SKU: 74180089224

BC Racing BR-Series Coilovers (I-01-BR)

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Description

BC Racing BR-Series Coilovers (I-01-BR)The BC Racing BR series coilovers by JM Auto Racing are the perfect choice for street driving with a dash of weekend warrior track action with your car. These coilovers feature easily accessible adjustment knobs for dampening and separately adjustable ride height settings. The BR series makes adjusting and maintaining your performance coilover system easier than ever. Ride height is independently user adjustable so you can dial in the exact look to

The BC Racing BR series coilovers by JM Auto Racing are the perfect choice for street driving with a dash of weekend warrior track action with your car. These coilovers feature easily accessible adjustment knobs for dampening and separately adjustable ride height settings. The BR series makes adjusting and maintaining your performance coilover system easier than ever. Ride height is independently user adjustable so you can dial in the exact look to reflect your driving style and performance needs. BC's patented concave lower locking ring keeps all adjustments locked in and ready for precise predicable performance in any scenario. BR series coilovers are a strong, complete and attractive coilover system at a great price.

BR Series Coilover Features:

  • 53mm Dampers (Larger than the Competition)
  • Fixed cup/locking collar design
  • Mono-tube shock design
  • Full height adjustability through the shock body (not spring)
  • 30 levels of damping adjustment (compression/rebound)
  • Custom spring rates available as well as a SWIFT spring upgrade (upon request).
  • 1 year warranty against manufacturer defect
  • Completely rebuildable and individual parts are available separately for purchase.
  • Full set included - 4 coilovers

 

 

The BR series coilovers use a large 46mm diameter piston in a 53mm diameter damper body to maximise oil capacity.

 

As the damper unit opearates the oil contained within heats up. The viscosity of oil changes as its temperature varies which can lead to changes in the damping characteristic of the unit.

 

BC Racing only use a very high quality oil with their coilovers but go that extra mile to maximise performance and build their BR range with a large 53mm diameter damper body. This increases the capacity of the unit which increases the volume of oil contained which in turn reduces the peak temperature and so significantly improves damper performance.

 

 

 

 


 Corner weight adjustment:

The lower spring platform of the BC Racing coilovers are adjustable. This allows the car to be set up for corner weighting to achieve perfect balance and ensures that maximum tyre efficiency is achieved.

The car needs to be placing equal weight on each tyre on an axle so both front tyres need to be taking equal loading as do both rears. This makes sure that both tyres are doing their equal share of work when cornering which increases overall grip, maximises corner speed and reduces lap times.

Optional assister springs can be purchased to allow wheel droop to be dialled into the unit to suit specific needs.

 


Ride height adjustment

Ride height is determined by the position of the coilover bottom mount. The mount can be wound up and down the damper body to give a full range of adjustment from near standard ride height to so low it wouldn’t be drivable on the road.

Because ride height is determined by an adjustable bottom mount rather than spring platform you retain full damper travel regardless of the ride height run.

 

 


Damping adjustment:

BR coilovers feature 30 way damping adjustment that combines both rebound and compression in one adjuster for simplicity and ease of use. This adjustable facility allows you to fine tune the vehicle to meet the relevant conditions.

By tweaking front and rear damping you can adjust the way the car handles. Increasing damping force on the rear relative to the front, for example, will start moving the vehicle into a more oversteer orientated stance.

If you want to go drag racing in a rear wheel drive car then you want the back of the car to squat off the line to maximise weight transfer to the rear and therefore onto the rear tyres. This maximises traction and helps prevent wheel spin. To achieve this you would soften the rear dampers to allow faster compression. If you had the rear dampers set to hard, as you might run the car on a race track, then the car would be less inclined to squat so traction would be reduced.

Conversely, if you want to go drifting and are finding it hard to break traction and are having problems with understeer then making the rear dampers harder will help reduce traction whilst making the front dampers softer will give greater front traction. This will make the rear of the car looser whilst minimising understeer thus altering the vehicles handling characteristics more towards drift than drag, road or track.

 


Pillowball (rose joint) upper mount:

Many of the BC Racing BR coilovers come with pillowball upper mounts. The mount itself is made from aluminium alloy, anodised and then bead blasted to give a high quality, durable finish.

The pillowballs themselves are of Japanese manufacture and their solid nature eliminates any flex or play associated with the standard rubber mounts so improving response and handling.

 

 

 


Camber adjustment:

If its possible to include camber adjustment on your vehicle then the BC Racing coilovers automatically include camber adjustable aluminium pillowball top mounts. These feature the same high quality Japanese manufactured pillowball but give the added benefit of an adjustable top mount that allows camber to be set to suit your needs be it road, track or drift.

