There was also the Sinar Alpina with a reduced weight rail. But I don't like the idea of gears at all, except for fine focus, on an outdoor camera, especially the micro-gearing of dedicated digital monorails. It's just too easy to get grit and sand stuck in them. I strictly used Sinar F-series 4X5 monorails in the mountains and desert for 20 years straight, and encountered just about every kind of weather condition you can think of, at least in terms of North America. The only exception was when shooting an 8X10 flatbed camera. Now I prefer a lovely classic Norma 4x5 - the components are interchangeable with F and P cameras too, but I've got nearly the same rigidity as a P at only a pound more cumulative weight than an F2, and without any redundant studio features which might turn out to be a headache in the field.
Sinar uses, even in the old Normas, a tough Delrin-like nylon gearing for fine focus. Sure, the finer die-cast helical gear rack & pinion train of a Technika or Horseman FA is a pleasure to work with. But it's almost impossible to beat the Sinar system for sheer versatility and component selection, and for sheer dollar value at present rates on the used market.
I know someone who prefers using Phase 1 digital backs on regular P2 4X5's. I'm well aware of marketing claims that it doesn't have fine enough focus gearing for that purpose. But this fellow can afford anything he wishes, and owns the largest finest studio I've even seen; and I'd defy anyone to get better results if they're forced to go digital to meet scheduling or publishing deadlines, like most commercial studios these days. There was a time when clients wanted the results by tomorrow; now they demand it yesterday.