Slots machines, as games of chance (rather than skill), are generally more about having fun than they are about making money.

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• Bally is a leading maker of slot machines, a coin-operated gambling device. The user inserts money into the machine and pulls the lever. The reel results determine if you are a winner.
• Get Casino Sounds from Soundsnap, the Leading Sound Library for Unlimited SFX Downloads. Vintage 1980 slot machine – dials landing and chiming three times (2).
• The history of slot machines is a story of pioneers who altered the way people have gambled over the past century and a bit. You can still see evidence of the early slot machines in new video slots made today. Let's take a trip down memory lane and explore the fast-changing history of the most popular gambling game in the world.
• Remember not all slot machines are equipped to accept currency in order to comply with certain laws. If your slot machine is equipped with a bill acceptor, bill transport and cash box, the bills in the cash box can easily be retrieved. Open the slot machine main door. The cash box door is located just under the yellow chute for the bill acceptor.
• JP SLOT EMPORIUM has the finest collection of antique and modern slot and poker machines for sale. You can own a thrilling, irresistible game of chance which is a piece of American history and culture. Antique, mechanical slot machines provide a direct link to the days of yesteryear, from the Roaring 20's Prohibition Honky Tonk to post World War II gle.

However, there are things you can do to maximize your wins and minimize your losses. For example, by calculating a slot machine’s payout percentage, you can obtain a larger picture idea of how much money you stand to win back. Other tactics include using effective bankroll management techniques, joining a slots club to benefit from its rewards programs, and more.

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What Are the Odds of Winning on a Slot Machine?

Slot machine odds used to be easy to calculate. When you’re dealing with three reels, ten symbols on each reel, and a limited pay table, then it’s just a simple math problem. But the rise of electromechanical slot machines and (later) video slots added some complexity to the situation.

How Probability Works

Probability has two meanings. One is the likelihood of whether or not something will happen. The other is the branch of mathematics that calculates that likelihood. To understand the odds as they relate to slot machines (or any other gambling game), you have to understand the basic math behind probability.

Don’t worry though. The math isn’t hard. Probability involves addition, subtraction, multiplication, and division, all of which you learned in middle school.

The first principle of probability is that every event has a probability of between 0 and 1. If something has no chance of ever happening, then its probability is 0. If something will always happen, no matter what, then its probability is 1.

Probability is, therefore, always a fraction. It can be expressed in multiple ways, as a decimal, as a fraction, as a percentage, and as odds.

A simple example is a coin flip. The probability of getting heads when you flip a coin is 50%. That’s common sense, but how is it determined mathematically?

You simply take the total number of possible outcomes, and divide the outcome you’re trying to determine the probability of it by that number. There are two possibilities when flipping a coin, heads or tails, but only one of them is heads. That’s 1 divided by 2, which can be expressed as ½, 50%, 0.5, or 1 to 1 odds.

Odds are expressed as the number of ways something won’t happen versus the number of ways that something will happen. For example, if you’re rolling a single six-sided die, and you want to know the odds of rolling a six, you’re looking at 5 to 1 odds. There are five ways to roll something other than a six, and only one way of rolling a six.

When you want to determine the probability of multiple things happening, you use addition or multiplication, depending on whether you want to determine whether one OR the other event will occur, or whether you want to determine whether one event AND the other event will occur.

If you’re looking at an “OR” question, you add the probabilities together. If you’re looking at an “AND” question, you multiply the probabilities by each other.

So if you want to know what the probability of rolling two dice and having one or the other come up with a six, you add the probabilities together. 1/6 + 1/6 = 2/6, which is rounded down to 1/3.

If you want to know the probability of rolling two dice and having BOTH of them come up six, you multiply the probabilities. 1/6 X 1/6 = 1/36.

How Slot Machine Odds USED to Work

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Early slot machines were mechanical devices. They had three metal reels that had ten possible stops each.

To calculate the odds of a single symbol appearing on a reel, you just divide the one symbol by the total number of potential outcomes. So if you had one cherry on a reel, your odds of hitting that cherry were 1/10, or 10%.

To calculate the odds of getting three cherries, you multiple 1/10 X 1/10 X 1/10 and get 1/1000, or 0.1%.

