If you consider using this scheme you really want to have a very large amount of money and awesome fortitude to step away when you earn a tiny win. For the benefit of this article, an example buy in of two thousand dollars is used.
The Horn Bet numbers are not always judged the "successful way to play" and the horn bet itself has a house edge of over 12 %.
All you are wagering is five dollars on the pass line and a single number from the horn. It does not matter if it is a "craps" or "yo" as long as you gamble it routinely. The Yo is more established with people using this system for obvious reasons.
Buy in for $2,000 when you sit down at the table however only put five dollars on the passline and $1 on one of the 2, three, eleven, or 12. If it wins, fantastic, if it loses press to two dollars. If it loses again, press to four dollars and then to eight dollars, then to $16 and after that add a $1.00 every time. Each instance you lose, bet the last wager plus another dollar.
Using this approach, if for instance after 15 tosses, the number you selected (11) has not been thrown, you probably should go away. Although, this is what might happen.
On the 10th roll, you have a sum of one hundred and twenty six dollars on the table and the YO finally hits, you amass three hundred and fifteen dollars with a profit of $189. Now is a good time to walk away as it’s higher than what you entered the game with.
If the YO doesn’t hit until the twentieth roll, you will have a complete investment of $391 and seeing as current action is at $31, you win $465 with your profit being $74.
As you can see, adopting this system with only a one dollar "press," your profit margin becomes smaller the more you play on without attaining a win. That is why you have to march away once you have won or you have to bet a "full press" again and then carry on with the one dollar increase with each hand.
Carefully go over the numbers before you try this so you are very adept at when this scheme becomes a non-winning adventure instead of a profitable one.
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