If you choose to use this scheme you really want to have a very large bankroll and superior fortitude to go away when you accrue a small win. For the purposes of this material, an example 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 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 is a "craps" or "yo" as long as you gamble it always. The Yo is more prominent with players using this scheme for obvious reasons.
Buy in for $2,000 when you approach the table but only put $5.00 on the passline and $1 on one of the 2, three, 11, or twelve. If it wins, excellent, if it does not win press to two dollars. If it loses again, press to four dollars and then to eight dollars, then to $16 and after that add a $1.00 each subsequent wager. Each instance you do not win, bet the last wager plus a further dollar.
Employing this scheme, if for instance after 15 tosses, the number you wagered on (11) has not been thrown, you without doubt should march away. Although, this is what could develop.
On the tenth toss, you have a sum of one hundred and twenty six dollars on the table and the YO at long last hits, you come away with three hundred and fifteen dollars with a gain of $189. Now is a good time to go away as it is a lot more than what you entered the table with.
If the YO doesn’t hit until the 20th roll, you will have a total wager of $391 and because your current action is at $31, you win $465 with your take of $74.
As you can see, employing this approach with just a one dollar "press," your take becomes tinier the more you play on without attaining a win. This is why you should walk away after a win or you must wager a "full press" again and then carry on with the $1.00 mark up with each roll.
Carefully go over the numbers before you try this so you are very accomplished at when this approach becomes a non-winning proposition instead of a winning one.
