SKU: 47537196012

DKHR630-6SW.195.7KF Roseburg centrifugal fan 3.9 kW 3~400V 6.4A 1290rpm

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Description

DKHR630-6SW.195.7KF Roseburg centrifugal fan 3.9 kW 3~400V 6.4A 1290rpmRoseburg DKHR630 6SW. 195. 7KF Centrifugal Fan 3. 9kW High Efficiency Roseburg DKHR630 6SW. 195. 7KF Centrifugal Fan High Efficiency 3. 9kW Centrifugal Fan 3~400V 1290 RPM Professional high efficiency centrifugal fan engineered by Roseburg for exceptional durability (10+ years), optimized quiet operation, energy efficient 6. 4A current draw, and high volume airflow delivering superior heat dissipation for demanding industrial and commercial

Roseburg DKHR630-6SW.195.7KF Centrifugal Fan | 3.9kW High Efficiency

Roseburg DKHR630-6SW.195.7KF Centrifugal Fan

High-Efficiency 3.9kW Centrifugal Fan | 3~400V | 1290 RPM

Professional high-efficiency centrifugal fan engineered by Roseburg for exceptional durability (10+ years), optimized quiet operation, energy-efficient 6.4A current draw, and high-volume airflow delivering superior heat dissipation for demanding industrial and commercial applications.

📄 DOWNLOAD DATASHEET

Core Performance Advantages

🏆

10+ Years Industrial Durability

Engineered by Roseburg with robust 28kg heavy-duty construction ensures reliable operation exceeding 10+ years. Premium materials, high-quality ball bearings, and precision manufacturing guarantee exceptional lifespan in demanding environments with minimal maintenance requirements.

🔇

Optimized Quiet Operation

Advanced centrifugal fan design delivers optimized quiet performance at 1290 RPM. Precision-balanced impeller, vibration-damping technology, and aerodynamically optimized housing minimize noise, making it suitable for various industrial environments.

⚡

Energy Efficient High-Power Design

Remarkable energy efficiency with optimized power consumption of 3.9kW and efficient 6.4A current draw at 400V. Significantly reduces operational costs for continuous 24/7 operation while maintaining exceptional performance.

💨

High-Volume Centrifugal Airflow

1290 RPM operation combined with advanced centrifugal impeller generates powerful, high-static-pressure airflow with exceptional volume capacity. Superior air movement provides remarkable heat dissipation for demanding industrial applications.

Industry Applications

The Roseburg DKHR630-6SW.195.7KF is engineered for versatile applications across multiple industries requiring reliable, high-performance centrifugal airflow solutions.

🏭 Industrial Ventilation Systems
❄️ Commercial Air Conditioning
🧊 Industrial Refrigeration
🔥 Heating Systems
⚙️ Electrical Automation
🔌 Frequency Converters
🚄 Rail Transportation HVAC
🏢 HVAC (FFU/AHU) Systems
🌫️ Air Purification Systems
🚗 New Energy Vehicles
🏗️ Industrial Process Cooling
💻 Data Center Cooling
⚡ Power Plant Ventilation
🏥 Hospital HVAC Systems
🔬 Laboratory Ventilation
🏭 Factory Exhaust Systems
📡 Telecom Equipment Cooling
🔋 Battery Storage Systems
🌾 Agricultural Ventilation
🚢 Marine & Shipboard HVAC

Advanced Technical Features

High-Efficiency 3.9kW Motor

The high-efficiency 3.9kW motor delivers exceptional airflow performance while maintaining outstanding energy efficiency. This advanced motor design provides optimal power-to-airflow ratio, ensuring maximum cooling capacity with minimal energy consumption for continuous operation applications.

Three-Phase 400V Industrial Power

Advanced three-phase 400V motor provides smooth, efficient power delivery with superior reliability for industrial applications. Three-phase technology offers better power factor, smoother torque delivery, and higher efficiency compared to single-phase alternatives.

Optimized 6.4A Current Draw

Efficient 6.4A current draw at 400V provides outstanding energy savings. This minimizes operational costs and reduces electrical infrastructure requirements, perfect for continuous 24/7 operation in demanding environments.

Robust 28kg Heavy-Duty Construction

28kg robust heavy-duty construction with 73×73×55cm dimensions provides exceptional stability and durability. Roseburg engineering ensures reliable performance with 10+ year lifespan and minimal maintenance requirements.

