Because bells have clappers, Tommy called them chimes. Like a string of windchimes that make sound because they touch eachother, not a clapper.
If Tommy would have lived, chances are big that this set would only have been sold with a soundgimmick, electronic or mechanical. In fact, the very last discussions he and I had, concerned that gimmick.
We decided to offer the set without the gimmick, mainly because the already steep price would have become unreasonably high.
We concluded that by including a soundgimmick, potential buyers would pay an extra amount of money for the sake of a presentational premise. Since it was also Tommy's wish that people would come up with their own presentaional ideas, the gimmick was left out.
The booklet was written almost 5 years ago. At the time we started this project (early 2006), we were not aware of the sets Jim Riser produced for the School for Scoundrels. It got my attention though when the sets were going into production at the beginning of 2010. From what I read from his website I had the impression that, while the same in basic effect, Tommy's design was VERY different from what was out there. Jim Riser's little weights look beautiful and exactly what they are supposed to be. (Would love to handle one of those sets!)
Lately I saw a youtube video of Whit Haydn performing with the Riser set. Very entertaining and a beautiful performance of this effect.
I've been performing this effect since 1995 (with a set from Tony van Rhee), so I notice how other performers deal with it. Like most of the sets out there, Whit's chink-a-chinks are difficult for classic palming. If I am not mistaken he came to the same conclusion as I did, by altering the palming method and handposition. It looks good. A slight drawback is that with this different palming you have to work a little faster. The hands can not easily rest without looking suspicious.
If you look at the old video (which is around somewhere on the internet) of Fred Kaps performing with a wooden set you see another strategy. Fred did the classic palming. But he was probably aware that the hand looked a little cramped so his hand makes a pointing gesture after it palms an object. Fred's handling is a little bit more relaxed than Whit's.
Believe me when I say that with the Wandering Chimes your hands are as natural, relaxed and empty looking as is physically possible. This is the big advantage which can make a routine so much more magical.
The David Roth version with coins looks so incredibly magical because it seems you do nothing, just waving your hands. Because there is no palming movement. This absence of (from the audience perspective) unnecessary movement is also possible with the big three dimensional chimes. It works better than with bottlecaps, better than with sugarcubes.
You cover them briefly with your hands, add an optional magic wiggle with the fingers, lift your hands, done.
(Because of my former profession as a fysical therapist I realise I could almost lecture about how and why this palming works so good from an anatomical point of view;-)
I hope that those who DO care for such detail will see these little gems in performance!