The Berglas Effect (eBooks and DVDs) /Download. by Richard Kaufman and David Berglas. The big ebook that reveals the innermost secrets of the card. The big ebook that reveals the innermost secrets of the card miracles performed by the legendary David Berglas for 60 years, written by magic's most. Sincerely Yours The Berglas Effect (eBooks and DVDs) /Download by Richard Kaufman and David Berglas The big ebook that reveals the innermost secrets of .
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Holy Grail Of Mentalism - Any Card At Any Number Berglas Effect - site edition This reminds me of those really cheap ebooks released a few years back. The Berglas Effect (eBooks) /Download by Richard Kaufman and David Berglas The big ebook that reveals the innermost secrets of the card miracles performed. The big hardcover book that reveals the innermost secrets of the card miracles performed by the legendary David Berglas for 60 years, written by magic's most.
I've spent multiple hours breaking down the book and the dvds. The Book: The book is well written. I've seen multiple people say "The Berglas effect isn't in here".
Those people are wrong.
The basic principle is in there, but that isn't the whole book. This book is about his card work; which is stupidly amazing. You learn to "Jazz" around and become a dynamic performer. As a fan of Jazz music, this is a very similar style based off improvisational techniques. If you're a Dan and Dave fanboy move monkey Which is awesome , this book isn't for you. I say stupidly amazing for the fact, magicians can see what you are doing, but your audience won't.
I love the stuff in there, but I wish there was a little bit more. It is very informative about his back ground and thinking. Someone else says from the top or bottom of the pack. When the man on stage counts to that number, somehow, the card is the right card in that position.
Later on the tape, David performed the effect for Martin Breese who on naming the Jack of Clubs and calling for the number nineteen was amazed to find the card at that very number. And that was after being given the choice of dealing from either the top or the bottom of the pack! The performance sent cardworkers delving into their libraries in search of similar effects. It was Jon Racherbaumer, writing in his book.
The appellation has remained and the effect is considered in the same genre as Dai Vernon's Brainwave Deck and Ralph Hulls Name-O-Card, in which freelv chosen cards are revealed with the minimum of fuss. The chance for a personal demonstration came at the British Ring Convention at Hastings in , where David was helping fill in time between the competitors in the Close-l p Competition.
He found himself performing his brand of card magic at the very table where Gus Southall. David asked Gus to name a card while another spectator called out a number. As usual the card was found at the selected number in the pack. The audience applauded and then David said, "Well, you know how that's done don't you?
Gus is a stooge! It was obvious that this couldn't be the solution when other accounts of the effect began to appear. It's a short hop from Amsterdam's Schiphol Airport to London's Heathrow, and after ten minutes of flight David asked me to name a card.
The Berglas Effect (Books and DVD) by Richard Kaufman and David Berglas - Book
Five minutes to touchdown, and he asked me to take a case containing a deck from a holdall that lay at his feet. He asked me to take the cards from the case and count to the number I had given him, namely twenty-two. One might have thought that Peter's description would clarify some of the points but ironically this was not the case. Some magicians took the description too literally and assumed that the bag he mentioned played a part in the working.
Perhaps, they suggested, it hid more than one pack of cards, maybe as many as fifty-two. The rumours and speculation continued as magicians struggled to fit each new description into some kind of model that would reveal the true secret.
He asked me to name a card and any number under fifty. My reply was the Seven of Hearts and forty-two. He motioned me into his study and pointed to a deck of cards on his desk. He handed the cased deck to me. When I counted down to the forty-second card I discovered the Seven of Hearts.
The experience was chilling! Three years later, Barrie met David again. They were driving around London, with David at the wheel, when he asked Barrie to name a card. He chose the Four of Spades. Then he selcctcd a number. He says that if David ever reveals his own method, well, he just doesn't want to know. So Barrie, put the book down now! Revelations: David has been asked countless times to explain the method behind The Berglas Effect and he has always declined.
