While browsing through E6 Passap model magazines I was intrigued by the pattern in this edition with models for children 
shown below on the right 
The instructions for the stitch pattern include a knitting technique to be programmed via a card reader. The results of entering it would be altering the pattern internally with the goal of providing racking directions on the console with each pass of the locks. The Duo has a 40 stitch wide punchcard capacity while the black and white squares repeat is 14 stitches wide, so not for use on it. DIY techniques for the E6 are a whole other topic, so let us analyze the Duo instructions. Keep in mind that in Passap the front bed moves when racking, it is the patterning bed. In Brother the “front bed” is actually the ribber, while patterning occurs on the top bed, so needle arrangements will be reversed. Brother has only needles, so pusher selection is not pertinent in diagrams. The out-of-work needle positions on the back bed need to be matched in the same arrangement and location on the Brother ribber. Transfers are made more easily be made to the knit bed after completing the cast on and the first KC preselection row is knit. Be sure to return any preselected needles to their original position. If the needle pitch on the ribber is changed to P to make the transfers easier, remember to change it back to H before proceeding, this is a fabric with every needle configuration on both beds. 
Translating Duo directions to black and white squares in order to develop a repeat for use on Brother: N/N is easy. The Duo is using buttons on the front bed and selection in response to their arrow setting to alter and progress through the pattern. The setup is with 7 needles up, 7 down, creating a 14 stitch repeat. BX on Duo (LX with patterning on front bed E6) is the equivalent of slip setting on Brother. No arrow keys, Passap on N, everything knits. Brother equivalent is a row of black squares (or punched holes if applicable) for each row on the N/N knit setting. BX <– will reverse the needle selection from whatever it was immediately before the previous rows of N/N, and remain there for the full racking sequence. After the first 32-row repeat is completed, at the end of the 12 racked rows, there will then be 4 all knit rows between racking sequences, two knit rows at the top would match 2 rows knit at the start. Once again, the BX<-for one row sets up the alternate blocks of racking. I chose to start my repeat with the 930 with a cast on in racking position 10. The chart shows racking positions on each row, reversing direction after having reached #4. E6 knitters may use the same repeat, matching the Duo racking starting on 3 left to 3 right and back
The repeat viewed tiled: 
My samples actually produced a mirror image of the repeat, this is how that would have appeared flipped horizontally in the magazine
I first used a blue Italian import 2/14 wool, which knit well, but I had a hard time seeing the stitches being formed on each bed and missed a couple of dropped ones. The 2/24 acrylic to its right knit resulted in occasionally dropped stitches that were actually solved by swapping out the needle retaining bar. A sample in the yellow 2/13 wool used in previous posts simply would not stay on the ribber well for the number of rows in this pattern.
After swapping out the needle retainer bar, knitting went smoothly. On the right in the photos below, the same racking sequences and needles out of work on the ribber are used, but the knit carriage was not set to slip, so essentially, every stitch on every row on the top bed was being knit. In addition to needle preselection, one should also check the type of stitches actually being formed. One of the disadvantages to knitting ribber fabrics is that several inches may be produced before one can actually evaluate the pattern being knit by peeking between the beds. 
I will have to revisit a previous post with some interesting racked textures that now appear to me to be related to this one, beginning with this one, from a publication for the dubied machine
this case the back bed knits every stitch, every row, a single function on all needles. If produced in the illustrated orientation, the racking bed (ribber) switches from knitting to slipping stitches. In Japanese machines, the ribber carriage cams must be switched manually from slip to knit to reproduce the pattern. To begin with, the repeat is rotated so it is the knit bed that will have the needle out of work selection
was hesitant to rack four positions after only 3 rows of all knit, so I began with 4 rows knit, 4 rows slipped, with needles set up as shown above. The racking happens after every 8 rows by 4 positions, and the first all needle preselection row at the top of each repeat is an easy marker for moving the ribber. Pitch is in H, the top bed can be moved even though all needles are selected because the ribber needles are in B position, and there are no potential jams. I chose to start at 10 and move from that to 6 and back. Solid black and white lines can be used, since the needle selection on the top bed is fixed and altered by movements of the beds in relation to each other, not the programmed pattern itself. The repeat with main bed set to slip <– –>, the ribber set to N/N, and the resulting swatch:
Using the same yarn, reducing the tension a bit, and knitting 3 rows, slipping 3 rows, racking 10 to 6, and back to 10.
A partial view of my needle bed: 
All needles used in my swatch, I began the stitch transfers down onto the ribber needles on the far left, continuing across the knit bed. 
As end stitches knit on the ribber alone, a small edge weight may be required on that side. As stitches on the main bed are not worked in the slip stitch rows, they become elongated. Racking by 4 positions is not possible unless there is enough fabric so as not to pull so much that stitches will not knit off. If the yarn does not have some “give” that can make the changes in position harder, some yarns may break easily. The long stitches: 
After the needles are preselected for the next row of all knit, rack to the next position; the long stitches will then lean to one side or the other 
The resulting swatch, shown on both sides: 
The texture becomes more pronounced after the swatch rests. If acrylic is used, remember not to press the knit. An attempt to identify stitch actions: 
This is the swatch knit changing ribber settings to and from slip <– –> to N/N on appropriate rows. I found the method above far simpler 
Coincidentally this morning a Duo pattern using a different setup was shown in Ravelry, and I was asked whether producing the same on Brother might have any advantages. The Duo results, shown on a project page, are very similar to the above. The advantage in my opinion of using this method on Brother machines is that there is no need to change lock or carriage settings, and racking when the preselection for the next knit row first appears creates an easy marker for when to move from the previous racking position to the next. 
