If you choose to use this system you really want to have a very large pocket book and incredible discipline to go away when you generate a tiny success. For the purposes of this article, a sample 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 well over 12 %.
All you are wagering is five dollars on the pass line and ONE number from the horn. It doesn’t matter if it’s a "craps" or "yo" as long as you gamble it routinely. The Yo is more dominant with gamblers using this scheme for clear reasons.
Buy in for $2,000 when you approach the table but put only $5.00 on the passline and one dollar on one of the 2, three, 11, or twelve. If it wins, great, if it loses press to two dollars. If it loses again, press to four dollars and then to $8, then to sixteen dollars and after that add a $1.00 every subsequent bet. Every time you don’t win, bet the previous amount plus an additional dollar.
Employing this approach, if for example after 15 rolls, the number you wagered on (11) hasn’t been thrown, you likely should step away. Although, this is what could develop.
On the 10th roll, you have a total of $126 on the table and the YO finally hits, you gain three hundred and fifteen dollars with a profit of one hundred and eighty nine dollars. Now is a great time to step away as it’s a lot more than what you joined the game with.
If the YO doesn’t hit until the twentieth roll, you will have a total wager of $391 and because your current wager is at $31, you come away with $465 with your gain of $74.
As you can see, using this scheme with just a $1.00 "press," your gain becomes smaller the more you wager on without attaining a win. This is why you should step away after a win or you should bet a "full press" once again and then continue on with the $1.00 increase with each hand.
Crunch some numbers at home before you attempt this so you are very accomplished at when this scheme becomes a losing adventure rather than a winning one.
