Bet A Lot and Gain Little playing Craps
If you decide to use this scheme you must have a very big amount of money and awesome discipline to leave when you realize a small win. For the benefit of this article, an example buy in of two thousand dollars is used.
The Horn Bet numbers are certainly not considered the "successful way to wager" and the horn bet itself carries a casino 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 whether it is a "craps" or "yo" as long as you gamble it constantly. The Yo is more common with gamblers using this approach 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 twelve. If it wins, awesome, if it does not win press to two dollars. If it loses again, press to $4 and then to eight dollars, then to sixteen dollars and after that add a one dollar every subsequent wager. Every time you lose, bet the last value plus one more dollar.
Employing this system, if for example after 15 tosses, the number you bet on (11) has not been thrown, you likely should walk away. Although, this is what might happen.
On the tenth roll, you have a sum of $126 in the game and the YO at long last hits, you gain three hundred and fifteen dollars with a gain of $189. Now is a great time to march away as it is a lot more 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 action is at $31, you win $465 with your gain of $74.
As you can see, using this scheme with only a one dollar "press," your take becomes tinier the longer you bet on without winning. This is why you should walk away once you have won or you have to bet a "full press" again and then advance on with the $1.00 increase with each hand.
Crunch some numbers at home before you attempt this so you are very adept at when this approach becomes a losing affair rather than a winning one.
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