. INSTALLATION GUIDE 2500 2500 2500M Advanced Remote Vehicle Starter & Alarm WWW.ULTRASTARTERS.COM TECH SUPPORT.
TABLE OF CONTENTS 2500 Wiring Diagram Page 3 Pre-Installation Page 4 Wire Connectors Page 5 Installation Page 6-7 Programming Page 7-11 System Reset Other Features And Operations Page 12 System Operation Page 14-15 Relay Diagrams Page 16 DIAGNOSTICS PARK LIGHTS STATUS LED DIAGNOSTIC CODE To Enter Diagnostic Mode. WIRING DIAGRAM (+) 30amp Output (+) 30amp Output (+) 30amp Input (+) 30amp Input (+) 30amp Output (+) 30amp Output (-)500ma Output (-)500ma Output (-)500ma Output (-)500ma Output (-)500ma Output Negative Input Negative Input Positive Input Positive Input Negative Input (A/C) Input (-) Input Positive 15amp. INSTALLATION TIPS Components Recommended Pre-Installation Procedures BEFORE STARTING INSTALLATION Note: This remote starter is designed for fuel injected and diesel engines Recommended Installation Procedures Proper Connections - Under Hood Connections - BE CAREFUL Installing the External Long Range Antenna - BLUE NOTE Mounting The Control Module - Never. WIRING CONNECTORS WIRING CONNECTORS 6 Pin Power Connector Yellow Starter 12volts during crank only.
Green Heater 12volts in accessory. Masuk facebook seluler. Off during start.
12 power Constant 12volt power at ignition harness. 12 power Constant 12volt power at ignition harness. Blue Ignition 1 12volts in ignition and start positions.
![Manual Alarma Ultra Ut 5000 Plus Manual Alarma Ultra Ut 5000 Plus](/uploads/1/2/3/9/123904782/343723589.jpg)
QUICK START INSTALL Step 1 - Connect All Of the Following Wires 6 Pin Power Connector Yellow Starter Output Green Heater Output 12 power Input - High Current. 12 power Input - High Current. Blue Ignition 1 Output White Selectable Output. PROGRAMMING Programming Overview Menu 1 - User Settings - Page 8 Menu 2 - Alarm Settings - Page 9 Menu 3 - Starter Settings - Page 10 Menu 4 - Tach Settings - Page 11 Entering Program Mode To Enter Program Mode Leave in the “ON”. PROGRAMMING PROGRAM MODE - USER SETTINGS Enter User Program Mode - See Page 7 for details on entering program mode Setting 1- Ignition Auto Lock 1 Ignition Lock & Unlock Enabled 1 Light Flash Doors Lock / Unlock when the key is turned On/ Off 2 Ignition Lock Only 2 Light Flashes Doors Lock when ignition key is turned ON only. PROGRAMMING PROGRAM MODE - ALARM SETTINGS Enter Alarm Program Mode - See Page 7 for details on entering program mode Setting 1 - Car Finder / 5th Channel 1 Car Finder OFF 1 Light Flash Car Finder Mode Disabled to select setting 1 (This will be confirmed by 1 LED flash) Switch until you receive the appropriate # of park light flashes and/or horn honks.
PROGRAM MODE - STARTER SETTINGS Enter Starter Program Mode - See Page 7 for details on entering program mode Setting 1- Special Door Lock/ Unlock Operations Chrysler / VW Re-Arm 1 Flash Unlock pulse before start and a lock pulse after start GM Auto Re-Lock 2 Flashes Lock pulse after remote starter shuts off. Setting 8- Safety Start Mode Safety ON 1 Flash Must press the start button twice to remote start vehicle to select setting 8 (This will be confirmed by 8 LED flashes) Switch until you receive the appropriate # of park light flashes and siren chirps. Press the Program momentarily to move to next program step or repeat to change selection. OPERATIONS Reservation Mode - Manual Trans. “M Never To enter Reservation Mode, the following steps must be followed.
Step 1 Step 2 Step 3 Step 4 Step 5 NOTE Note: If the vehicle is not in Reservation Mode and the Start button is pressed, the system will flash the park lights four times slowly. OTHER FEATURES System Service Mode ACTIVATING SERVICE MODE DEACTIVATING SERVICE MODE Service Mode- By Remote SERVICE MODE ACTIVATED NOTE: The siren will chirp 5 times as confirmation. SERVICE MODE DEACTIVATED NOTE: The siren will chirp 2 times as confirmation.
WARRANTY - Optional Three year &. OPERATIONS Lock Doors & Arm The Alar m LOCK Unlock Doors & Disarm The Alar m UNLOCK Silent Arm And Disarm LOCK & UNLOCK Together Trunk Release UNLOCK 3 sec. Car Finder Mode 2 sec. Panic Mode LOCK PANIC MODE DISABLE 3 sec.
