Metals. Refer back to page 243 and you will see how tht sub-division principle can be employed in respect of metals in the material code. The example shows how the following code works.

A Aluminium 1 Iron

B Brass S Steel

C Copper T Tin

Thus: Q. Will you say what this is made from? A. Metal.

Designs. Similarly, designs on brooches, badges, etc., can be described by other simple codes.

A Animal F Flower

B Bird L Letter

Further sub-divisions may be made for coding the exact'type of design. Example: Q. I'd like to know what the design is. A. It is an animal design.

Q. Yes. I'd like you to say, CAN you, the particular animal ? (M) A. It is a Monkey.

Tickets. In the case of a ticket, a further question may be asked as to the kind of ticket. If it were a bus ticket the letter B would be coded: "GO on, what kind of ticket?"



Pens. Again, the Medium can tell the make of a particular pen: BIRO B MENTMORE M



Example: Q. Please tell me what this is.

Q. Yes. What kind of pen PLEASE?

(B) Procedure

I suggest that the performance commences with a very short demonstration of telepathy with cards (section 8) followed by signalling the name of any country written by a spectator on the blackboard. Keep the telepathy of objects until the end of the show. Don't forget that the performer should at all times talk in a natural manner and, if possible, introduce amusing asides, all the time coding the objects to the medium. Don't forget that you can code words even though not addressing her yourself. E.g. WOULD you mind concentrating on your object". And don't forget that with the owner's permission the contents of a wallet are always interesting. So also are tickets, driving licences (dates of expiry, etc.), cheque books, stamps and designs on brooches. If they are not handed to you then ASK if anyone will hand you his wallet, etc., until you have collected a number of articles. If you should get a difficult object then at least get your partner to say what it is made of, the colour, where made, and any initials on it, if nothing else!

Try and end on a strong note, and don't go on too long.

(2) Sub-Miniature Radio Equipment

There is nothing new about the use of Radio Equipment for mental magic. However, there are many new developments in this particular field and although space does not permit technical details, we can offer a few hints and practical suggestions.

Modern day two-person radio equipment consists of a double unit. One is a very small transmitter and the other a very small receiver. The latest improvements on this type of apparatus include transistorised apparatus which considerably reduce the weight and size. Such appliances are available as for example the Corinda new "Mastergimmick" and Nelson's "Secret Invention". If you know a lot about the subject you can make your own— but for reliability it is advisable to get a dealer model which is guaranteed to work all the time. This is not sales talk—but sound advice to anybody who contemplates the use of this apparatus. You have to bear in mind that when you are using it—there's no "get out" if it fails; it's got to work all the time.

The apparatus works like this. Your medium or performer has a miniature receiver which is usually about the size of an English Penny. This is carried on the person and allows the holder to hear anything that is broadcast by the assistant who speaks into the microphone plugged into the transmitter.

The two are not connected and complete freedom of movement is obtainable. The range on good models is often as far as a quarter of a mile when worked properly. It is possible to relay over a considerable distance—amounting to many miles, but such a set up takes a lot of trouble. There are three types of "receivers". The first works by direct volume—and you hear like as though listening to a miniature wireless set, the second known as the "bone conduction receiver" allows you to hear (and only you) by a process of vibrations carried on the bone (Usually the collar bone or the bone behind the ear). The last has no sound attached to it. It is called a "Pulse Unit" and the "receiver" attached to the leg or arm indicates by pulse signals what is being sent. The latter type needs a code and cannot be applied for direct voice transmission, therefore is not so good. With all types, it is impossible for the audience to see or hear anything at anytime—unless you want them tc !

The majority of these sub-miniature radios are "one way" sending units. That is to say, the assistant can speak to the performer—but the performer cannot speak back to the assistant. However, two way models can be made. Nevertheless, a fantastic amount can be achieved with the one way unit, and more often than not the assistant is in the wings or very nearby the stage and can hear what is said. Another way out of the "one way" problem is for the performer to write his answers on a blackboard which can then be seen at considerable distance. Really it is not much of a disadvantage— at least, not as much as one would suppose.

The use of radio equipment presents a lot of problems and requires a lot of skill. The apparatus may well be perfect—but it doesn't end there. You have to be well trained and have thoroughly reliable assistance. You have to work out a really good application of the equipment, a thing which might appear very easy—but which is in fact rerrkrkably hard. The great difficulty is deciding what to do. There is so much that you can do that you tend to lose your head a bit and find yourself bringing in absolute miracles which are too good. So good—that any intelligent member of the audience will say to himself—that man is using a radio or he's psychic! It's not a laugh—but a very true problem as anyone who has dealt with the subject will tell you.

To conclude, if you are thinking of this type of work for a two person act (or a one man routine) then I advise you to consider the following important points:—

(a) Find out if the equipment is a Battery or Mains model and if it is the latter be sure you get the right voltage for your locality. It won't work on the wrong voltage. If it is a battery model, be sure you can get replacements and have spares with you at all times.

(b) Remember you cannot work it alone (except for very few effects) and that you must have reliable assistants. Always teach the assistant how to work the controls so that they can cope with any emergency (i.e. turning up the volume, switching on and checking the microphone plugs).

(c) Don't think that a transistorised radio will make you a mentalist. Nothing but the ability to perform and the talent of showmanship will do that. It will give you wonderful effects that you can do—but you still have to present them.

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