12 inch coaxial 2-way active monitor. 1200W Class D 2-channel amplification (900W LF + 300W HF) with comprehensive onboard DSP. 80 by 80 conical coverage. Multi-angle wedge plus pole socket plus 12 fly points. Made for stage monitoring, nightclub tops, install, and zoned venue audio.
$2,295 each
Quote includes shipping, system bundles, and current lead time.
Most quotes sent same business day. Real people, no scripts.
Recommended accessories
Premium Cover
Custom fit padded cover with embroidered BASSBOSS logo. Covers ship separately, 4 to 6 weeks lead time. Shipping cost applies.
$220Cover with logo
Format
12″coaxial 2-way active
Amplification
1200WClass D 2ch: 900 LF / 300 HF
Weight
30lb13.5 kg, easy one-hand carry
Coverage
80°conical, multi-angle wedge
What we hear from owners
What CCM12‑MK3 owners report after the first month
Patterns from stage monitor, install, and venue zone deployments.
01
High energy nightclubs use it as the top
Venues like The Cut run CCM12 over big subs like SSP218 and Makara for full nightclub front of house. The coaxial pattern and 1200W amp deliver consistent imaging across the dance floor where larger production tops would over-throw the room.
02
Doubles as floor monitor for musicians
The multi-angle wedge with preset alignment per angle means the same cabinet that sits over a nightclub sub also drops to a floor monitor for live bands. Same SKU, two distinct gigs.
03
Stage monitor users hear the coaxial difference immediately
Vocalists and instrumentalists working off the CCM consistently call out the coherent imaging compared to standard wedge designs. The monitor sits in the same plane as the source.
04
Install deployments simplify the rigging math
For zoned bar, restaurant, and venue installs, the 80 x 80 coaxial pattern means fewer cabinets cover more square footage without overlapping nulls. 12 integrated fly points allow flush ceiling and wall mounts.
05
Vocal clarity at low SPL is the surprise feature
Owners running zoned background music report that intelligibility holds up at conversation level, where lower quality coaxials get murky.
06
DSP profiles save real setup time
Install integrators using the onboard DSP per angle and per boundary condition report cutting commissioning time meaningfully compared to outboard processor setups.
Decision framework
Is the CCM12‑MK3 right for you?
Buy it for
High energy nightclubs running it as the tops over big subs (SSP218‑MK3, Makara‑MK3) where coaxial pattern and headroom matter more than long throw. Stage monitoring for live vocalists and instrumentalists who want coaxial imaging. Floor monitors for bands. Zoned install in bars, restaurants, lounges, and venues. House of worship and theater install where a tight visual footprint matters. Studio playback at higher SPL than a near-field studio monitor delivers.
Look elsewhere if
You need long-throw SPL for outdoor events and large outdoor stages, where the AT212‑MK3 horn is the cabinet you want. You are running production tops for 1,000 plus capacity rooms, where the AT312‑MK3 or MFLA‑MK3 are correct. You only need ambient background at very low SPL, where this is overbuilt.
Get a real quote
Send a system spec, not a price shopping number
Tell us the room, the audience size, and what you run today. We come back with the right pair, freight, and price. One short form.
Yes. The pattern we see is venues running CCM12 over SSP218 or Makara subs for full dance floor coverage. The coaxial 80 x 80 pattern keeps imaging consistent across the floor where a larger production top would over-throw the room. The headroom is in the sub stack, not the top.
Q2
Can the CCM be flown for permanent install?
Yes, with proper rigging hardware. We can spec the right install hardware for your venue.
Q3
Does the CCM work as a front of house top?
It can in small zones, but BASSBOSS designed it primarily for monitoring and install. For live front of house, the DV12 or AT212 are built for that role.
Q4
What about feedback rejection on stage?
The coaxial pattern with the BASSBOSS DSP profile delivers usable gain before feedback that matches or exceeds typical wedge designs. Owners report fewer notch filters required.
Q5
Can multiple CCMs be daisy chained in a zone?
Yes. Run multiple cabinets from one source for zoned installs. The DSP profiles can be set per cabinet for room-specific tuning.
Q6
Does the CCM need an external processor?
No. Onboard DSP handles tuning, limiting, and alignment. An outboard processor is redundant and adds a failure point.
System design
This pairs well with
CCM12 spans from solo monitor up through nightclub tops. The sub pairing defines the role.
High energy clubs run CCM12 tops over dual 18 or dual 21 subs. The Cut nightclub deployment is the reference build: CCM12 tops, big subs, clean coverage across the floor.
Field video
CCM12‑MK3 in the wild
Owner reviews and field recordings.
CCM12-MK3 overview
CCM12-MK3 field deployment
CCM12-MK3 in install
Honest answers
Doubts our clients initially had
Before they bought, here is what made buyers hesitate. We talked it through. Short version.
D1
I have never spent this much on a monitor.
Monitors get under-budgeted compared to front of house, even though the band depends on them. The coaxial coherence the CCM delivers on stage lands in performance quality, which is the actual return on investment.
D2
A standard wedge has worked for us.
It has, until you compare. Coaxial imaging on stage changes how vocalists position relative to the monitor and reduces the gain-before-feedback dance that eats setup time. The wedge will keep working. The CCM raises the floor.
D3
For zoned install, can we run cheaper background speakers?
You can. The trade-off is felt in two places: long-term reliability under continuous use, and intelligibility at conversation level. For long-life installs the CCM math works out over years.
D4
It looks small for monitor work at distance.
For stage monitor use, distance to the performer is short by design. The cabinet is shaped for the application, not for visual proof. The coaxial pattern covers the performer envelope cleanly.