This was not to keep the secret from fellow magicians or perpetuate the legend. It was for a far more practical reason. The Berglas Effect embodies everything that makes David the performer he is.
It is so finely tailored to his own way of working that it is doubtful whether he could ever describe the method so completely that some other performer could make it work for them.
Anyone looking for a simple description will not find it here. But if you are looking for miracles, you might want to stay awhile.
Jazz Magic To understand how the effect works it's important to understand the context in which David uses it. He has never performed card tricks in the standard way. He rarely has cards removed from the pack, returned and then the pack shuffled.
He prefers to use his Think of a Card techniques so that cards are merely thought of.
This is much more magical and more suited to his particular style. Instead of people taking cards, he fans the pack and they think of one. Fie might go to several different people and each of them merely thinks of a card. In an impromptu performance he will reveal the cards in quick succession; one might be reversed, another in his pocket, a third under an ashtray and so on.
It is a routine he has been using for many years but it is not built along rigid lines. He will take advantage of the circumstances and environment around him. A card might find its way into a spectator's pocket, under their chair, inside a clock or outside a window.
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He's always looking for the most impossible effect and the fact that he knows ail the selected cards before he even attempts to reveal the first one, means that he has lots of time to set up situations in which miracles can occur. It was a natural step to have people name cards rather than think of them. At an informal gathering, a dinner party for instance, he will start by saying, "We'll try something with cards and I'd like to involve as many people as possible.
Then he'll point to a number of people, saying, "Mention a card to me. And you mention one, and you David memorises all the cards called out and can set them up for their revelation long before the effect seems to have begun.
So by the time he has done a trick with the first card, he has already set up the second. A simple version of producing the named card at a chosen number is often included in these performances.
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When fanning the pack he may spot that a named card is at the seventh position from the top of the pack. He will then ask someone to, "Mention a number to me. If seven, David will then ask them to remind him of their card. On dealing down to that number they are amazed to find their selection.
They are particularly stunned because of the deliberate hands-off approach that David adopts. He conveys the impression that he has barely, some would swear "never,"' touched the pack. He thinks of it as "remote control magic" and that's the story audiences take away with them: "I thought of a card and a number and when I dealt down to it there it was. And he never touched the cards! If chosen it produces a wonderful, hands-off effect but it can't be relied on. Incidentally in David's radio shows he used a more reliable method of persuading the volunteer to choose the number seven.
He asked them to "Give me a number between one and eleven. Let's imagine that a spectator calls out the Eight of Clubs and David knows that it happens to be eight cards down from the top of the pack. He immediately says, "Because you've chosen an Eight we are going to count eight cards down and the eighth card will be your card.
Now if I had arranged the cards so that the first one was an Ace, the second a Two, the third a Three and so on, it wouldn't be very surprising if the eighth card was an Eight. But it's not just going to be any Eight. It's going to be your Eight, the Eight of Clubs. They are dealt face up onto the table as David counts aloud. Everyone can see that none of the dealt cards match the number being called. He stops the deal after the seventh card, reminds the spectators how extraordinary it would be if the eighth card was indeed an Eight, the Eight of Clubs, and then has it turned over.
It's a very effective moment. But let's say that the card does not already lie at the chosen number. It may be seventh from the top but the volunteer has chosen the number thirteen.
David will surreptitiously slide six cards from the bottom of the pack and, while gesturing, casually put them on top. It is now the thirteenth card. The pack is placed on the table while he talks about something else. Then he'll say, "Just remind me, what was the card you thought of? And what was the number you wanted? And again, if performed correctly, the audience will forget that he had any opportunity to place the card there.
It is literally jazzing with the cards, thinking up spur of the moment effects and methods and implementing them in the best way possible given the circumstances under which he is performing. Sometimes the effects are as fresh to David as they arc to the audience.
