Digidesign's (www.digidesign.com) D-Show Profile offers a size-conscious alternative to the D-Show flagship console/controller in its VENUE live mixer line. D-Show Profile is compatible with all existing VENUE hardware and software, including stage and front-of-house racks for connecting to Pro Tools HD and Pro Tools LE systems via a hardware option. D-Show Profile also offers expanded show control options with the new General Purpose Interface (GPI). Its eight GPI I/Os allow D-Show Profile to send or respond to external equipment via simple switch closures for automation cues, etc. Because D-Show and D-Show Profile operate on the same D-Show control software and operating system, users won't have to learn new software or rebuild their console settings from scratch when moving between VENUE mixing consoles.

The next generation of Audio-Technica's (www.audio-technica.com) Artist Series adds new models while upgrading existing mics. The $299 ATM710 cardioid condenser, $249 hypercardioid ATM610 and $169 cardioid ATM410 dynamic vocal handhelds all offer low handling noise. New instrument mics are the $169 ATM650 hypercardioid dynamic, $369 ATM450 side-address cardioid condenser and $449 ATM350 cardioid clip-on condenser. The ATM350 comes with a violin mount and a flexible gooseneck mount; heavy-duty iso mounts are included with the ATM450 and ATM250/ATM250DE. Based on the AE2500, the $549 ATM250DE is a dual-capsule (dynamic/condenser) kick mic, and the $329 ATM250 is a single-element hypercardioid dynamic; both are suited for upright bass and high-SPL (kick, toms, guitar/bass cabs and brass) sources.

The DSP5D from Yamaha (www.yamahaproaudio.com) puts the functionality of its PM5D-RH digital live console — less the control surface — into a rack unit that's controllable from a PM5D. Priced at less than $30,000, a single DSP5D doubles the mixer's I/O channels, with 96 mono and 16 stereo channels accessible via four fader layers — or add a second DSP5D unit for 144 mono/24 stereo capability. The DSP5D can reside next to the host PM5D or act as a remote stage box (with all I/O accessible on the front panel) using an optional digital cabling unit for communication up to 120 meters away over standard Cat-5 cable.

The GL3800M from Allen & Heath (www.allen-heath.com) analog monitor desk offers up to 16 monitor mixes, plus built-in mic splitting and a comprehensive, dual-output engineer's wedge/IEM monitoring system. It's available in 24, 32 and 40-channel frame sizes, and the 16 mixes can be globally assigned as mono or stereo. Each stereo mix provides level and pan control, as well as stereo AFL signal-checking. By assigning mixes as “wedge” or “IEM,” AFL automatically routes to the engineer's speaker or in-ears, as appropriate. Other features include a built-in oscillator/pink-noise generator and independent talkback to/from the FOH console and to each performer.

Hear Technologies (www.heartechnologies.com) is shipping its Mix Back monitor mixer. The $2,495 unit is designed to reside at the stage, providing 16 inputs, a passive mic split, 4-band EQ and 16 channels of analog (two stereo, 12 mono), Hear Bus and ADAT output simultaneously. Ideal for in-ear monitor mixing and configured as 16×12×2×2, the rackmount unit features a talkback mic preamp for talking to any (or all) master outs and an intercom out. An optional $139.95 16-button remote connects via a standard Cat-5e cable.