If the odds of hitting that symbol are the same as all the others, then you have 10 possible jackpots you can win, which means that your chances of winning SOMETHING are 10/1000, which is 1%.

Most people wouldn’t play a slot machine that lost 99 times out of 100, though, so slot machine designers added additional, smaller prizes for getting two symbols out of three for certain symbols. And as long as they paid out less in prizes than the odds of hitting those jackpots, then those slots are guaranteed to make a profit in the long run.

For example, if a prize for hitting three cherries was $1000, you’d be playing a break-even game, but if the prize were $750, it’s easy to see how the casino would be guaranteed a profit. The difference between the odds of winning and the payout odds is where the casino makes its money.

How Slot Machines Work Now

Modern slot machines use a computer program called a random number generator to determine the outcomes of the various spins of the reels. This creates an imaginary reel with a number of symbols limited only by the program in question.

A mechanical slot machine with 256 symbols per reel would be huge, too large to play, much less to build. But a computer can create an imaginary reel with 256 symbols per reel and take up no more space than an iPod Shuffle.

To make things even more interesting and entertaining, slot machine designers can program different probabilities for each symbol to come up. Most symbols might come up once every 256 spins, but others might come up twice as often, while still others might only come up half as often.

This enables slot machine designers and casinos to offer slot machine games with far larger jackpots than they were able to when they were limited by mechanical reels. And they’re able to offer these large jackpots and still generate a healthy profit.

How Does This Relate to Payback Percentages?

The payback percentage is the amount of money that the slot machine is designed to pay out over an enormous number of spins. This number is almost always less than 100%. The difference between 100% and the payback percentage is the house edge, and that’s where the casino makes its profits.

A simple example can help illustrate how this works. Suppose you have a slot machine with three reels with ten symbols on each, and it only pays out when three cherries hit. The odds of winning that jackpot, as we determined earlier, is 1/1000.

If we set the jackpot as $900, and charge $1 per bet, the payout percentage for that game will be 90%, or $900/$1000. Of course, no one would play a slots game which only paid out once in every 1000 spins, which is why there are various smaller payouts programmed in.

There’s no way to tell what the payback percentage on a particular game is unless you have access to the par sheet for that machine. Casino management has that information, but players never have access to that info.

The best slot machine odds are almost always found in real casinos. If you see slot machines in an airport or a bar, be aware that the payback percentages on those games is much lower than you’ll see in a real casino.

How to Win at Slot Machines

Everyone would like to know how to win at slots, but the truth is that winning at slot machines isn’t any harder than losing at slot machines. You put your money in the machine, spin the reels, and hope for the best. Slot machines are meant to be fun; they’re not intended to provide the player with an income.

In fact, the reality is just the opposite. Slots are there to provide the casino owners with an income. How that works is one of the subjects of this page.

On the other hand, you can minimize your losses and increase your enjoyment of slots games by understanding how they work. You can also learn which slots pay back the most money. In the long run, the house will still have an edge over you, but understanding how much you can expect to lose in a given venue can help you make better bankroll management decisions.

In fact, it might be a good idea to modify you definition of “winning at slots”. Instead of considering yourself a winner if you bring home a big profit, consider yourself a winner any time you played and had a lot of fun.

How Slots Work

All slot machines in modern casinos use a random number generator (an “RNG) to determine the results of each spin. An RNG is a tiny computer that does nothing but constantly generate numbers. When you push the spin button, that microcomputer selects a number which determines the outcome. In fact, this happens before the reels have even stopped spinning.

On modern slot machines, the reels are just there for show. From a practical standpoint, you could put a quarter in a machine, push a button, and have the screen flash: “You lose!” or “You win $10”. The mechanism that determined the outcome would be the same, but who would want to play a game like that, especially if you know that the house has a mathematical edge over the player.

The spinning reels, the sound effects, and the bonus games are all there to make the game more interesting to play. If you don’t like the artwork, the music, or any other aspect of a slots game, don’t bother playing it, because those are the real rewards of playing. The chance of getting lucky and winning a jackpot is a real reward, too, but don’t ignore the other aspects of the game.

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The random number generator is programmed to pay back a certain percentage of the money paid into it over a period of time. This period of time is known in gambling math as “the long run”, and it’s a lot longer than most people think. We’re talking about tens of thousands of spins, not dozens or hundreds.

