[
English ]
If you commit to using this scheme you must have a vast amount of money and awesome fortitude to march away when you earn a tiny success. For the benefit of this article, a sample buy in of $2,000 is used.
The Horn Bet numbers are surely not looked at as the "successful way to play" and the horn bet itself has a house edge of over 12 %.
All you are wagering is $5 on the pass line and ONE number from the horn. It doesn’t matter whether it is a "craps" or "yo" as long as you gamble it constantly. The Yo is more common with players using this approach for obvious reasons.
Buy in for $2,000 when you sit down at the table however only put $5.00 on the passline and one dollar on either the 2, 3, 11, or twelve. If it wins, great, if it does not win press to $2. If it loses again, press to four dollars and then to $8, then to sixteen dollars and following that add a one dollar every subsequent wager. Every time you do not win, bet the last value plus another dollar.
Adopting this system, if for example after 15 tosses, the number you wagered on (11) hasn’t been thrown, you without doubt should go away. However, this is what might happen.
On the 10th roll, you have a sum of $126 on the table and the YO at long last hits, you win three hundred and fifteen dollars with a profit of one hundred and eighty nine dollars. Now is a great time to march away as it’s a lot more than what you joined the table with.
If the YO does not hit until the 20th roll, you will have a complete wager of $391 and seeing as current wager is at $31, you come away with $465 with your gain of $74.
As you can see, adopting this scheme with only a one dollar "press," your profit margin becomes smaller the longer you gamble on without hitting. This is why you should leave away after a win or you have to bet a "full press" again and then carry on with the one dollar boost with each roll.
Carefully go over the numbers before you attempt this so you are very familiar at when this approach becomes a non-winning affair rather than a profitable one.
