· 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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