Often, the last transposition is some hacked together combination that only serves to end the routine. The problem with most Coins Across routines is that the first transpositions are the best. During a 50-year long search to find a better way to conclude a Coins Across routine, this experiment has emerged with a superior technology. The roots of it are the standard method of doing Al's Coins Across routines. Stargate - This experiment is, perhaps, the most significant of the bunch. The six quarters magically enter the bag while the spectator is holding it, which stuns them into motionlessness. Therefore, in this effect, six quarters are borrowed and a spectator forms a bag out of a handkerchief. One of the most powerful tricks is Expansion of Texture and our premise is to increase this power by a factor of six. We want to kick up the power of magic to appear as real magic. People view mentalism as real, which thus makes it more powerful than bland magic tricks. Hexpansion of Texture - The goal of this experiment is to match the power of mentalism. In the end, the audience is convinced the most powerful method of doing magic is to do nothing and let the Universe do the work. The added material is put in front of a perfect Matrix presentation and the entire routine uses a sophisticated Zen approach to heighten the impact of the Matrix concept. What they add, however, often makes the routine weaker. Many add to the routine to make it longer. Many have complained that, though Matrix is powerful, it is too short. Zen Matrix - This is a length and complicated experiment with a goal to enhance the reaction power of the standard Matrix routine. This could easily become a favorite routine as it is easy to present and gets the magic job done, leaving the performer to focus on presentation. This is a basic Coins Across routine in which three silver coins travel from one hand to another to join an odd coin such as a copper coin. Sparrow 1 - This experiment is to capitalize on shell technology and also to provide an easy-to-master sequence of motions. The cards are placed over the coins and then removed one last time for a spectacular conclusion. This is repeated and the coins form a different pattern yet again. Small cards are then placed over the coins and when the cards are lifted, the coins form a different pattern. The goal is to place coins on the table in some kind of symbolic pattern. Katanga - This is a bleeding-edge experiment that attempts to open a door to a new kind of magic. It's quicker yet takes advantage of the Max Al Ping Chen technology and shell theory. The primary goal of this experiment was to shorten the routine, making it more suitable for casual or walk-around situations. Special Export 1 - This is essentially a modification of Heisenberg Routine I. One at a time, the silver coins magically find their way to the right hand. Three silver half dollars are held in the left hand. This routine is intended for formal sit-down shows. This version is an experiment to improve the conclusion of the effect with the addition of a move called Max Al Ping Chen. Heisenberg Routine 1 - This is a classic Coins Across routine.

However, a suitable surprising finish is incorporated into the handling, making this a more stunning effect. In this updated version, all three coins go through the table one after the other. Then, because the power of the shell expired, the performer would use some other sequence to finish the routine. Traditionally, the first two coins went through the table. Quantum Tunneling - This began as a routine with three coins and a shot glass. Here's what's contained in this confidential file: Fifty years of Al's magic experience has been focused on making these effects more streamlined and more magically powerful with the spotlight on coin routines that depend on gimmicked and extra coins. The experiments presented are an attempt to move these classic 20th century effects into the 21st century. This DVD contains a collection of classic coin effects that Al Schneider has been working on for the last 50 years.

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