01
April
Written by Anahi.
Posted in: Craps
If you decide to use this approach you want to have a very large pocket book and awesome discipline to step away when you accrue a small win. For the benefit of this essay, a sample buy in of two thousand dollars is used.
The Horn Bet numbers are surely not looked at as the "winning way to wager" and the horn bet itself carries a house advantage of over twelve percent.
All you are playing is 5 dollars on the pass line and ONE number from the horn. It doesn’t matter if it is a "craps" or "yo" as long as you play it at all times. The Yo is more common with people using this scheme for obvious reasons.
Buy in for $2,000 when you sit down at the table however put only $5.00 on the passline and $1 on one of the 2, 3, 11, or twelve. If it wins, fantastic, if it loses press to two dollars. If it loses again, press to $4 and continue on to $8, then to sixteen dollars and after that add a $1.00 each subsequent bet. Each time you lose, bet the last bet plus an additional dollar.
Adopting this system, if for example after fifteen rolls, the number you bet on (11) hasn’t been thrown, you probably should step away. However, this is what might happen.
On the tenth roll, you have a total of one hundred and twenty six dollars on the table and the YO at long last hits, you gain $315 with a take of $189. Now is a great time to step away as it is higher than what you joined the table with.
If the YO does not hit until the 20th roll, you will have a total bet of $391 and seeing as current bet is at $31, you amass $465 with your take being $74.
As you can see, employing this approach with just a $1.00 "press," your profit margin becomes smaller the longer you gamble on without hitting. This is why you have to step away once you have won or you have to wager a "full press" again and then carry on with the one dollar increase with each toss.
Crunch some numbers at home before you attempt this so you are very familiar at when this system becomes a losing proposition rather than a profitable one.
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