Accessories – Page 2 – alessandrina.com

Pile knitting using Studio machines

I live in the northeast US, and the past few weeks have been taken up by a whole lot of time moving snow and not knitting or even thinking about knitting. A Raveler, however, recently asked about pile knitting, which got me contemplating knit fabrics again. I thought I would start a thread here on some of the techniques and possibilities involved, editing, and adding further information as I can.

Pile knitting may be done on any machine. The quality of the fabric varies, depending on the method and yarns used. Loops are often created every other row, and “normally do not pull out”. They may be made either on the main bed or on the ribber. Some of the techniques result in a much looser fabric than others. In those instances, using a ground yarn that will felt and slightly felting the finished knit will make the fabric much more stable. If it is to be used in garments, by default, it is best to make those pieces larger than required and to plan to use them in cut-and-sew projects.

Beginning with the machine manuals and suggestions, in Studio/Singer knitting machines, the ribber features specific options for such fabrics. These pages are from the Singer SRP-50 ribber manual and one of their punchcard books and share some principles while illustrating setting and card design. Food for thought on any adaptation for use on other brands

Two weights of yarn are used: a lightweight yarn for the pile, and a fine yarn for the background. The usual setup is for every needle rib, half-pitch. The finer yarn is threaded into the auxiliary feeder.

Studio machines use the P Carriage with the P pressor attached to drop the loops. If using a punchcard or mylar, the punched holes create the design, and the unpunched holes knit the ground.
The Singer P carriage information can also be found online in the associated generic title document, with these yarn recommendations including “woolnylon”, and a close-up of yarn positions and in singer_PCarriage

knit sample

Studio punchcard sets and Volume collections offer many designs and inspiration for DIY. A page from one of their collections

2026 follow up
Instructions in the studio manual for the slider show it in useImages from a 2026 search: Susan Guagliumi video from 8 years ago shows a version missing those front parts. The only images I was able to find of it online, outside the video, were on this website, which states “there is also a P-carriage for standard machines that is also equipped with a removable P-presser (a metal spring-loaded addition).”
A recent 3D printed model demonstrated here https://www.youtube.com/watch?v=IGjPwGqFJhQ

Toyota had a small accessory offered for knitting pile using the ribber and the simulknit setting. Both yarns are knit on the main bed; the ribber only catches loops in the “S” yarn. Manual available for the Toyota pile knitter

Kathleen Kinder was credited with first using FI designs for pile knitting, resulting in loops being created in every row rather than every other. In the method, loops are still required to be dropped after every row. Cards with bold areas of each color are most suitable. Since the fabric tends to spread horizontally, doubling the length may become necessary if the goal is to retain more of the motif shape.

A natural follow-up is to use double jacquard cards and color separations to achieve a multiple color pile. A color changer is a must when using multiple colors. Loops will be formed every row here as well, may be dropped every row, or just before each time the color is changed.

Pre-selection of needles in Brother poses an interesting problem: patterning needs to be retained, dropping stitches disrupts it, and there is no accessory, such as the P Carriage, to make the process quicker.

Brother KMs “pile knitting”/ ribber stitch dropping tools includes accessories for different brands.

Some notes on machine knitting color changers

One double-bed example, the Brother 900 E DB changer for use on both standard and bulky

The Studio/singer YC6 may be used either on the single or double bed simply by repositioning one piece. It includes a 4 color tension unit, a special sinker plate, and a set of cards that are for use only for DBJ. It has a 4-button yarn changer, which can be set for automatic 2-color changing.
Brother/Knitking comes with a supplementary two-color yarn mast, a special sinker plate, and a four-button changer. A button must be pressed manually for each color change.
To color change on Studio, the next color button is pushed/selected when the KC is on the right, in Brother machines, the button for the next color selection is pushed after the KC is in the yarn changing area after the audible “click” is produced when the carriage has traveled far enough.

The wires and tension units exert more tension on the yarn than standard tension units, which affects gauge so if one is knitting garments, the units should not be changed while working on the same piece, nor should calculations for gauge be used if they were produced in the same yarn, but using the alternate tension unit. Tension may have to be raised by at least one number or more to prevent dropped stitches and obtain the desired feel/drape.

If a carriage jam occurs, the sinker plate needs to be removed before using the release lever for KC.