OPERATIONS Remote Start EXTEND RUNTIME Remote Stop 3 sec. Note: Idle Mode While running Timer / Optional Temp Start 2nd-6 sec The temp start must have the temp sensor installed and will only trigger 1 time each 2 hours if the sensor is not installed the unit will activate the timer mode. TO CANCEL COLD START MODE Delay Dome Light - Auto Detection Ignition Auto Locks. RELAY DIAGRAMS Negative Door Locks Positive Type Door Locks 5 Wire / Reverse Polarity Type Door Locks Vacuum Type Door Locks DIAGNOSTICS Built-in Starter Disable Note: Connect the Starter Wire (Yellow) Starter Disable Harness to the starter motor side of the starter Brown wire with spade disable.
× About this Project This database was created in 2012 and has been developed and curated by, professor at the to provide comprehensive information about historical film color processes invented since the end 19th century including specific still photography color technologies that were their conceptual predecessors. Timeline of Historical Film Colors is started with Barbara Flueckiger’s research at Harvard University in the framework of her project, funded by Swiss National Science Foundation, 2011-2013. In 2013 the University of Zurich and Swiss National Science Foundation awarded additional funding for the elaboration of this web resource. 80 financial contributors sponsored the crowdfunding campaign with more than USD 11.100 in 2012.
In addition, the Institute for the Performing Arts and Film, Zurich University of the Arts provided a major contribution to the development of the database. Many further persons and institutions have supported the project, see.
Since February 2016 the database has been redeveloped in the framework of the research project Film Colors. Technologies, Cultures, Institutions funded by a grant from Swiss National Science Foundation, see.
Manual Alarma Ultra Ut 5000 Plus
For more information on the project see article. Follow the links “Access detailed information ›” to access the currently available detail pages for individual processes. These pages contain an image gallery, a short description, a bibliography of original papers and secondary sources connected to extended quotes from these sources, downloads of seminal papers and links. We are updating these detail pages on a regular basis. × Budget / Sponsors Financing the Timeline of Historical Film Colors?
The development of the project started in fall 2011 with stage 1. Each stage necessitated a different financing scheme. We are now in stage 3 and are looking for additional funding by private sponsors. Please use the online or transfer your financial contribution directly to Account IBAN CH604877146 Account holder: Barbara Flueckiger, CH-8005 Zurich, Switzerland SWIFT Code / BIC: P O F I C H B E X X X Bank: PostFinance AG, Mingerstrasse 20, CH-3030 Bern, Switzerland Clearing Nummer: 09000 Read more about the financial background of the project on. Thanks for your support! × “But Technicolor had persisted in its research and development work so that by May, 1932, it had completed the building of its first three-component camera and had one unit of its plant equipped to handle a moderate amount of three-color printing.
The difference between this three-component process and the previous two-component process was truly extraordinary. Not only was the accuracy of tone and color reproduction greatly improved, but definition was markedly better. However, we could not offer the three-component product to one customer without offering it to all, which required many more cameras, and the conversion of much of our plant. To allow time for this and to prove the process beyond any doubt, we sought first to try it out in the cartoon field. But no cartoonist would have it. We were told cartoons were good enough in black and white, and that of all departments of production, cartoons could least afford the added expense. Finally Walt Disney tried it as an experiment on one of his Silly Symphonies.
This first attempt was the delightful Flowers and Trees, following which Disney contracted for a series. For Christmas 1932 came Santa’s Work Shop, the following Easter, Funny Bunnies; in May, 1933, came Three Little Pigs, which made screen history, and in March, 1934, Big Bad Wolf. I needn’t relate the story of Disney’s extraordinary success with Technicolor.
The Silly Symphonies in Technicolor surpassed the Mickey Mouses in black and white, and then both Mickies and Sillies adopted Technicolor. Both the Disney Company and Technicolor were rather undersized at birth and in recent years both have grown rapidly in importance. A frequent conversation has been as to which helped the other most. Much like the conversation between two Irishmen after a considerable session at the bar: “Yer know, Clancy, when I was born I weighed only five pounds.” “Yer did, and did yer live?” “Did I live? Yer ought to see me now.” What Technicolor needed was someone to prove for regular productions, whether short subjects or features, what Disney had proved for cartoons.
But the producers asked: “How much more will it cost to produce a feature in three-component Technicolor than in black and white?” This question is always with us and it seems to me the answer must be divided into two parts; the added cost of prints, negative raw stock, rushes, and lighting can be numerically calculated and requires little discussion. But then there are the less tangible elements about, which there is much discussion. I have said to producers and directors on many occasions: “You have all seen Disney’s Funny Bunnies; you remember the huge rainbow circling across the screen to the ground and you remember the Funny Bunnies drawing the color of the rainbow into their paint pails and splashing the Easter eggs.