DATASHEET

Technical Specifications

Model Number<\/td> DKHR630-6SW.195.7KF<\/td>
Manufacturer<\/td> Roseburg GERMAN ENGINEERING<\/span><\/td>
Product Type<\/td> Centrifugal Fan HIGH STATIC PRESSURE<\/span><\/td>
Condition<\/td> Original new from manufacturer<\/td>
Rated Power<\/td> 3.9 kW ENERGY EFFICIENT<\/span><\/td>
Rated Voltage<\/td> 3~400 V THREE PHASE<\/span><\/td>
Frequency<\/td> 50/60 Hz<\/td>
Rated Current<\/td> 6.4 A OPTIMIZED<\/span><\/td>
Speed<\/td> 1290 rpm QUIET OPERATION<\/span><\/td>
Net Weight<\/td> 28 kg HEAVY DUTY<\/span><\/td>
Shipping Dimension<\/td> 73 × 73 × 55 cm<\/td>
Country of Origin<\/td> China<\/td>
HS Code<\/td> 8414599099<\/td>
Warranty<\/td> 1 Year Manufacturer Warranty<\/td>

Shipping, Warranty & Service

Shipping From: Dispatched from Hong Kong for efficient global distribution.

Processing Time: Orders are processed and ready to ship within 5 business days.

Express Delivery: Estimated delivery in 3-8 business days worldwide via DHL or UPS.

Warranty: Backed by a full 1-year manufacturer's warranty from Roseburg.

Product Guarantee: We sell only genuine Roseburg products guaranteed to meet all factory specifications for fit, form, and function.

Customer Satisfaction: Enjoy a 30-day return policy and our commitment to 100% customer satisfaction.

For Large Quantity Inquiries: Please contact our sales team at [email protected] for volume pricing and custom quotations.

Frequently Asked Questions

Q1: What makes this Roseburg centrifugal fan last over 10 years?

A: The robust 28kg heavy-duty construction incorporates premium materials, precision manufacturing standards, high-quality industrial ball bearings, and reinforced components. The centrifugal fan features a dynamically balanced impeller and enhanced motor protection, ensuring long-term reliability in demanding continuous operation environments.

Q2: How quiet is the DKHR630-6SW.195.7KF during operation?

A: This centrifugal fan is engineered for optimized quiet operation at 1290 RPM, thanks to advanced aerodynamic impeller design, precision balancing, and vibration-damping technology. The optimized scroll housing minimizes turbulence and noise, making it suitable for various industrial environments.

Q3: What cooling performance can I expect from the 1290 RPM centrifugal airflow?

A: The 1290 RPM operation combined with advanced centrifugal impeller generates exceptional high-static-pressure airflow with outstanding volume capacity. This provides remarkable heat dissipation for demanding industrial equipment and critical cooling applications.

Q4: What makes this fan energy efficient with optimized power consumption?

A: The DKHR630-6SW.195.7KF features an advanced motor design with 3.9kW power consumption and optimized 6.4A current draw, delivering exceptional performance with minimal energy consumption. Three-phase 400V operation provides superior power factor and efficiency.

Need High-Performance Centrifugal Fan Solutions?

Contact our technical specialists for application-specific recommendations, performance data, or volume pricing for your industrial ventilation and cooling requirements.

Request Technical Support Request Volume Pricing

Customer Reviews

★★★★★ Verified Purchase

"Outstanding Roseburg quality! Optimized quiet 1290rpm operation, efficient 3.9kW power draw with just 6.4A current, and robust 28kg heavy-duty build. Exceptional airflow for demanding industrial applications. 10+ year durability is clearly evident! Highly recommended!"

— Thomas Weber, Industrial Operations Director

Manufacturing Facility Engineering • Reviewed on: August 29, 2026

 

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
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  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 47537196012

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dra
Battle Creek, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014
J
Verified Purchase
J. H. Haley
Phoenix, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
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Reviewed in the United States on September 25, 2007
M
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mojo_navigator
Los Angeles, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
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Reviewed in the United States on September 26, 2014
K
Verified Purchase
KEITH
Belleville, US
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows. Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring. Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters. In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies. At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn. The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025
P
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Parker
Omaha, US
★★★★★ 3
Dated, but....
Compared to the novel on which it is based, this movie is a complete letdown, so fans of the Parker series of novels who are drawn to this book may want to think twice about watching the film if they are looking for a faithful adaptation of the first Parker novel. That being said, it was not the intention of the director John Boorman to adapt Richard Stark's excellent novel, "the Hunter" to film, but rather to create an entirely new piece of fiction from the skeleton of the original story, so one most try to judge the movie on its own merits, which is difficult to do. As in other reviews, I must commend the directing. The style of the film is way ahead of it's time, with stark visuals, stylized fight scenes, and prolonged moments of silence. I love the long Walk lee Marvin takes thru the a multi-colored corridor where his footsteps drown out all other sound. Marvin's performance is also very strong, and he shows himself to have been an actor who took chances with his image and, in this case, used his clout to make a movie which otherwise would not have been so memorable. In the end, one must ask the question "Why?" Why not faithfully adapt "The Hunter" into film? It certainly would not have stifled the film's creativity, and nothing in the movie's script was any better than what was in the book. There is also the annoying occurrence of changing the protagonists' name from Parker to something else; in this case, Walker. This trend continued in another six film adaptations of the Parker novels, the last of which was 1999's Payback, starring Mel Gibson as Porter.
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Reviewed in the United States on July 1, 2011

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