purse is made in a way, where the coins can't move around, meaning every single coin stays in the place it is place beforehand, so I always know (blindfolded) where each coin is positioned.

Now, this is due to, a *string* which is connected to the zipper of that purse, is wrapped around the purse and secured by tucked inside the folds of the purse.

Purse is taken out of any pocket, the string, which is sticking out, is grabbed with thumb and forefinger, the whole purse is thrown on the left hand whereby one opens the zipper by use of the string with the right hand.

Opened purse in left hand, right hands goes inside grabs all the coins with thumb and forefinger of the right hand and whilst forefinger and thumb of right hand thereafter closes the zipper of the purse, the top coin (gimmicked set) is classic palmed in the right hand.

After zipper is closed handle the purse to a spectator, remarking *note the quality of the skin/leather*, to free your left hand.

All the coins (silver/Chinese/copper) are then thrown to your own left hand, whilst the right hand keeps the classic-palmed gimmick. Taking back the purse with your right, placing it in your right trouser pocket, which has to be empty otherwise, at the same time place the gimmick there.

Now you start the routine by jiggling the coins in the left side. The whole idea is to start clean and end clean. You do almost a backward action to prepare your purse after the routine, that's why I tried to describe that handling. Think about it and try it out.