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If you consider using this scheme you must have a very big bankroll and awesome fortitude to march away when you realize a tiny win. For the purposes of this article, a figurative buy in of two thousand dollars is used.
The Horn Bet numbers are surely not deemed the "winning way to compete" and the horn bet itself carries a house edge well over 12 %.
All you are gambling is 5 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 wager it at all times. The Yo is more common with gamblers using this system for clear reasons.
Buy in for $2,000 when you approach the table but put only five dollars on the passline and $1 on one of the two, three, 11, or 12. If it wins, awesome, if it loses press to two dollars. If it does not win again, press to $4 and then to $8, then to $16 and after that add a one dollar each time. Every instance you do not win, bet the last value plus one more dollar.
Using this approach, if for example after fifteen tosses, the number you chose (11) has not been tosses, you surely should step away. However, this is what could happen.
On the 10th toss, you have a sum total of one hundred and twenty six dollars in the game and the YO finally hits, you amass three hundred and fifteen dollars with a take of one hundred and eighty nine dollars. Now is an excellent time to march away as it is more than what you joined 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 earn $465 with your gain being $74.
As you can see, adopting this approach with just a one dollar "press," your take becomes tinier the longer you wager on without winning. This is why you must march away once you have won or you have to wager a "full press" once again and then advance on with the $1.00 mark up with each toss.
Carefully go over the numbers before you try this so you are very familiar at when this approach becomes a non-winning affair rather than a winning one.