If using changers for fair isle: in cards punched for FI knitting single bed, normally the contrast color, corresponding to punchcard holes (black squares on mylar, or pixels, depending on machine and programming) is placed in the B sinker plate feeder, and background yarn in the A.
When using the color changer, the manuals will state that the main color is normally in B while the contrast color is in A, where it can be changed automatically. However, that depends on which part of the design is to include the color striping. If it is to occur in the motif, the card needs to be modified by being punched in reverse. If the striping is to occur in the background, a standard card and position may be used. If one wishes to alternate, both ground and motif may need to be punched separately as for use in 2 color slip stitch.

More than 2 colors per row require color separations of the original design for knitting with slip stitch setting, carrying one color at a time, in 2-row sequences.

The double bed color changer is used often for DBJ with color-separated cards though other fabric options are possible. It may also be used for single bed work, but the ribber must remain raised and the ribber connecting plate is used. This means that single-bed fair isle knitting is not possible, because there is only one feeder in the ribber connecting plate.
Using the changer is a viable option for knitting striped patterns on bulky machines. There are no brushes to help anchor the knitting like the ones in the single bed sinker plate, so even though the fabrics may be worked only on the top bed, careful choosing of repeat and adequate weighting is required ie in color tuck/slip mosaics, etc, knit with color changes every 2 rows.
I have read that Toyota did not have a color changer due to its built-in simulknit/automatic DBJ, with only 2 colors knit in any one row.

Sometimes metal parts/wires get bent in storage or handling even on ribber sinker plate, and may need a bit of bending and tweaking if colors are not getting properly picked up. Some Brother color changers have small adjustment screws under the arm that may loosen, and change their alignment to the needle bed, which is easily solved by adjusting/tightening the screw. Sinker plates should be cleaned and may be adjusted if required, just like the standard ones.

Some references: Studio YC6, Brother manuals

The set up as described in an early Brother Fashion magazine

from the KRC 900 manual

High tech version: 1 set up 2 in use Automatic knitting system based on the Brother KH-970, consisting of a knitting machine Brother KH-970, set for the ribbing attachment KR-850, KE-100 motor drive, and automatic color changer KRC-1000E (6 color changer).

The Brother single bed changers are the only ones I know of where the yarn remains in the changer after the color change, never leaving it.
A later post including some single bed color changer info: https://alessandrina.com/2017/05/01/knitting-in-pattern-with-2-carriages-brother-punchcard-kms-2/.
Excerpts from the 820 manual: A member of the Facebook Machine knitting group presented information in June 2025, expressing issues when using the single bed changer when knitting on the full bed, and mentioning it was solved with using the alternate position on her changer.
Following the images provided in the manual, it is easy to be unaware that there actually are 2 options available, with the second hidden by the left thumb in the photo provided.
The knob can be moved to position the arm under button #4, closer to the bed and the knit, or placed in the manual’s suggested #1, further away from both respectively. The openings for the knob placements are indicated with arrows in the image on the right. The auxiliary yarn tension stand was eliminated when later models introduced a place in the machine casing for the extra mast, my 930 actually offers 2 spots

It is possible to cast on while the color changer sinker plate is in use, making certain the yarn is used and retained in its proper placement in its roller. I prefer to cast on with the standard sinker plate, knit some rows, weigh the piece, sort the required tension, place the yarn in its position in the changer with COR, and then continue.
It is always a good idea to test color-changing sequences on some waste yarn rows prior to the permanent cast-on of the finished piece.
A common cause of color-changer crankiness is simply not moving far enough to the left before changing colors, a step that definitely requires using that “lace” extension rail.
The use of waste knitting is shown in the directions found in the manual as well.

An added difference between brands, the Studio changer uses letters, and the Brother uses numbers for yarn positions in changers

At the opposite end of the spectrum, the image below shows a low-tech “color changer” marketed beginning decades ago, and still available online. It is not practical to use in DBJ knitting because of the issues involved with removing the yarn from the ribber sinker arm in order to switch colors but can be an alternative for working single-bed on multiple gauge machines. It provides a way of holding the yarns that is easier and more successful than some of the other “creative” options for knitters who do not yet own a color changer accessory appropriate for their machine. An improvised “color changer” for knitting multiple color dbj by Chris Burdge, shared in the Ayab FB group.

Using the Brother knitleader: some tips

I recently brought my knitleader out of mothballs after a long period of no use, tend to use the magic formula for most of my simple charting
oh the math! Magic formula
online generators in includes a variety of calculators and methods for designing knit shapes

When using the knit leader you do not have to match the given yarn or gauge for a published patterns, they can be adjusted for size and for the type of yarn used in the specific project.
See Intro to knitting: gauge swatches for added guidelines and tips.

