If you commit to using this approach you must have a sizable pocket book and incredible fortitude to leave when you earn a tiny win. For the purposes of this story, an example buy in of two thousand dollars is used.
The Horn Bet numbers are surely not deemed the "successful way to compete" and the horn bet itself carries a casino advantage well over twelve percent.
All you are betting is $5 on the pass line and a single number from the horn. It doesn’t matter if it is a "craps" or "yo" as long as you gamble it consistently. The Yo is more common with players using this scheme for clear reasons.
Buy in for two thousand dollars when you join the table however put only five dollars on the passline and $1 on one of the 2, 3, eleven, or 12. If it wins, excellent, if it does not win press to two dollars. If it loses again, press to $4 and continue on to $8, then to sixteen dollars and following that add a one dollar each time. Each instance you don’t win, bet the previous value plus another dollar.
Employing this system, if for instance after fifteen rolls, the number you bet on (11) hasn’t been thrown, you without doubt should march away. Although, this is what could happen.
On the 10th toss, you have a sum total of $126 on the table and the YO finally hits, you earn $315 with a profit of one hundred and eighty nine dollars. Now is an excellent time to walk away as it’s higher than what you joined the game with.
If the YO doesn’t hit until the twentieth toss, you will have a complete wager of $391 and seeing as current action is at $31, you come away with $465 with your profit of $74.
As you can see, using this approach with only a one dollar "press," your profit margin becomes tinier the more you bet on without hitting. That is why you have to march away after a win or you should wager a "full press" once more and then continue on with the $1.00 increase with each roll.
Carefully go over the data before you attempt this so you are very familiar at when this scheme becomes a non-winning affair rather than a winning one.
