If you decide to use this scheme you must have a very large amount of cash and remarkable fortitude to step away when you realize a small success. For the benefit of this material, a figurative buy in of $2,000 is used.
The Horn Bet numbers are not always seen as the "winning way to wager" and the horn bet itself carries a house advantage of over 12 %.
All you are gambling is $5 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 always. The Yo is more common with players using this scheme for clear reasons.
Buy in for two thousand dollars when you approach the table but put only five dollars on the passline and $1 on either the 2, three, eleven, or twelve. If it wins, beautiful, if it loses press to two dollars. If it does not win again, press to four dollars and then to eight dollars, then to $16 and after that add a one dollar each subsequent wager. Each time you don’t win, bet the previous amount plus an additional dollar.
Employing this scheme, if for instance after 15 rolls, the number you chose (11) hasn’t been tosses, you probably should go away. Although, this is what could happen.
On the tenth roll, you have a sum total of one hundred and twenty six dollars in the game and the YO at long last hits, you amass three hundred and fifteen dollars with a take of $189. Now is a good time to walk away as it’s higher than what you entered the table with.
If the YO does not hit until the twentieth toss, you will have a total investment of $391 and seeing as current action is at $31, you gain $465 with your take of $74.
As you can see, employing this approach with just a $1.00 "press," your gain becomes tinier the longer you play on without hitting. This is why you have to step away after a win or you should wager a "full press" once more and then advance on with the one dollar boost with each toss.
Crunch the data at home before you attempt this so you are very accomplished at when this scheme becomes a losing proposition instead of a profitable one.