Manuals for 6 different knitleader models may be found for free download online at sites such as machineknittingetc.com .
KL-116 model, and a beginner’s guide to using the knitleader
Measurements are in mm, and taken with the ruler provided with the accessory or a substitute if the original is missing or lost.
Drawing on the sheets should start with a reference line at least 2 inches above the bottom of the sheet.
The midpoint dotted line represents the center of the piece.
The sheet is divided into 5 mm X5 mm squares and by thicker lines every 5 cm. The drawing space measures 63 cm (app 25 in) X 103-5=98 (app 38.5 in)cm allowing for starting line position.
The desired shapes are drawn on the sheet in actual size, using any water soluble pen. Multiple garment pieces may be drawn on the same sheet, it is easier to follow the respective lines if they are drawn in different colors.
Sheets may be used again and/or cleaned for next project. If the drawing happens on the reverse side of the sheet for some reason, take care in cleaning it off, the blue grid may be wiped off and lost in the process.
Do not bend/ crease mylar sheet or stitch measure scales.
Waste yarn and ravel cord are used prior to any permanent cast on to allow for knitting to begin on the starting drawn horizontal start guide line and with the yarn for the project.
When shaping narrower pieces on one side ie at neckline to shoulder or in holding techniques, be sure to move the carriage until it passes the feeding lever, so as to advance rows accurately.
These pages, from my own knitting KL-116 model, show some of the basics related to KL use Parts:

From a manual for a different model, shaping suggestions: Check ruler markings against the gauge swatch after the initial selection. Each ruler offers 4 options in terms of stitch markings, sometimes rotating the ruler or flipping it over to its opposite side is needed for a closer match. Bulky knitting machines use a different set of rulers. Besides the obvious difference in the distances between stitch markings, the standard rulers are identified by the same number on both sides, 1-20, while bulky rulers advance by single numbers on each side, are numbered 1-24.

Standard machine:
Vertical control: before you can shift gears you must depress the clutch. Tripping the feeding lever will usually release it.
Video on cleaning and lubricating the knitleader offer hints on maintenance or repair.
Testing for accuracy: set the row regulator to 150 mm and turn the knob 20 rows. The mylar should move the distance between 2 heavy lines, 5cm or approximately 2 in.
After measuring your swatch: draw a small horizontal line on the mylar sheet, followed by a vertical one to match cm +mm measurement for 60 rows, and a small horizontal one again.
Air knit 60 rows, beginning at the bottom mark, and at their completion, the top mark should be reached.
For ruler accuracy: there should be exactly 40 stitches between 0 and 40, lining up the tape on your swatch stitches and corresponding lines should match. If they do not, select another ruler close in range, until they do.
The pin is usually set in the feeding lever in the hole on the left.

The hole on the right is used when the length of 60 rows is less than 6.0 cm, which can occur in textured stitches such as tuck and slip, or fine gauge. In such cases, the row measurement is doubled, and the pin is inserted in the right side hole.

Single motifs may be placed anywhere on the drawn garment shapes, which in turn may be rotated to any angle required for the specific piece. Using the knitleader on the bulky:
A different set of rulers for the lower stitch/inch gauges is supplied with the machine purchase.
Make swatch as directed. Swatch guidelines from the manual (pp 45-47): I prefer to measure the full width in more than one place, then dividing the chosen result by half rather than relying on 2 single points as shown for the width measurement.
The bulky machine included stitch rulers when purchased new.
There are 2 gauge numbers on each corner instead of 1.
Every 20 stitches and 30 rows should match the numbers used for measurements.
With the pin placed on the left hole of the feeding lever, the arm will be tripped twice with each pass of the carriage. The shorter tripper on the back left of the knit carriage trips it once, the longer row counter tripper on the right also trips it on the travels from one side to the other.

For ribbed fabrics with high numbers of rows per inch: illustration from Brother ribber techniques book

Using half-scale patterns on brother’s full-scale knitleader.
Make the usual 40 by 60-row swatch (on the bulky 20 X 30 rows), or your preferred size and adjust measurements accordingly. Measure swatches with any centimeter ruler.
The stitch gauge: 1: follow outline but double the number of stitches indicated at all times, or 2: purchase a set of studio half-scale rulers and the accompanying “green ruler”. The S side of the ruler is used to measure stitch swatches over 20 stitches. The number just inside the right marker corresponds to the number of the correct stitch scale to be selected from the set. Each mark indicates one stitch. Measurements are based on 10 cm (4 inches).
Plastic rulers need to be taped into position. If there is a handy copier, paper rulers can be printed and placed/adjusted to suit, after checking on the accuracy of the reproduced scale.
For the row gauge: On the knitleader, the central peg is normally put in the left hand of the 2 holes on the plastic fingers in the front. If you put it in the right-hand hole, however, the chart only moves every 2nd row, which balances out the 1/2 scale in length. Program as always, setting cm and mm after pressing the clutch, but drop the connecting pin into the right hole of the feed lever.

