If you decide to use this approach you want to have a very large amount of cash and incredible fortitude to leave when you accrue a tiny win. For the purposes of this article, an example buy in of $2,000 is used.
The Horn Bet numbers are certainly not judged the "successful way to compete" and the horn bet itself carries a casino edge of over twelve percent.
All you are betting is five dollars on the pass line and ONE number from the horn. It does not matter if it’s a "craps" or "yo" as long as you wager it consistently. The Yo is more prominent with gamblers using this scheme for obvious reasons.
Buy in for two thousand dollars when you approach the table but put only five dollars on the passline and $1 on one of the two, 3, 11, or twelve. If it wins, great, if it does not win press to $2. If it does not win again, press to $4 and then to $8, then to $16 and after that add a one dollar every subsequent bet. Every instance you don’t win, bet the last value plus another dollar.
Using this scheme, if for example after fifteen tosses, the number you wagered on (11) has not been thrown, you likely should march away. However, this is what possibly could happen.
On the tenth toss, you have a total of one hundred and twenty six dollars in the game and the YO finally hits, you win three hundred and fifteen dollars with a profit of $189. Now is a great time to go away as it’s higher than what you entered the table with.
If the YO doesn’t hit until the 20th toss, you will have a total investment of $391 and because your current bet is at $31, you come away with $465 with your profit being $74.
As you can see, employing this scheme with only a $1.00 "press," your gain becomes smaller the longer you wager on without hitting. This is why you have to step away once you have won or you must bet a "full press" once more and then continue on with the one dollar boost with each hand.
Carefully go over the numbers before you try this so you are very adept at when this approach becomes a losing proposition instead of a profitable one.
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