On other occasions, experience has taught him well-known routes along wiiich miracles can be found. The key is to locate the cards quickly and invisibly and set them up for their revelations using any viable means at his disposal.
Many times David has tried to put together some guide as to his thinking, but the process is impossible to treat as a simple formula—just like any description put forward for the equally challenging and improvisational The Trick That Cannot Be Explained from Dai Vernon's More Inner Secrets of Card Mage A Foundation For Miracles As well as being able to perform The Berglas Effect with a borrowed, shuffled pack, David has also used a set-up pack, particularly for more formal occasions.
Here, at least, we have a structure on which to hang our description. Using a set-up the named cards can be located incredibly quickly without David ever looking at the faces of the cards. Using a set-up pack in a routine in which spectators are calling out cards has other advantages. Let s say that the pack is on the table and David hasn't touched it since he took it out of its box.
Eight or nine people have called out cards and David has memorised them all. Not only that but because of the set-up he knows where each card lies in the pack. With eight or nine selected cards out of a possible fifty-four the pack contains two Jokers David is, as he says, "going to get lucky. Or it could even be in the centre of the pack where, as it happens, David could cut to it more on that later.
Any card that lay in those fortunate positions, he could reveal instantly. In reality, if any of those lucky breaks materialised David would keep them to himself for now. They are the foundations for a miraculous finale, why waste them?
Ideally he wants to begin the routine with a very strong revelation and finish it with a miracle. Obviously everything else in-between has to be strong too—in the eyes of the audience they should all be miracles—but the first and last revelations need to be stand-out items. A set-up pack also makes it unnecessary for David to secretly count cards if he needs to cut a batch of cards, say, from the bottom to the top.
Let's assume he needs to move twelve cards. He knows the name of the twelfth card from the face of the pack in his set-up so could fan the cards, spot that particular card and quickly cut the pack at that point. I Iowever, what he prefers to do is rely on his ability to cut to any card in the set-up with an error margin of one card either way.
An obvious use of the technique in conjunction with a set-up pack is to cut a named card to the top. More interestingly the same technique can also be used to cut a packet containing a known number of cards. Effectively it means that any named card can be positioned quickly at any position in the pack. David says that the task of doing this is not as daunting as it may first appear.
It is not difficult to estimate the centre of the pack or visually divide the pack into quarters. Even the beginner can estimate the position of any card in a set-up within six or seven cards.
Getting that down to just one card either way is just a matter of constant practise.
One simple method of getting a named card to a chosen number is of particular use at the beginning of a routine. Let's assume that the set-up pack is on the table and David knows that a named card is at the eighth position. However, in this instance the volunteer has called out the number five. David immediately opens the case and slides the pack out into his hands, secretly pushing the top three cards back inside. This automatically puts the card at the correct number.
Up to seven or eight cards, from the top or the bottom of the pack, can be left behind without it being obvious.
What is more, because he knows the identities of the cards, he can use this information to his advantage. For instance, one of the other named cards may mysteriously disappear from the pack and find its way back into the card case! And all without palming. The possibilities are endless. At no time does David ever give away the fact that he has remembered the names of the cards the volunteers have called.
They have been mentioned openly at the beginning of the routine merely by way of confirming their selection, for the spectators' benefit not his. Before a card is revealed he will ask the spectator to remind him of their selection, which implies that he hadn't heard it. With a set-up pack David has an infinite number of possibilities. Cards can be quickly culled, palmed and reproduced from his pocket or the card case.
They can be loaded under ashtrays or into spectators' pockets, way ahead of their moment in the spotlight. And they can, of course, be counted to. He chooses from the options that are presented to him and hammers his way through the revelations one at a time, pausing briefly to point each effect before carrying on to the next. I hope that you are beginning to see a picture emerging. One thing he doesn't do is spell the name of the card in order to reach it, as was the case in Ralph Hull's Name-O-Card.
