If you consider using this scheme you must have a very large pocket book and superior discipline to march away when you generate a tiny success. For the purposes of this material, a sample buy in of two thousand dollars is used.
The Horn Bet numbers are surely not deemed the "successful way to play" and the horn bet itself has a house advantage well over twelve percent.
All you are playing is five dollars on the pass line and ONE number from the horn. It does not matter if it is a "craps" or "yo" as long as you gamble it constantly. The Yo is more common with gamblers using this system for clear reasons.
Buy in for two thousand dollars when you approach the table but only put $5.00 on the passline and one dollar on one of the two, three, eleven, or twelve. If it wins, fantastic, if it loses press to two dollars. If it does not win again, press to $4 and continue on to eight dollars, then to sixteen dollars and after that add a one dollar every time. Every instance you don’t win, bet the last amount plus another dollar.
Adopting this system, if for instance after fifteen tosses, the number you selected (11) hasn’t been thrown, you really should march away. However, this is what could happen.
On the tenth toss, you have a sum of $126 in the game and the YO finally hits, you gain three hundred and fifteen dollars with a take of $189. Now is a good time to step away as it’s more than what you joined the table with.
If the YO does not hit until the 20th roll, you will have a complete wager of $391 and seeing as current wager is at $31, you amass $465 with your take being $74.
As you can see, employing this scheme with just a $1.00 "press," your gain becomes tinier the longer you play on without attaining a win. That is why you have to walk away once you have won or you should wager a "full press" again and then continue on with the one dollar mark up with each hand.
Crunch some numbers at home before you try this so you are very familiar at when this scheme becomes a non-winning proposition rather than a profitable one.
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