Every other needle knitting: measure the swatch in the usual way, divide it by 2, and count every other line as a stitch, or use a ruler that factors in the number of needles as “stitches” before needles were put out of work. If the row count is higher than the highest number available on the regulator, divide the total by 2, and draw the outline half scale.

I like to measure a large swatch and get my final measurements via math to the second decimal point. It is possible on my model to shift tape to change the center 0 position. For sideways knit or wide pieces tracings of rulers can be made with 0 marking at the far left or right as needed. My math starts out with measurements to the second decimal point, rounded off up or down at the last possible minute.
The mylar sheet may be turned over, shiny side down for use in asymmetrical shapes that need reversing/do not have a central axis. Again, take care in cleaning it, the blue grid may be wiped off and lost in the process.

Drawings on mylar may be followed for colored intarsia or intarsia weaving.

I generally write and share my experience based on machine models I have owned. The comment left on this post led me to search for additional information on earlier model knitleaders.
The Brother KH881 and 881 were punchcard machines with a built-in half-scale knitleader. They could do fairisle and single motif knitting, with the option of KC1 and KC2 positions.
The manuals for both may be downloaded from
https://mkmanuals.com/brother-kh881-using-your-knitleader-user-guide.html
https://mkmanuals.com/brother-kh891-using-your-knitleader-user-guide.html
Early on instructions for knitting including those with machine purchases were accompanied by cartoons such as these in https://mkmanuals.com/brother-lets-start-machine-knitting-magazine.html
Comparing full half-scale models:
Brother 881 Studio SK700more info:
https://mkmanuals.com/kr7-knit-radar-user-manual.html
https://mkmanuals.com/singer-silver-reed-knit-radar-patterns.html

Altering the scale of pattern drawings: the studio half-scale ruler was quite handy, pictured

Studio gauge rulers: depending on your machine, different numbers of stitches and rows are marked. For 4.5 standard gauge you need to isolate 40 stitches and 60 rows; mid-gauge needs 30 stitches and 40 rows, and the bulky needs 20 stitches and 30 rows. To use the rulers: one side has an “S” and the other side has an “R” marked on it. Place the gauge ruler with the “S” side up to measure stitches. Place the cut edge of the ruler against your chosen markings for stitches. Where the edge of the yarn marks lay, note the number, this is the value for the stitches in 4 cm.
Flip the gauge ruler over to the “R” or rows side and place it vertically to measure rows. Place the cut edge and the bottom of the first stitch in the main color yarn. Look up to the top where the main color yarn meets the contrasting yarn row, This is the value for rows in 10 cm or 4 inches.

tt-30-stitch_scales / Studio tips and techniques #30, now available for free download online from multiple sites includes more information on their stitch scales

scale and technical drawing; instructions for creating printable rulers

Water-soluble markers are helpful for colored cues for garment segments, multiple drawings on a single sheet, etc. I use template marking pencils may also be found in colors

It is possible to use various sources for the pattern drawings. If measurements are given in a diagram they can be drawn as given in inches or centimeters, and matched.
Sewing patterns may be traced, and the seam allowance is eliminated since knitted pieces are joined by as little as half stitch on each side.
When attempting to match hand-knit instructions, match the given gauge with the settings and ruler on the knitleader.
Load a mylar, with a horizontal line 2 inches above the bottom of the sheet as a starting guide. The shape will then be “air knit”.
Begin with the row counter set to 0.
Using a water-soluble marker place a dot on the sheet at the original width and every time shaping in or out is performed.
Marking with an added small line when a row count is reached ie at the start of armhole or neck shaping provides a rollback point if the marking becomes confused or needs to be double-checked for any reason.
When all shaping is complete, remove the mylar and connect the dots.
Change the knitleader settings and ruler to match the swatch gauge for the planned piece, insert the mylar, and knit.

The wonders of blocking

Blocking is one of those knitting preferences that can arouse strong pro/con arguments, and goes the range from casual to nearly compulsive with wires, pins, and assorted tools used to achieve desired results. My shawls continue to sell well: the photos below illustrate part of the process and 2 of the most recent in their family. All shaping and joining are achieved through the knitting process; the shawls are reversible, may be worn and draped in a variety of ways.

before steaming and pressing

unblocked1

detail shot after steaming/pressing

blocked1

one way to wear, purl side facing out

shawl1