Periodically questions come up with regards to how to manage float control other than using familiar DBJ settings, or the best way to proceed to achieve it when one prefers to work in thicker yarns. In this technique, all main bed needles are in use for patterning and in working position, the ribber needles can be arranged in nearly any configuration in groups with 1 needle in work, and one or more needles out of work. The main bed tension is close to what would normally be used for a single bed fair isle, while the ribber is set at least one or two whole tension numbers tighter, thus reducing bleed through or vertical separation lines on the “outside” of the knit. The fabric uses less yarn than every needle rib DBJ, is lighter in weight, has more stretch, but will not lie as flat. In Brother, if needles are arranged in groups of 2 (pairs of lines and spaces on the needle tape with even spacing between them (i.e. 2 X2, 4X4, 2X4, etc) then lili buttons can be used. The latter method has less chance of the backing showing as a vertical line/ separation on the pattern surface. Sometimes the ribber needle arrangement may result in a secondary, interesting pattern on the purl side. It is still a good idea to have floats that are limited in width, generally less than 5 stitches. For the purposes of illustration, I knit 2-row stripes on the main bed, while altering settings on the ribber.
This was my initial setup. The ribber needle tape is marked in what I think of as dashes and blanks, in continuous pairs. When using single ribber needles for the ladderback, the number of out of work needles may be even or odd between the ones in work
As each row is knit the ribber will pick up yarn, or not, depending on carriage settings, creating a knit stitch vertical chain on the purl side of the knit 
If empty needles are simply brought in to work above plain knit rows, eyelets will be created. One way to reduce their size would be to pick up loops between stitches on the main/ opposite bed and use them to œcast on your ribber needles. With ribber carriage set to knit in both directions, each color will knit with each pass of the carriages (2).
With it set to knit in one direction, slip in the other, each color will knit on the ribber for a single pass, slipped in the opposite direction, and the slipped stitch becomes elongated (3). 
Having a needle in work on the ribber close to the edge of the knit may help reduce the roll along that edge (4). 
A slight separation may appear on the knit side in the location of the vertical columns created by the ribber stitches, it is less apparent when ribber knits on every other row 
It is possible to only have one of the 2 colors knitting on the purl side. In my case, it was white knits, blue slips. Here the ribber carriage settings need to be changed with each color change, so for white I used
for the blue
Setting up for using lili buttons: needles need to be in pairs, each with a matching “dash and a blank”, even number of out of work needles in between them. My previous set up required a bit of moving stitches around
ribber is set to slip both ways, lili buttons engaged 
With the above settings, the needle on the right of each pair will catch the yarn on the pass to the right, the needle on the left of each pair will pick up the yarn on the way back to the color changer. Stitches are elongated because they are slipping alternately for one row, and are slightly offset from each other with a bit of a “jog” because they are not knitting on the same pass. This is noticeable in lili backed full DBJ as well. The color change from blue to pink is simply because I ran out of blue yarn. 
My ribber stitches should have been tighter throughout, but even in this tension situation, the knit side has the least noticeable vertical separation along vertical column edges in the series of tests 
The technique may be used on any machine. This sample was knit on a Passap, using one of the patterns built into the console, pushers 2 up, 2 down for long stitch alternating color vertical lines, fixed distances between them, BX <–/LX, Tech 179.
Similar backing may be produced on the Brother machine, but now a hand technique is involved. The ribber remains set to slip <– –> throughout, no lili buttons. The spacing may be chosen on the basis of the interaction with the main bed motif, or in a different configuration for each color, making the hand technique easier to track. Needles are brought to E position on the ribber for each row to be knit in that color. Here the different colors are easily identified
the ribber settings
There are 2 options: one is for bringing appropriate needles to the E position for each color only once. I chose to do so immediately after each color change, with carriages on the left (below dots). The other is to bring them to E for the second pass of the carriages on their way back to the color changer as well (above dots). There is elongation in stitches in both options, less so when each color knits on the ribber for 2 consecutive rows, where one short and one longer stitch for each color may be observed. The first option also caused a bit of puckering on the knit side, which disappeared with pressing.
the reverse side 
Similar ideas, playing with the configuration of color blocks on either or both beds, can result in applique, embossed jacquard including pleats, and a whole range of other double bed knit fabric variations. A quick sample with transfers between beds
Lastly, here is a tiny swatch in an arrangement beginning to explore the odd number of needles in work on the ribber in conjunction with the use of lili buttons and adding needles to “fool the machine” as described in the post
revised with fewer single dots, and solid lines in the ground 
using any method you prefer, set up knitting so all stitches are on the ribber. If you prefer to set up complete repeats prior to watching, “air knitting” prior to ribber set up or using the position option on the main bed if that is available, will help achieve that 
set knit carriage to KC II (used when patterning does not occur on every needle across the needle bed), both part buttons pushed in for free pass to the opposite side of km, no knitting occurs but the first row of pattern knitting is selected. Ribber is set to N<–> throughout
the carriages now move to the opposite side, selected needles on the main bed pick up loops, and nonselected needles stay empty. Ribber knits every stitch 
using a ribber cast on comb, stitch “dumper”, or another tool, move needles holding stitches forward to drop loops, and return empty needles to work position (B)
as carriages move to the opposite side, needles are selected for next row of knit stitches to be knit on main bed 
carriages now move to the opposite side, loops are picked up on selected needles 
carriages move to the opposite side, picking up loops 
before carriages move again, drop stitches formed. Watch loops after they are dropped, if tugging knitting it is not enough to pull them out of the way of needles returning to patterning, take a tool, or something like a credit card. Slide it from one side to the other between the beds, thus keeping loops clear away from the main bed
purl side is shown first for each segment, followed by its knit
If using punchcard machines, factory issue punch cards provided with the KM may be used
A slip stitch edge may be planned to keep edges of items such as scarves from rolling 
consider top and bottom edgings that include the technique (illustrated in the 
An alternative way to produce this fabric on Brother is to use the knit carriage with no yarn to do the “stitch ditching”. The basic design programmed into any brother machine, electronic or punchcard will need to be altered. The intended design in my sample is a 4 X 4 square, colors represent what would be punched holes, black squares, or pixels. Simple block patterns such as these may be released upon completion of each “square” series, in this case, after 4-row segments. 