This percentage that’s programmed into these machines is always less than 100%. If a slots game were programmed to pay back more than 100% of the money put into it, it would lose money for the casino.

Casinos aren’t in business to lose money.

The trick is to find slot machines that have the highest payout percentages.

Which Slots Pay Back the Most Money

If every slot machine game in the world had a payback percentage posted on the machine somewhere, it would be easy to determine which slots pay back the most money. You could limit your play to machines with a payback percentage of over 95% for example.

It’s too bad casinos don’t provide that information on specific games, though.

You can find information about specific locations and their payback percentages, though. Some gambling guides and magazines publish this information. For example, The American Casino Guide provides certified information about the payout percentages in various states. Not all states reveal this information, but it’s not a huge leap of logic to expect better payback percentages in states that do reveal this information.

For example, the overall payback percentage for slots in Black Hawk, Colorado is 92.8%. In Central City, Colorado, it’s 92.93%, and in Cripple Creek, it’s 93.66%. Alabama doesn’t release the numbers on their payback percentages.

Which casinos do you think offer the better game?

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A couple of guidelines hold true no matter where you play, though. One of those is that payouts are better in large cities with lots of gambling. For example, the payouts in Vegas are higher overall than the payouts in Colorado. And the payouts improve when you play for higher stakes. For example, penny slots in Vegas average around 88% to 91%, but dollars slots average between 93% and 96%. Finally, slot machines at airports usually offer the lowest payouts.

What does that mean for the player? It means that over the long run, if you wager $x on a particular game, you’ll win back $x times the payback percentage for that machine. If you’re playing a dollar slot machine on the Strip in Las Vegas, for example, and the payout percentage is around 93%, then if you place $10,000 in wagers, you’ll win back $9300. You lost $700.

That’s only a long term mathematical expectation, though. In the short run, anything can happen, and that’s what keeps people playing.

How to Maximize Your Winnings and Minimize Your Losses

There are three ways to maximize your winnings and minimize your losses. The first is to always join the slots club, and always use your member card while you play. Slots club members get a percentage of their play returned to them in the form of casino rewards and cash back. This is normally a tiny percentage (think 0.1% or 0.2%), but it adds up, especially if you play a lot.

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Don’t buy into the myth that playing with your slots club card lowers your expected return on the game, either. That’s not true. The random number generator in these games has no way of knowing whether or not you’re using your slots club card or not.

The second way to increase your winnings and minimize your losses is to use effective bankroll management techniques. This means limiting the amount of time that you play, limiting the amount of money that you’re willing to lose in any session and in any given gambling trip, and finding other fun things to do with your time besides just playing the slots.

Finally, try to play the machines with the highest payout percentage. Over the long run, if you keep playing, you’ll probably eventually wind up a loser at the slots (unless you hit a huge progressive jackpot), but you’ll lose your money more slowly and get more entertainment value for the money you gambled.

Ergot Records label head Adrian Rew finds readymade plunderphonics and corporate mind control on the gambling floor.

I crossed the threshold of my first casino floor in Cleveland, Ohio, last March. Previous to this first visit, I never anticipated that my friends and family would become concerned about my habit, or the increasing frequency with which I now drive out to the casinos of Chicago's suburbs. Granted, my heart rate accelerates at the sight of an anticipatory billboard: “Easy to get to.. Hard to leave!”, and by the time I reach the dazzling colossus of a casino set against a wasted industrial sky, and hear the first sounds of the slot machines, I am bordering on ecstasy. But the truth is, I spend more on gas than gambling, and while my symptoms may resemble a gambler's, I am no addict. Rather, it is the casino's sonic ambience that I crave.

Casino advertisements foreground the excitement of chance and risk as the defining characteristics of the gambling business, but few spaces exert their control so powerfully. They leave nothing to chance. Sure, a lucky winner might hit a jackpot every once in a while, but the payout is always compensated for by the house edge and probability models; strategic dominance ensures that for every big win there are thousands of small losses. The gaze of surveillance cameras prominently placed across a casino ceiling is the most immediately apparent method of control, but on closer scrutiny the environment reveals a multisensory system of coercion.