The Brother repeat (KCI on electronics is OK even though there are needles out of work on the knit bed) 
Racking is from position 10 to 6 and back just as in the previous blue swatch, after the first preselection row at the start of the following repeat sequence. I began the stitch transfers down onto the ribber needles on the far left, continuing across the knit bed. The final look will vary with the choice of yarn and its color. Both swatch sides.
If for some reason horizontal direction matters simply cast on with racking position on 6, and continue to and from there to 10 and back. Below is a horizontal flip of the same swatch image, a way to quickly decide whether doing so might be preferred.
The only way to find out is to try it. The lesson already learned: use a yarn that is crisp or capable of retaining memory for maximum effect. Here the swatch is knit in a 3/14 cotton. To start with, racking was from position 0 to 6 and back. Racking every 2 rows at the bottom of the sample, every row at its top
Now adding needles out of work with the expectation of folds at approximate center of each fold
This was my set up, after planning the repeat and transferring a couple of stitches on each end to the back bed for better side edges 
Racking started in center position 0, then swung to 3 left, to 3 right, ending on 0. I long ago got frustrated with the Passap numbering, marked the racking positions with a permanent marker from 0 on the right to 6 on the left. The knit result is definitely a rolling fabric, though a bit less so than the Brother sample which was able to move across more racking positions 
Passap E6 manual shows racking patterns possible with console built-in designs on pp. 118, 119, 120, 121, techniques used in racking patterns number 257-272. The console gives prompts for the direction in racking sequences. Self-programmed designs would need a separate knitting technique entered into the console as an additional “design”. This can be done with a card reader combined with a pattern download from a computer. Programs that automated the function to any degree are no longer on the market. Typically, in published patterns for either brand, if the starting point for the racking sequence is important, it will be given along with the frequency of movements such as in this design from the Duo 80 book
Some Duo symbols and their meaning
My sample was knit in a tightly twisted cotton, and when off the machine had an interesting and unexpected fold 3Dquality 
The setup is essentially the same, with white squares representing needles and pushers that need to be out of work. Tech 258 uses LX (slip) on the front bed, back bed si set to N. The duomatic pattern has a different OOW needle arrangement, the front lock is also set to tuck = FX (E6=KX), adding another layer of texture and complexity. Needles are also out of work on the back bed.
What is knitting in terms of black and white squares if one continues:
this repeat is what is required to match the technique diagram
Below the pattern alternates blocks of 5 black squares, 5 white, color changing every 2 rows and reversing racking direction after every 24 rows. The full repeat is 48 rows. If rows knit in the zig-zag are counted, they amount to 12 because each color slips it is not knitting for 2 rows. Note that to achieve the color reversal at the halfway point of the repeat the same color (2) knits for 4 rows, at the top of the repeat color 1 does the same.
Back to acrylic yarn, light color for more visibility creative yarn snag on the left midway, full swing movement is shown, each is 48 rows in height. As always it helps to check whether stitches are obliging by staying on the needle bed. The top half of the swatch is shown.
In turn, I programmed # 1000 X 6 in height but pusher selection was all up for one row, one down. I left it alone, and lastly, worked with pusher selection on the back bed, BX <–. Patterning advances a fixed repeat every row or every other, determined by original hand-selected up for selection and down above rail for out of selection. The front lock is left on N (disregard front for setting it to LX) there is a whole other world of possibilities, while the console racking sequences can be used from built-in techniques. 
Any ribber needle selection on Brother other than the use of lili buttons would have to be done manually.
A comparison of my repeat using a single LC and the Knitlabo pattern expansion including memo options for use with 2 lace carriages
The repeat required mirroring for use in my electronic 930. Experimenting with racking intersecting tuck stitch on multiple repeat png, stitches were picked up on the ribber aside from the first tuck stitch on the right, A, on the center, B, and on the left, C, of the knit stitch groups.
changing ribber needle positions
moving toward positioning the racked pattern further into the knit columns. 
The intended placement of the racked pattern is shown in yellow. 
Good notes and documentation of the final needle arrangement will make the technique easily reproducible. The needles involved on the top bed always need to be returned to the patterning position after any shares. 
At any point in the knitting, it is easy enough to transfer stitches on the ribber up to the main bed, drop the ribber down, and check on the placement of the racked pattern. If the place is satisfactory, the moved stitches can be returned to the ribber and the work is continued. If not, transferred stitches can be left on the main bed, other stitches can be shared with the ribber and patterning can continue with racking in the new location. One such adjustment is seen toward the bottom of this swatch. 
Translation of symbols used in Knittax patterns 
On the purl side, this creates structures that emulate crocheted shells. My first attempts at trying to knit anything like this were in thin yarn, and I had enough issues to give up for the moment. Things worked out much better when I switched to a sport weight yarn that seemed to like knitting at T 10 for stocking stitch. With NOOW set up, my sample was knit at T 9. Waste yarn and ravel cord are often a good way to start, but not always necessary, the same is true of weight. I began with a crochet cast on, every needle, multiple of 4 st + 2, then dropped the alternate pairs of needles between the first and last 2 pairs of needles in work, pulling the needles back to A position, determining the width of my “shells”
Variations can include the number of needles in and out of work, yarn choices, etc. 
The illustrated needle arrangement for #4
I like to begin using a chain cast on, and then dropping chains off needles out of work
The fabric shares knitting sequences with the first 2 samples
Here a similar technique is used for a trim, both sides are shown 
a bit closer, 
Images from left to right
purl side 
The emerging pattern can be seen, and to be noted is the elongation factor involved as in many color separation DBJ fabrics
The explanation: further analysis of the original design reveals the fact that some of the pixel numbers in the design black square blocks are uneven in width. In this instance, 3.5 is half of 7, and half pixels cannot be rendered, so the software assigns the split to 4 and 3.
A 