If, on the other hand, it is the name of a volunteer that he could not possibly have known, well, maybe he would use that. Generally though he thinks that revealing a card by spelling its name is to be avoided. Now we come to the set-up itself. David uses a random stack that he has memorised. Many people have used stacks in this way but David has a major advantage with his technique and it is this: not only does he know the number of each card in the pack from the top but he also knows its number from the bottom.
Furthermore he also knows its position from the centre of the pack. How this affects his routine will soon become apparent. David has several different set-ups. In one, each card is keyed to a number.
When a number is named he instantly knows the card lying at that position. But in his other set-ups he uses key cards strategically placed throughout the pack.
By way of a simple example, assume that every tenth card is an Ace David's set-up is more subtle. If the number twenty-three is called the second Ace instantly springs to mind and the cards that immediately follow it can now be recalled.
The twenty-third card is not far away and is soon identified. As unusual as it may seem to those who do not regularly employ memory techniques in their act, David says it works just as well as an arrangement in which every card has a key-number. The Bridge Now for that advantage we mentioned earlier. David uses a fifty-four card pack, including the two Jokers. At the centre of the pack is a bridge that he can cut to instantly.
With a borrowed pack he prepares the bridge in full view of the audience while casually playing with the pack. First he springs the upper half of the pack, face down, from one hand to the other several times.
This puts a slight downward bend in the cards. The lower half of the pack is turned face up before being sprung from hand to hand. This bends the cards in the opposite direction. Both halves are placed together leaving an enormous bridge in the centre of the pack. David riffles the outer narrow end of the cards from front to back to take out a little of the bridge. Then he turns the pack around and riffles the opposite end. The bridge is still there but it's now almost invisible.
If the pack is placed on the table, David can locate the bridge instantly by cutting the cards, his thumb at one long side, his fingers at the other.
Now let's go through the dinner party scenario again. Cards have been named by the audience. David has memorised them all and he knows where every card lies in the pack. Not only could one or two of the cards be near the top or bottom of the pack but they could be located at or near the centre.
He might be able to cut to a named card right now. Alternatively he could cut the pack knowing that this would result in one of the named cards being brought to, say, the seventh position from the top or bottom. The number seven is merely an example. There may be other significant numbers or positions that can be made to work for him.
David will use whatever seems right at the time. Better still, and this is the ploy that David uses most often, the spectator could cut the pack himself and bring a chosen card into a required position.
Imagine that the named card is the twelfth card down from the bridge and that twelve is indeed the number that has been called. Having established that it would be a miracle if the card was at the chosen number he then adds, "Now if I dealt the cards you might suspect some kind of sleight of hand. Wouldn't it be better if you dealt them? He wants the spectator to grip the pack at its long sides, that way they are more likely to cut to the bridge.
He encourages them subtly, saying, "Just cut the cards about halfway, don't even think about it. He repeats it for the benefit of everyone present and continues, "then that would be a real miracle, wouldn't it? It is a miracle. The ruse of getting the spectator to cut the cards at the bridge eliminates sleight of hand manoeuvres such as the Pass. It also maintains the hands-off appearance that David believes raises the routine from a clever card trick to a true impossibility. More importantly, the bridge means that David is no longer thinking in terms of one deck of fifty-four cards.
He now has two packets of twenty-seven cards and that allows for many more possibilities. Let's assume that the volunteer calls out the number ten and the card can be produced at the tenth position. Now it may be tenth from the top or the bottom.This is much more magical and more suited to his particular style. I'd say that if your serious about your Magic and Mentalism then you owe it to yourself to order a copy of this PDF today. He may palm them away or shift them to the bottom of the pack.
Ideally he wants to begin the routine with a very strong revelation and finish it with a miracle. An obvious use of the technique in conjunction with a set-up pack is to cut a named card to the top.
The chance for a personal demonstration came at the British Ring Convention at Hastings in , where David was helping fill in time between the competitors in the Close-l p Competition.
Here, at least, we have a structure on which to hang our description.
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