MagicbyAlfred wrote:Magician Logic in using pass to control a selected card: "Well, if i just do a smooth, deceptive pass, it will look like I did nothing and the spectator will believe the card is lost somewhere in the the pack."
Reality: The spectator knows the magician can control a card by sleight of hand not detectible to the spectator. He/she doesn't know how the magician did it, but nevertheless believes the magician did something sneaky to control the card (which, in actuality, is true).
Magician Logic in using a pass followed by a shuffle (or, alternatively, no pass, but just a shuffle or a double undercut) to control a selected card: "Well, if i just do a smooth, deceptive pass followed by a smooth deceptive overhand shuffle or double undercut control, the spectator will believe the card is lost somewhere in the the pack."
Reality: The spectator knows the magician can control a card by sleight of hand not detectible to the spectator. He/she doesn't know how the magician did it, but nevertheless believes the magician did something sneaky to control the card (which, in actuality, is true).
This is why I subscribe to the Professor Hoffman approach of palming off the card after the control (irrespective of which control it may be), handing the deck to spectator to shuffle, then replacing the card after the spectator has shuffled to their heart's content. I use the same approach in Spectator Cuts to 4 aces, Card to Ceiling, and various other effects, as well. This may slow things down, but it builds true conviction. Without that conviction, it doesn't matter how incredible the revelation or location may be. Like anyone else on here, this is just my opinion, but it is one born of blood, sweat and tears, performing for laymen for over a quarter of a century.
I agree with your philosophy on this subject, but I have never been fond of palming. It is one of the most well known deceptions in magic, and therefore one of the hardest to get away with. If you can manage it, that's great. However, I prefer a more visual assurance that no "funny business" is going on when I do The Pass
First of all, I do it VERY SLOWLY, so as to allay suspicion of the hand being "quicker than the eye". After the chosen card is replaced in the face-up fan of cards (I often ask them to insert it only partly, with half of it still sticking out), I turn the spread towards the onlookers, making sure they see the bottom card of the deck. It helps to use a MEMORABLE card, like a king, a queen, or an ace. I close the fan gradually, keeping both the selected card AND THE BOTTOM CARD in full view.
As I do this, I am maintaining an invisible break at the chosen card with my middle finger. All I need do is LIFT the bottom half of the deck--sort of LEVER it up and over the top half as I simultaneously close the fan and bury the card.
By keeping the BOTTOM CARD in full view the whole time, I can easily conceal the fact that I am inverting the two portions. And because I lift the bottom half WELL ABOVE the top half (no contact), it is a perfectly silent move.
It seems as though all I have done is slowly compress the fan and gingerly flip the pack over.
I wish I had a video to show you, but I hope my description will resonate with those that are conversent with The Turnover Pass