 


 Corrosion protection:

The damper units are black chromed steel to give superb durability even through the darkest of European winters. The aluminium components (top mounts, locking collars etc) are anodised and the steel lower mounts go through an electrophoretic disposition process followed by powder coating. A random selection of steel components (brackets, dampers, screws etc) are put through a salt spray test once a month to check the quality of the protective processes and that anti corrosive properties are kept at the highest possible standard.

 


High quality coil springs:

BC Racing coilovers only use the highest quality steel for their spring manufacturer. They are produced from SAE9254 high strength durable cold wound steel.

The springs are compression tested through over 500,000 cycles with less that 5% deformation.

 

 

 

 


 Patented concave lower locking collar:

Coilovers use a locking collar to prevent the bottom mount becoming loose. If the bottom mount becomes loose then the damper body can work its way down into the bottom mount so reducing ride height on that one corner which can lead to dangerous handling characteristics. This is a very common problem for coilovers in general. BC Racing utilise an innovative and patented designed lower locking collar with a bevelled edge that seats into a corresponding bevel in the coilover bottom mount. This vastly increases the surface area that the locking collar works on and so prevents the common and dangerous problem of the locking collars working loose.

 


 High quality oil:

BC Racing dampers use a sophisticated shim stack design and high quality oil to consistently control the compression and rebound speed of the damper rod even under the most extreme conditions.

As the vehicles travels over rough ground the compression and rebound motion of the damper rod heats the oil. Poor quality dampers use cheap oil whose characteristics alter with varying temperatures. Its vital that high quality oil is used that can maintain consistent viscosity under a wide temperature operating range. Once the oil start to degrade, its properties change leading to damping changes leading to changes in the vehicles handling characteristics.

BC Racing ensures that only high quality oil is used so that damping rates are maintained not only for the moment in hand (i.e. whilst out for a back road blast on or track) but that long term longevity is maximised with oil that doesn't degrade quickly over time thus extending the dampers operating life significantly.

 


 Nitrogen pressurised dampers:

When you work a damper hard on track or on high speed bumpy roads you can cause the oil to aerate and cavitation can occour. This causes foaming which effectively reduces the oils viscosity and so reduces the units damping effect. High quality oil goes a long way to help reduce this problem but BC Racing go one step further and pressurise the dampers with nitrogen. The nitrogen exerts a pressure on a floating piston which in turn exerts a permanent pressure on the oil dramatically reducing aeration and so improving the consistency and quality of the damping. The pressurised nitrogen also adds an additional element of effective spring rate to the damper unit.

 


 Bearing mounted upper spring platform:

Because the spring twists as it compresses it is very important to minimise stiction between the spring and its seats. If this tension is not relieved then spring binding can occur leading to the spring rate effectively altering slightly as the spring compresses and extends. The tension generated can lead to rapid deterioration of the spring pearches and in extreme cases can cause the spring platform and locking collars to loosen. This can lead to the platform and locking collars "walking" down the damper resulting in un even ride height and danger of the spring dislocating under full damper extension.

The friction between spring and seats also has an effect on steering effort as the springs are physically turned with the wheels. This introduces additional unnecessary friction into the steering system which has a knock on detrimental effect on the vehicles handling characteristics.

The bearing mounted upper spring platform is one of BC Racings innovative designs. By vastly reducing stiction between the spring and its seats the BC Racing units avoid the above problems thus improving the efficiency of the steering system and allowing the spring and damper to work as designed.

 


 Optional upgrades:

 Damper adjusting extenders - to save you the time and trouble of removing the parcel shelf each time you want to adjust the damping on your BC Racing coilovers we can offer pairs of adjuster extenders. These attach to the adjuster knob on the top of the coilover and are available in three lengths, 110mm, 200mm and 250mm. They attach in seconds with a simple grub screw design.

Assister spring perch - you might prefer to run some droop with your coilovers or maybe you want to alter the ride by adding an additional smaller assister spring. The spring perch and assister springs allows you to do this. The springs are available in a wide range of spring rates.

Pillowball top mount - some applications come with hardened rubber top mounts as standard to ensure the highest quality ride and keep costs as reasonable as possible for road use but we often offer a pillowball upgrade for these vehicles should you want to remove this flex and make the car a little more hardcore. Upgrading to pillowball eliminates the flex inherent in even the hardened rubber used by BR Racing so improving the handling for those looking for the ultimate.

 


Warranty:

BC Racing has the best warranty in the industry. Your purchase is completely protected from any defects including blown shocks within the first year. If something should happen after that, we stock all replacement parts at incredibly low prices (Cheaper than rebuilding), that will be available to you in a few days rather than weeks.Our goal is to get your car up and running as quickly as possible.

 

 

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SKU: 74180089224

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Bookworm
Charlottesville, US
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
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Reviewed in the United States on September 21, 2016
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jk Smiles
Alexandria, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
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Lori T. Sly
Pawtucket, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
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Ray Pryor
West Palm Beach, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
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Reviewed in the United States on April 18, 2017
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Kindle Customer
Carnegie, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017

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