The more comfortable, mollified, and energised the gambler, the more likely they are to stick around feeding money into machines. Companies like AromaSys and Air Esscentials provide artificial fragrances to 'create a relaxing and inviting environment that gamers don't want to leave'. Temperature and lights are regulated to be as inconspicuous as possible. Aside from a tinted glass entrance, windows are entirely absent, with clocks nowhere to be found, creating a space with no reference to the passage of time, thus no indicators that one should move on. Despite many of my visits occurring well after midnight, the free coffee and soft drinks keep me from fatigue. The free alcohol turns stingy gamers into spendthrifts. Disorientating, psychedelic carpets are laid over architecture designed with gently curving contours that push the gamer towards machines and game tables. To get to any other destination in the casino – the bathrooms, elevators, restaurants, or exits – requires navigating a labyrinthine gaming area. Wandering aimlessly around one casino, I found myself lured down steps leading into a slot machine area. The only way out was up, but the path of least resistance would lead me straight to a game.

Once seated in the comfortable game furniture, gambling is inevitable. Some seats vibrate in sync with game events in order to try and consummate a chimeric union of human and machine. Every button on the interface pulses and glows, cycling through a rainbow of hypnotising colours. Once inserted, cash is immediately changed into credits, dematerialising gamers' money in an attempt to make it easier to spend. The digitally animated reels on slot machines give an illusion of irregular mechanical functioning, but to those who have kept their heads, this illusion serves only to highlight the hyperreality engulfing the gamer-cum-cyborg. Near misses on would-be jackpot wins keep the player optimistic, and reward cards maintain statistical tabs on the player's behaviour so that profit geared adjustments can be made to the gamer's mood.

During a Christmas time visit, the song “Santa Claus Is Coming To Town” blares from speakers in the casino ceiling: “He knows when you're sleeping/e knows when you're awake”. A reminder to watch my back, but also an unfortunately seasonal intrusion upon my motive for being there: to soak up the sounds of the slots and video machines in themselves. Like every other aspect of casino design, sonics are meant to induce gamers to spend more. Background Muzak seems to change with the time of day: calmer music during the day soothes more sedate players without being obtrusive, and louder, beat driven music appears at night to keep players energised. While most other variables of the casino atmosphere remain constant, the soundscape is always in a state of flux, not only depending on the time, but also the number of players. A trip in the early morning might reveal exhausted gamers under a shower of Christmas music. But early evening excursions allow the ensemble of machines to unfurl their sonorous potential, when enough gamers are playing to make the slot machines ring, and before the background music is turned up to full Friday night volumes.

During my first visit, the deafening sounds of a prime time casino left a deep impression. A cornucopia of slot machine tones coalesced into an aleatoric symphony that reminded me of my favourite ambient records: Laraaji's Day Of Radiance; Iasos's Inter-Dimensional Music; James Ferraro circa 2008–2009.

I originally heard that casino game designers tune their machines to the key of C major, in the belief that this creates a universally pleasing harmonic cohesion, but later learned that this is no longer strictly true. Although the key of C still holds sway in the design of many machines, a more diverse range of sounds is now used, to maximise entertainment – not only are players now witness to animated cash explosions and effervescent fish bubbles, but also the music of Michael Jackson, The Monkees, and Kiss. Legacy games like the classic Wheel Of Fortune preserve the sonic signatures of past machines and, due to their number, continue to dominate the sound of the casino floor. Machines are clustered together to create cosy enclaves accompanied by a cascade of looping motifs that trap players in gambling loops. On screen volume control allows gamers to modulate their experience – many contributors to slotmachineforums.com say that they avoid silent games, instead favouring immersing themselves in games at maximum volume.

Exciting, ebullient sounds that punctuate the droning cycle of the slot lever loop are meant to hit when successful spins occur, but these can be misleading: a gamer betting $1 who wins a meagre return of 25 cents will still hear a triumphant sound, leading players into thinking they are winning more than they really are, and compelling them to play for longer. The emergence of multiple paylines in video slots now allow gamers to bet on a multiplicity of winning combinations, ensuring that few spins will land dead. Conversely, there is no unpleasant tone corresponding to a loss. The only discouraging sound is a harsh metal grating that accompanies the single smart move a gambler can make: the cash out. Even then, the money comes in the form of a voucher.

