If you consider using this approach you must have a very big amount of money and awesome discipline to walk away when you generate a small win. For the purposes of this material, a sample buy in of $2,000 is used.
The Horn Bet numbers are certainly not deemed the "winning way to play" and the horn bet itself has a house advantage of 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’s a "craps" or "yo" as long as you bet it consistently. The Yo is more prominent with people using this approach for clear reasons.
Buy in for two thousand dollars when you approach the table however put only $5.00 on the passline and one dollar on one of the two, 3, eleven, or twelve. If it wins, excellent, if it loses press to $2. If it does not win again, press to $4 and then to eight dollars, then to sixteen dollars and following that add a $1.00 every time. Each time you lose, bet the previous bet plus a further dollar.
Adopting this scheme, if for example after 15 tosses, the number you chose (11) hasn’t been tosses, you probably should go away. Although, this is what could develop.
On the 10th roll, you have a sum total of one hundred and twenty six dollars on the table and the YO finally hits, you come away with $315 with a take of one hundred and eighty nine dollars. Now is a perfect time to step away as it is more than what you joined the game with.
If the YO does not hit until the 20th roll, you will have a complete investment of $391 and because your current action is at $31, you earn $465 with your gain being $74.
As you can see, using this system with only a $1.00 "press," your profit margin becomes smaller the more you wager on without hitting. That is why you have to march away once you have won or you have to wager a "full press" once again and then carry on with the one dollar boost with each toss.
Crunch the data at home before you try this so you are very adept at when this approach becomes a non-winning adventure rather than a winning one.
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