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they are a control (i.e. different names for same control).
A variation is taught in art of astonishment by paul harris, in an effect named facelift. They are taught elsewhere but I can't think for the life of me where.

Pinky break and double undercut

Darwin Ortiz has an interesting essay on card controls (I think it's in Designing Miracles) where he talks about what to use and when. The pass is to be used when the spectator is supposed to think their card is in the middle of the deck. A shuffle control is to be used when the spectator is to think that their card could be anywhere in the deck. And yes, there is a difference.

sleightlycrazy wrote:Darwin Ortiz has an interesting essay on card controls (I think it's in Designing Miracles) where he talks about what to use and when. The pass is to be used when the spectator is supposed to think their card is in the middle of the deck. A shuffle control is to be used when the spectator is to think that their card could be anywhere in the deck. And yes, there is a difference.

Good point! Suppose it depends how you let the spec select a card and when returning it to the deck how you hold the deck.

I like to mix the controls up abit when I'm performing, sometimes I'll use the hindu control, some times the injog and sometimes I'll got for the overhand lift shuffle.

I like to think that it keeps the specs on their toes and makes it much less likely to spot when you're doing something like that.

Yeah I also do a bit of everything as it also keeps the spec interested rather than place your card here *same shuffle/ cut* is this your card.

Although I nearly always have some form of overhand shuffle included.

The Lady of Mystery is spot on.

In what context do you need to control the card? Can it be done on an offbeat? Does it need to be on top with no shuffling in between?

Sometimes I'll bring it to the bottom first (Hoffzinger). Sometimes shuffle. Sometimes pass.

Now, for those of you worried about a pass, there are MANY ways to pass! The spread pass is great - built in cover. Turnover pass is wonderful in the right circumstance, and one of the "easier" ones. In other words, it does not have to be the "classic pass".

I understand that a double undercut CAN be a bit suspicious, but there are several ways to do it. Sometimes a double undercut done by dropping the packets on the table can be very good.

One way to help make your moves more invisible, would be to use some simple misdirection. I try to do ALL moves under misdirection. The offbeat (relaxation) or making a comment while looking directly at the spectator.

Sometimes it is good to simply wait for a bit. As Max Malini said, you may have to "Vait a veek!"