Although game names (Wild Zone, Twilight Zone, Playboy Hot Zone) should have tipped me off, the work of anthropologist Natasha Dow Schüll helped me understand the trancelike state in which problem gamblers suspend themselves. Drawing from the terminology of video gambling addicts, academic researchers, and industry professionals, in her book Addiction By Design she calls this altered state 'the zone', where the rhythmic flow of human-machine collusion can create a near mystical experience. Sometimes characterised as the crack cocaine of gambling, the zone of video machines is a timeless realm, free of all worldly concerns. I had already done plenty of casino recording when I read her book, but the influence of Schüll's research gave my project a more polemical thrust. Seizing upon the term's similarity with the vernacular of synth heads, I set out to bring the mesmerising sonic attributes of the zone to an audience without the harsh financial comedown of its unfortunate reality.

My project eventually brought me to Las Vegas, where one night, exhausted by virtual bombardments, I came across what seemed like an anomaly on The Strip: a mechanical horse race game called Sigma Derby. Five painted horses circle the track every few minutes with up to ten gamblers betting on combinations of two winning horses. Unlike every other machine I had seen, this relic accepted quarters as bets and, more importantly, it dispensed quarters as winnings, effecting a welcome reification of capital in the face of video machines' virtual credit. This atavism was also sonically manifested: industrial music in the midst of new age ambience. Players leaned over the track and spoke to each other, restored to reality in a giant simulacrum of a city, instead of losing themselves in the void of vertical screens.

My Slot Machine Music recordings are hardly without precedent. Other notable field recordings of casinos include the manipulated pachinko parlor sounds of Jean-Claude Eloy's Gaku-No-Michi (Disques Adès, 1979) and Ilios' Kenrimono (Pan, 2009), as well as the untreated Vegas recordings of the first side of Jonathan Coleclough's Casino (IDEA, 2002). Japanese pachinko parlors present an entirely unique soundscape, but the sonic jumps between the Sigma Derby game (introduced in 1985), Casino, and my own recordings suggest worlds of difference in progressive eras of American casino development. Coleclough's 1998 recording, for instance, features the underlying drone of the contemporary casino without today's simulated Star Wars battles and pharaoh magic. A turn-of-the-century saloon filled with mechanical slots and coins crashing into metal trays suggests an accidental Futurist Orchestra of noisy slot players, predating Luigi Russolo's The Art Of Noises.

I met my only casino acquaintance at the Sigma Derby game: a sound composer for Bally Technologies’ games who insisted that neither himself nor other game designers are diabolical scientists trying to manipulate gamblers. Instead, he suggested, they strive to maximise the entertainment value of a game for the best experience possible. He said that he records casino ambience to use as a compositional blank canvas. Though Schüll decries the industry's more insidious techniques, she also provides insights into the composition process: she writes that a team of game designers spent an entire month perfecting a single “ding” sound on one machine.

A game's entertainment value cannot be divorced from its malignant effects, but Schüll's outright condemnation of casino atmospherics is reductive. Avoiding both extremes, I have come to reinterpret my recordings of the zone. Though I once considered myself to be in the zone during casino recording sessions, I realised that in an attempt to materialise the zone by preserving it, I was sacrificing a potential experience of ecstatic presence. The act of recording with a microphone made me a more active listener, but it was also hindering me. Recording of any kind is prohibited in casinos, so I had to keep my microphone hidden while attempting to protect it from interference. This became a burden when squeezing in between two gamblers at particularly resonant machines; and it made surrounding gamblers paranoid, especially when I would circle a jackpot winner for minutes at a time trying to steal the sounds of their win.

Without money, the flow of the space's architectural contours is rendered ineffective; an instinctive path leads to the games, but lacking the means to play, one drifts about the space, taking in the sounds and creating a subjective acoustic experience by following the most tantalising sonic cues. A tactical response to totalising casino strategies, this approach appropriates the space as a plunderphonic readymade, a 24 hour sound installation set in a hallucinatory playground. The unmoored soundwalk affirms the qualities of chance and play that the casino falsely simulates. In an age when arts funding gets cut while taxable casinos proliferate, why not take advantage of the space as the aesthetic object it could be?

Slot Machines For Sale

Hanson Records is reissuing Slot Machine Music Vol 1 on vinyl later this year, and Vol 2 is now available for pre-order from Ergot Records.