Fender PX-2208D
A powered mixer that lives in its own road case - and folds out to become a stand.
Overview
The PX-2208D is an eight-channel powered mixer built into a road case. The case is the first thing anyone notices. The protective cover folds out to become a stand, which is either the most practical design decision Fender made on this series or the most annoying, depending on how much you enjoy carrying a folding mechanism that doubles as furniture. The unit ships in a road case measuring 6-1/8 inches high, 20-1/8 inches wide, and 34-3/8 inches deep, and it weighs 72 pounds. You don't toss that in the back of a hatchback without thinking about it.
Fender's PX series had four models, and the naming is simple once you know the pattern. The PX-2208 and PX-2208D are the eight-channel versions, the PX-2212D has twelve channels, and the PX-2216D has sixteen. The "D" means digital reverb. The PX-2208, without the D, uses a spring reverb instead. Both the PX-2208 and PX-2208D run a 150-watt-per-channel power amplifier. The larger PX-2212D and PX-2216D step up to a 300-watt-per-channel amplifier. The manual notes that the 300-watt and 600-watt power amp boards are nearly identical. They differ mainly in the number of installed output transistors, the values of certain resistors and filter capacitors, the power transformer, and a zener diode in the phantom power circuit. That helps anyone doing a repair, since a tech familiar with one board can work on the other.
The amplifier section is the strong part of the PX-2208D. Output power is rated at 150 watts per channel into 4 ohms, continuous sine wave, both channels driven, with a 120-volt AC line and a tolerance of ±1 dB. Into 8 ohms, it's also rated at 150 watts per channel under the same conditions. Power bandwidth spans 10 Hz to 68 kHz at the 3 dB down points from rated power. Total harmonic distortion is below 0.03% at rated power into 4 ohms across 20 Hz to 20 kHz. Frequency response is quoted at 5 Hz to 68 kHz, +0/−3 dB at rated power into 8 ohms. Those are respectable numbers for a powered mixer of this type.
Slew rate is greater than 13.5 volts per microsecond, and rise time is less than 5.2 microseconds. Damping factor is specified as greater than 30 from 5 Hz to 20 kHz referenced to 8 ohms, rising to greater than 175 at 1 kHz. Hum and noise sits 95 dB below rated output into 4 ohms across 20 Hz to 20 kHz, broad band IEC A-weighted at 102 dB. Channel separation is greater than 65 dB at 1 kHz, and input impedance for the power amplifier section is 33K ohms. Sensitivity is 1.8 dBv for rated power at 1 kHz. Nobody will gasp at these specs, but they describe a competent, quiet amplifier.
The digital reverb section is built around a dedicated DSP reverb PCB, separate from the control board. The parts list shows a digital effects unit without the control board as a distinct assembly, with its own mounting hardware and standoffs. The front panel carries a dedicated reverb defeat switch, so you can kill the reverb without zeroing a knob. The spring reverb version, the PX-2208, uses a different control board and panel assembly, so the two aren't interchangeable without swapping those parts.
Channel controls use color-coded knobs: gray and blue for aux, effects, monitor, and digital reverb; gray and green for high, mid, and low EQ; gray and white for trim, tape in/out, and solo/head. The balance and pan controls use gray and dark gray knobs, while the aux and effects returns get gray and black. The channel faders are 15mm sliders with light gray and black caps, the monitor masters are blue and black, and the main and mono faders are white and black. The color coding makes it easy to find the right control in low light. The top panel also carries a handle, which helps on a unit this heavy.
The input section includes eight 1/4-inch line input jacks and eight channel insert jacks, along with XLR inputs. The parts list shows 34 jam nuts for 1/4-inch jacks, so the top panel is densely populated. There's a BNC lamp connector with an O-ring, a headphone jack with a fiber shoulder washer, and RCA jacks for tape in and out. The signal path uses a mix of TL072 dual op-amps, 5532 dual op-amps, and LM339 quad comparators. Those are standard parts that are still readily available.
The PX-2208D was priced at $1,650.00 according to Audio-Collection (August 1993, p.141), which also noted the PX-2212D at $1,899.00 and the PX-2216D at $2,099.99. A year later, EQ-Magazine (August 1994, p.82) listed the PX-2208D at $1,890, suggesting either a price increase or regional variation. That same EQ-Magazine item highlighted the fan cooling for reliability and the road case with removable protective cover that folds out to become a stand.
The service manual is dated October 1994, revision A, and lists the PX-2208, PX-2208D, PX-2212D, and PX-2216D under a single document. The parts list is thorough, covering everything from the road case assembly and channel side rails to the individual screws and washers. That kind of documentation is increasingly rare for gear of this era. The manual also includes a block diagram and schematics, which is more than some manufacturers provided even for much more expensive equipment.
The road case itself is a substantial piece of hardware. It uses extruded aluminum side channels, black powder-coated corners, and recessed handles. The case top mounts to the panel with 20 screws, and the whole assembly is designed to protect the mixer in transit while still allowing access to the controls. The glide pads are waxed for smooth movement, and the case has a latch and keeper system to keep it closed. It's not a lightweight gig bag. It's a proper road case, and the 72-pound weight reflects that.
The PX-2208D is a powered mixer with a built-in road case and a digital reverb, from a time when Fender was making a serious push into the live sound market. The amplifier section is quiet and clean, the channel count is adequate for small to medium gigs, and the documentation is excellent. The main drawbacks are the weight and the folding stand mechanism, which is clever but adds complexity to the case design. Parts like the DSP reverb board and the custom knobs are specific to this series, so replacements can be hard to find. The op-amps and most of the passive components are standard, and the service manual gives a technician everything needed to keep one running.
The PX series was Fender's push into powered mixers and live sound reinforcement, and it didn't last as long as some of their other product lines. The PX-2208D is the middle of the range in terms of features, offering digital reverb and eight channels without the extra weight and cost of the twelve- or sixteen-channel models. Anyone who has to carry it up a flight of stairs will find "portable" is a relative term.
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