SKU: 87418716251

EBC Ultimax OEM Replacement Brake Pads (UD618)

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Description

EBC Ultimax OEM Replacement Brake Pads (UD618)If you simply need a quality OEM replacement pad, look no further than the Ultimax2 brake pad. Made in the UK Bristol EBC Brakes manufacturing plant the Ultimax2 brake pad is a beautifully engineered brake compound that lasts well, produces minimal dust and is the perfect choice for the urban or daily driver. Why spend more if all you need is a quality replacement pad? The Ultimax2 brake pad is a total NON METALLIC pad containing ZERO steel fibre

If you simply need a quality OEM replacement pad, look no further than the Ultimax2™ brake pad. Made in the UK Bristol EBC Brakes manufacturing plant the Ultimax2™ brake pad is a beautifully engineered brake compound that lasts well, produces minimal dust and is the perfect choice for the urban or daily driver. Why spend more if all you need is a quality replacement pad?

The Ultimax2™ brake pad is a total NON METALLIC pad containing ZERO steel fibre making this a cleaner pad far less aggressive to cast iron brake rotors. Ultimax2™ has also been graded Code “N” by the USA brake ratings system meaning this receives the TOP award for its environmentally friendly status and has also achieved the much coveted GG friction rating, almost unheard of in the automotive brake Industry. The Ultimax2™ brake pad will replace the original Ultimax predecessor material on a stock rotation basis.

This equates to a clean pad, that lasts longer, extends disc life and emits ZERO toxicity and is a true PAD FOR THE FUTURE. The brake effect with the GG ratting is truly amazing and delivers powerful braking at first brake application. Ultimax2™ has also been widely tested in cold and damp conditions in Northern Europe and Scandinavia and in the Caribbean hot and humid temperatures where brake noise was ZERO.

GG friction rated highest in brake effect
Top Rated with Class N by the USA environmental testing to SAE J2975:2011

This is what Ultimax2™ brake pads deliver…

  • Superb daily driver R90 type approved pad.
  • Features red “brake in’ surface coating for instant safe braking after install.
  • New 100 % ECO friendly material with ZERO sulphides.
  • No shims for noise reduction needed.
  • More bite from cold.
  • Works in hot and dry climates as well as in cold.
  • Fully R 90 approved as was the original Ultimax grade.

Product Information

  • Black coded in the EBC range EBC Ultimax is a fully ECE R 90 approved brake pad range and at its lower price point, less than HALF the price of original parts yet TOTALLY EQUIVALENT by nature of its R 90 brake safety approval. Ultimax offers great value for money and first class driving safety.
  • A direct equivalent to OE brake pads
  • Suitable for general public highway use in hot and cold climates
  • Our quietest pad formulation for silent braking
  • Progressive braking feel with excellent cold friction
  • Brake-In™ coating for accelerated pad bed in period
  • R90 approved thus legal for public highway use in European markets
  • Made with Nucap NRS hooks on back plates to totally eliminate the chance of pad debond
  • Not suitable for track use

A high friction pad designed for general replacement use on cars, vans and SUV’s (4x4s).
Using shimmed, chamfered and slotted technology and incorporating EBC’s unique BRAKE-IN coating for super quick pad bed-in, (in Europe only certain numbers are shimmed, in USA ALL Ultimax range are shimmed).

EBC black coded brake pads are a high friction premium quality friction material approved to ECE R90 brake safety regulations and as such are an exact equivalent to original equipment pads fitted to your vehicle from the factory – but for far less money.

Don’t let the lower price point cloud your view of this superb quality product, these pads will stop your vehicle as fast as any original equipment pad and faster than most aftermarket pads. One brilliant feature of EBC R90 pads is their ability to completely eliminate brake judder and these pads will actually COMPENSATE for mild brake judder after 300-400 miles of use. Nominal friction co-efficient 0.46 with minimal rotor damage and similar dust to original parts.

Reduced Rotor Wear
Disc wear is reduced by up to 50% with the EBC material compared to more abrasive semi metallics. It is common to replace the rotor with every pad change on some OE parts but with EBC it is quite common to see one rotor last TWO sets of pad lifetimes, offering significant savings. This does NOT mean that the EBC pads wear quickly either.

Shipping Notes
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Exchange/Return Notes
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SKU: 87418716251

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4.4 ★★★★★
Based on 7 reviews
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Product Reviews
B
Verified Purchase
Bookworm
Alexandria, 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
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 21, 2016
J
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jk Smiles
Los Angeles, 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
L
Verified Purchase
Lori T. Sly
Birmingham, 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
R
Verified Purchase
Ray Pryor
New York, 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Omaha, 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.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017

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