I think that the key to a succesful ringflight on a techniquel level is a good working gimmick. You need a really good reel and you have to handle it with care (e.g. never pull it out and release it without a weight attached to it). That ensures a long life. Another important factor is the hook. It has to be made for easy and quick attaching AND beeing secure all the time. I bought a lot of ringflights and have thrwon away even more as they did not stand the tests.

But if you have the right Gimmick (and you have done your homework and rehearsed it well) from my experience it cannot happen that the ring drops. I do the ringflight since about 10 years nearly at every second table when I do my walkact and never lost the ring. I am absolutely sure that it is the quality of the gimmick that safed me and not luck.

Anyway for safety reasons I stay away from the ringflight when working outdoor. When a ring drops on a restaurant floor you should be able to find it, but outdoor it could be more difficult. And when you really loose it you will know that you should ask for a higher fee for your next act.

Now you might ask me which gimmick I use and here is the problem. I only know a source here in Germany. It was reccomended by Christian Knudsen who talkes in detail about this topic in his great book "Herzblut" (not available in English as far as I know).

http://www.boretti-shop.de/sg_MicroundCloseUp.htm?ID=1157

I know I just said it in another thread, but I agree with Ku7uk3. Spectators often don't like it. As far as I'm concerned, give them the option, it eliminates a duplicate ring from the spectators mind and 9 times out of 10 you will end up using your own ring.

In my limited experience, ring flight as a stand alone effect is kind of weak which is why people feel it is so dependant on a spectators ring, but from what I've experienced, it rocks as a finisher no matter whose ring you are using, and sucks just as hard if all your bit consists of is "Can I borrow a ring? Oh look lulz. I'm magic, it's gone. Look it's on my keys! The End"

I agree, I've performed Ring Flight for 27 years now and have ALWAYS borrowed the ring as I do with almost every effect I perform that involves a ring save for effects such as a thimble manipulation routine done with a ring instead since finding a suitable sized ring can be difficult if not down right impossible if you're performing for a small gathering. I will use a ring with a stone in it, but ONLY if it is of the embedded type where the stone sits deep in the setting as it far, far less likely to come loose. NEVER use a ring with prongs holding the stone as these are much more likely to give you trouble at some point or other. Just make sure that if you're going to use a reel that it's in good working order before each performance as I've had to buy numerous replacements over the years since the older types life span was not that long. Currently, I use Dave Bonsall's Ring Flight Revolution as it is the most reliable and seems to be the best made Ring Flight I've ever owned and the locking feature is great so the spec. can give their ring a gentle tug to prove that it's really on the key ring. They suggest on the website that you can have the spec. remove the ring, but why? At that point the effect is over and the rest is just clean up which should be done by the magish not the spec. When Copperfield borrows a ring he asks everyone wearing a ring to hold their hands up as he walks amongst them and looks for a suitable ring, one particular performance he did it with a puzzle ring and all I could imagine was just one half of the ring being on the shoelace when he reveals where it has ended up, but he made it out just fine. I feel that his method of selecting a ring is very good as it gives you options when performing for a decent sized crowd. Just my two cents.

Pro-Flight by Nick Einhorn elimates many of these concerns. Great prop and the ring is always in your control.

The main reason for borrowing someone's ring is the fact that it's an object that is doubly emotional as a symbol and as a valuable object. This places a focus and "weight" on any ring effect (ringflight is only one of them) that is exactly what we are looking for: it immediately gives meaning to the effect and if our script is just a shade more than descriptive then the effect has an instant very strong impact. Thus let's not fear be the ground for procrastination. Strong magic and fear do not live together well.

Fully agree with Lawrence O. Practice it to perfection and do it with confidence.

I stand by what I said all those years ago - borrowing a persons personal possession is uncomfortably and worrying for the person you are suppose to be entertaining. How would you like it if a stranger walked up to you and asked for your ring. Would you give it them? No.

