If you choose to use this approach you want to have a sizable amount of cash and amazing fortitude to walk away when you achieve a small win. For the benefit of this article, a figurative buy in of $2,000 is used.
The Horn Bet numbers are not always deemed the "successful way to wager" and the horn bet itself carries a house edge well over twelve percent.
All you are gambling is 5 dollars on the pass line and ONE number from the horn. It does not matter whether it’s a "craps" or "yo" as long as you play it consistently. The Yo is more prominent with gamblers using this scheme for apparent reasons.
Buy in for $2,000 when you sit down at the table however only put five dollars on the passline and one dollar on either the two, 3, 11, or twelve. If it wins, beautiful, if it does not win press to two dollars. If it loses again, press to four dollars and then to eight dollars, then to sixteen dollars and following that add a one dollar each time. Each time you do not win, bet the previous value plus a further dollar.
Adopting this system, if for example after 15 tosses, the number you bet on (11) hasn’t been thrown, you likely should march away. Although, this is what possibly could develop.
On the 10th toss, you have a sum total of $126 on the table and the YO at long last hits, you amass $315 with a take of $189. Now is a good time to march away as it’s higher than what you entered the game with.
If the YO does not hit until the twentieth toss, you will have a total bet of $391 and seeing as current action is at $31, you come away with $465 with your take being $74.
As you can see, adopting this system with only a one dollar "press," your profit margin becomes smaller the longer you wager on without hitting. This is why you have to walk away once you have won or you must wager a "full press" once again and then carry on with the one dollar increase with each roll.
Carefully go over the data before you attempt this so you are very familiar at when this approach becomes a non-winning proposition instead of a winning one.
