The COM series public address mixing amplifiers are providing an ideal solution for small to medium size commercial sound systems. Different configurations in terms of output power and connectivity provide an enormous flexibility for numerous applications. The COM12 is capable of delivering an output power of 120 Watt to 100 Volt constant voltage systems or 4 Ohm low impedance loads. Six input channels with individual level control allow connectivity and mixing to a wide variation of music sources. 2 balanced microphone inputs (XLR) containing phantom power (15 V) and two priority allow connection for almost any (dynamic or condenser) microphone. Two inputs selectable between stereo balanced line (RCA) and microphone (6.3 mm Jack) allow connection for any source such as CD-player, music computer or portable device, or enable to expand the total microphone count to 6. The remote microphone and tele-paging inputs allow expansion of the system with a paging station (with chime tones) or couple the system with your business telecom system (or any other priority line source). Using the priority mute contact, coupling and muting can be done through an external fire alarm system. The output level can be adjusted using a master volume control accompanied with 2-band tone regulation. The level is indicated with a 5-segment VU-bar while output selection is made possible using an integrated 5-zone speaker switcher. Both table-top installation or 19” (2HE) equipment rack mounting is made possible using the included adapters.
|RMS/AES power handling||120 W|
|Frequency||Response (± 3 dB)||20 Hz - 20 kHz|
|Signal / Noise||> 90 dB|
|THD+N (@ 1 kHz)||< 0.5%|
|Crosstalk (@ 1 kHz)||> 70 dB|
|Source||230 ~ 240 V AC / 50 ~ 60 Hz|
|Common mode rejection ratio||70 dB|
|Inputs||Balanced Microphone 1 - 4||Type||4 x Balanced Mic./Line (-6 dB / -50 dB)|
|Connector||2 x XLR/Jack Combo & 2 x XLR|
|Other||4 x 15 V DC Phantom & 2 x Priority|
|Balanced Microphone 5||Type||1 x Balanced Mic./Line (-6 dB / -50 dB)|
|Connector||6.3 mm Jack|
|Unbalanced Stereo||Type||1 x Stereo Unbalanced Line (+14 dB / -30 dB)|
|Other||Remote mic (Priority mic + chime)|
|Tele-paging (Priority line)|
|Priority mute contact|
|Outputs||Connector||2-pin Euro Terminal Block (Pitch - 5.08 mm)|
|10-pin Euro Terminal Block (Pitch - 5.08 mm)|
|Voltage / Impedance||100 V / 4 Ω|
|Protection||DC Short circuit|
|Operating temperature||0° ~ 40° @ 95% Humidity|
|Dimensions||420 x 88 x 320 mm (W x H x D)|
|Mounting||19” / 2 HE or tabletop|
|Accessories||Included||19” Rackmount adapter|
Bars & Restaurants
As the power consumption of an amplifier, strongly depends on how hard the amplifier is driven, measurements are provided for various loads: idle, 1/8 of average full power, 1/3 of average full power, and full power.
Current draw at idle or with very low signal level
1/8 Power: Pink Noise
Amplifiers are tested using pink noise signals to simulate real-world speech and music signals. It approximates operating with music or voice with light clipping and represents the amplifier's typical "clean" maximum level, without audible clipping. This 1/8 power signal provides a very good approximation of how hard an amplifier would be driven by typical real-world speech/music signals, assuming those signals were being driven as loud as possible without clipping the amplifier.
1/3 Power: Pink Noise
1/3 Power Pink Noise is similar to 1/8 Power Pink Noise, except that it is a significantly more powerful input signal. It approximates operating with music or voice with very heavy clipping and a very compressed dynamic range. This 1/3 power signal provides an approximation of how hard an amplifier would be driven by typical real-world speech/music signals, assuming those signals were being driven loud enough to clip the amplifier heavily, and produce severe, audible distortion.
Current draw at full power is measured with a sine wave at its maximum possible level. However, it does not represent any real-world operating condition and represents the absolute extremes that an amplifier could ever experience.