3 Nov 09

If you choose to use this scheme you want to have a vast bankroll and superior fortitude to march away when you earn a tiny win. For the benefit of this article, an example buy in of two thousand dollars is used.

The Horn Bet numbers are not always looked at as the "winning way to play" and the horn bet itself has a casino advantage of over twelve percent.

All you are betting is five dollars on the pass line and ONE number from the horn. It doesn’t matter if it’s a "craps" or "yo" as long as you play it consistently. The Yo is more common with gamblers using this system for clear reasons.

Buy in for two thousand dollars when you join the table but put only five dollars on the passline and $1 on either the two, 3, 11, or 12. If it wins, fantastic, if it loses press to $2. If it does not win again, press to four dollars and continue on to eight dollars, then to sixteen dollars and after that add a one dollar every subsequent bet. Each time you do not win, bet the previous wager plus one more dollar.

Using this approach, if for example after fifteen rolls, the number you bet on (11) hasn’t been thrown, you really should march away. However, this is what might develop.

On the tenth roll, you have a sum of one hundred and twenty six dollars on the table and the YO finally hits, you gain $315 with a profit of $189. Now is an excellent time to march away as it is more than what you entered the table with.

If the YO doesn’t hit until the twentieth roll, you will have a total wager of $391 and seeing as current wager is at $31, you gain $465 with your gain being $74.

As you can see, employing this system with only a $1.00 "press," your profit margin becomes tinier the longer you gamble on without attaining a win. That is why you should step away once you have won or you should wager a "full press" once more and then advance on with the $1.00 increase with each toss.

Crunch the data at home before you try this so you are very accomplished at when this scheme becomes a losing affair instead of a winning one.


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