Rows 5 and 6, 11, and 12 are not part of the original repeat. The 5th design row provides needle selection, traveling from right to left. When the carriage passes in turn from left to right with no yarn, those preselected needles will drop while preselecting a blank design row (6) that allows the carriage to return to the left-hand side. As it moves back to the left, the carriage will preselect the first row of the design. With COL yarn is picked up in order to knit the next set of dropped stitches. A color change may be made while the carriage is on the left.
More to try: the typical appearance to look for in the source inspiration is that of single-row horizontal geometric designs with all blank rows separating them from each other.
The yarn used here was a softly spun rayon that began eventually to split, and get partially caught up on gate pegs, leading to the ending of the swatch 
Fair Isle
Working in multiple of repeat -1 on the top bed, plus one needle in work at each end on the ribber. Considerations need to be made to align the design properly. The markings on my metal bed are from a different project. 
The goal is this needle arrangement 
the first selection row 
a needle on either side of the groups of 7 is pushed back to A position, remain there throughout the piece
the ribber has now been set up for knitting every needle, every row, with the caston and desired edging completed. The first row is selected on the main bed for pattern knitting. 
the variation in width is due to adjustments in tension, the swatch folded over itself shows the difference in another way
So I now own a new Mac, no longer have Microsoft Office available, and am now working my way through charting diagrams using Mac Numbers. Below is a possible working chart with a different stitch count than above. I would suggest larger blocks of all knit stitches and rows between “bubble” repeats
the reverse of the fabric, lightly killed with steaming and pressing 
one with a color reverse border on only one end
Three more candidates for experimenting with the technique. 
The single knit row between repeats is fairly easy and rhythmic to produce. The first preselection row is made with the lace carriage, beginning on the left, the design is used as given in the punchcard.
The BMP for the full repeat including blank rows at the top 
The above shows long vertical lines of transfers are possible in design motifs (punched holes).
Since the above is seven stitches wide, if punched accordingly it would occupy 21 out of 24 stitch units on a punchcard. As is unless those extra needles on the far right or left are left out of work for ladders or transferred down to the ribber, it would not be suitable for an all-over fabric. It can, however, be used for a trim. If the latter is the intent, only one series of vertical repeats as seen in the chart needs to be punched. The numbers below the image indicate Brother needle tape markings. The Brother needled tape has a center O position marking, with numbers beginning count with one and radiating out marked in groups of 5 in both directions. 
The single-width repeat may be programmed as pixels, on left, or punched holes on right. In electronics a single 8-row repeat is adequate, punchcard knitters repeat 5 times to 40 pattern rows punched. 
I prefer starting such designs on a knit row. To do that, the design repeat start may be shifted 
Using the trim as the cast on edge for a garment: determine the length required after a technique test. Knit a bit extra and remove on waste yarn, so more may be added or some be unraveled if needed or you wish to change the configuration using it as your cast on. Rehang and cast on later when it is completed. The flared-out portions of the trim will be used to “cast on” the edge of the piece, continuing with some needles out of work. An attempt at a line drawing of the “trim” sideways 
Using the curved out edge of the trim, hang half stitches if possible, or one full stitch away from its edge as illustrated below. Knit 4 rows. With a tool pick up all ladder loops created by NOOW (RC 1-4) and hang them on the center empty needle. Knit rows (RC 5, 6), hang ladder loops on still empty needles, knit across all needles, continue with garment
The yarn used is cotton and appears to have a tendency toward biasing on knit rows as seen in the tendency to lean in one direction in the above photos. It has no stretch, so stitches that knit off several tuck loops remain elongated. A look at the structure on the purl side: 
For more trims in this family, please see later post 
If using the pattern on electronic machines, the needle selection needs to match on the top bed. Depending on the model electronic, the pattern may have to be reversed for accurate needle selection.
When using card 304, tucking happens for 3 rows forming loops that span across needles out of work, then all stitches on needles on rows with numbered markings on blue cells knit for one row. Orange gradient-filled cells represent rows on which tuck loops are being formed on the held single stitches, which in turn grow in length. 
The full 24 stitch repeat, shifted for my preference, with the smallest electronic 8 stitch repeats outlined with red border
On the 930: the odd number of needles are automatically placed on the left, with the pattern used in the isolated design setting.
the tuck loops still form on the main bed, the ribber is set to knit every needle in both directions. 
The resulting knit, very different in appearance and in width than the previous sample, using the same tensions 
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 