Its only because you approach your spectators in a group dynamic that peer pressure forces them to lend you their ring when they don't want to. You may find the odd person who is 'up for it' sure. But I bet if you lost their ring, they are the people likely to give you a black eye.

At the end of the day though, there are thousands, perhaps millions of magic tricks in existence. Just because ring flight exists, does not mean you should be doing it. Just like the smash and stab effect. It doesn't matter how safe you try and make it, there are many youtube videos that prove it is not infallible.

As for the ending, I have three and four I choose from depending on the mood I'm in. Ring flight is just one way to end a routine, it is not the only way.

I strongly support borrowing a ring for performing. Whether it is a corporate walk around, or a private gathering people know you r there to entertain. It is not like a TV show where you walk to strangers & perform. Though you r not their buddy they do know that you r paid to entertain them, hence you r definitely not a stranger. Only if they r willing to be entertained they ask you to perform otherwise they'll excuse you Now when they r wanting entertainment why not give them that???
Regards,
Raj.

I borrow a ring for nest of wallets. I have found there is less resistance to loaning the ring when it is not my first effect for the group. I also borrow only rings that have no stones, and I don't borrow a ring if the room is not carpeted.

I wont name him, but I know of a professional magician who did ring flight with the brides wedding ring on her wedding day. The ring flew off the reel and went flying across the room. It was never seen again and the magician ended up paying £1000 to replace it.

I myself have borrowed a ring and had the spectator say there is a stone missing from the ring after the trick. They did it in a joking manor but for those few seconds my heart almost stopped. You may think that's funny but wait until it happens to you. That was the last time I ever borrowed a ring. Not because of the liability or stone loss situation, but because it gave the spectator power over me. There remark gave them the control of the situation and broke whatever momentum I was building. The other spectators did not know he was joking and suddenly I became the evil monster that broke someone's ring. Try performing your next trick after that.

I establish a character and a series of tricks that's build. When that is derailed by a spectator making a joke, it ruins my act. Therefore in order to ensure it never happens again, I will do everything possible to maintain control of my performing environment. As it ensures I have their complete and undivided attention at all times.

I can see now why Rope Nut Knot is popular. Allays a lot of these concerns and keeps the impossibility high.

There is a concern about damaging a borrowed ring, but another concern is suitability of a ring that may be offered. George Schindler tells a story about this problem in his lectures. Personally, on one occasion I asked to borrow a ring and the one I was offered was very sculptural with so many protrusions that the shoelace got hung up during my favorite penetration routine. To not accept a ring once offered is a mistake. Also, I prefer a wedding band or similar ring since getting the sculptural one. Many people are reluctant to take theirs off and some simply can't, so I always wear a band on my pinkie when I intend to do the routine in question.

I am for borrowing a spectators ring. But this calls for good audience management. It would be a wise idea to have already asked someone before the show if they would be willing to volunteer their ring. This way you have solved the many problems discussed.
In advance, you know the ring is not embedded with delicate gems, no awkward silences waiting for a stuck ring to be removed from a finger, and the spectator has agreed in advance so you have gained their trust and respect.

There are good advices in this thread. If I can't borrow a ring (people don't have any, or too valuable ones, or seemed reticent for whatever reason), I will propose to freely choose one of my set, and perform RFR. And I may propose to do it again with another ring of my set, again using RFR. But that takes some pocket space.

My opinion is that the best moment to ask for a ring, is when you are at the point of ending your show, i.e., the ring flight tricks (interlace, RFR, Closure, or even using Deluxe nest of wallets). If think if you say it openly, that will increase the chance of getting a positive response. Especially if you've done a lot of object-into-impossible-location tricks (may be cards, coins, etc.) before. Perhaps people will feel more comfortable this way, due to your skills.

I own Interlace and RFR, but for know, I'm experimenting them only on people I know for the sake of training; and of course, answers were always positive. That's why I'm wondering, if you ask to borrow someone's ring, say at a paid gig, what words will you choose, how would you ask for a ring ? I'm asking for advices here.