You all admit that it was marvelous entertainment. Now I will ask you how much more did it cost Mr. Disney to produce that entertainment in color than it would have in black and white?” The answer is, of course, that it could not be done at any cost in black and white, and I think that points to the general answer. A similar analogy can be drawn with respect to some part of almost any recent Technicolor feature. If a script has been conceived, planned, and written for black and white, it should not be done at all in color.
The story should be chosen and the scenario written with color in mind from the start, so that by its use effects are obtained, moods created, beauty and personalities emphasized, and the drama enhanced. Color should flow from sequence to sequence, supporting and giving impulse to the drama, becoming an integral part of it, and not something superadded. The production cost question should be, what is the additional cost for color per unit of entertainment and not per foot of negative.
The answer is that it needn’t necessarily cost any more. In 1932 we marked our base print price down from 7 cents to 5 l/2 cents a foot. Early in 1933 Mr. Cooper and Mr. John Hay Whitney began to show a practical interest in Technicolor. After thorough investigation of the Technicolor situation by Mr.
Whitney and his associates, and as a result of many conferences, a contract was signed between Technicolor and Pioneer Pictures, Inc., on May 18, 1933, which provided for the production of eight pictures, superfeature in character and especially featuring color. There were some conditional clauses, among others a provision for extensive preliminary tests. Certain doubts remained in the minds of Whitney and his associates as to the performance of our three-component process under certain conditions. Would the process reproduce the various shades of green in woodland and jungle? For one story they were considering a lead with very dark coloring and black hair.
Would she photograph satisfactorily against light backgrounds? For another story they thought of placing a decided blonde in the leading part; how would she photograph against various backgrounds? What about make-up? What about the visibility of extremely small figures in the distance? An exhaustive sets of tests were made with results satisfactory to Mr. Whitney and Mr.
Then began the hunt for the first story to be produced. At one time Whitney told me they had given consideration to no less than two hundred stories. Whitney was searching, Pioneer Pictures made a very practical and complete test of the process by producing the picture La Cucaracha. This short subject met with tremendous success. La Cucaracha, together with Silly Symphonies, caused a tremendous interest in three-component Technicolor. The industry was now waiting to see what the first Whitney feature production would be like. Meantime Technicolor business was improving.
Positive film shipments for the first six months of 1933 were double what they were for the first six months of 1932. Appropriation was made to increase the number of cameras under construction from three to seven.
The first test of the three-component process on a very large set was for Twentieth Century Fox on the closing sequence of The House of Rothschild. Since Whoopee in 1930 Mr. Goldwyn and I had talked regularly each year about another picture in Technicolor, so that on one occasion Eddie Cantor asked me if I were coming for my annual ritual. This time it was the closing sequence in his Cantor picture, Kid Millions, which was another important early three-component insert. No account of Technicolor adventures in the realm of producers would be complete without affectionate mention of Mr. He was a Vice-President of the company, active in sales and studio contacts through our most troublous times.
He was Hollywood’s most popular man loved by all and has been tremendously missed by everybody in Technicolor since his death in 1934. Whitney and his Pioneer Pictures associates finally settled on Becky Sharp as their first production of the series of eight.
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Becky was a champion for hard luck. The original director, Lowell Sherman, was taken ill and died during the period of photographing. He was succeeded by Rouben Mamoulian. Unusual difficulty was encountered in the sound recording so that Mr. Whitney found himself in the ironically anomalous position of having produced the first three-component Technicolor feature, of having surmounted all the hazards of color, yet being in difficulty with an aspect of the work which he had naturally taken for granted. During the 1935-36 season we were manufacturing in the neighborhood of 2 3/4 million feet of prints a month, which included a larger volume of Warner Bros, short subjects than ever before and about forty per cent of all Metro-Goldwyn-Mayer short subjects.
A very interesting and important adventure in the history of Technicolor development was the organization of a British affiliate, Technicolor, Ltd., which I organized as a subsidiary of Technicolor Motion Picture Corp. And later developed in association with Sir Adrian Baillie, Mr. Alexander Korda, and The Prudential Assurance Company, Ltd. The first Technicolor feature picture photographed in England was Wings of the Morning, a race-track story which has had very successful distribution throughout the world. This production was produced before the London laboratory was built, and was serviced from Hollywood. In 1936 the British laboratory was built at West Drayton, just outside of London where it is now regularly operating to service British made productions and prints of American made productions for distribution in the United Kingdom. Alexander Korda has been outspoken in his enthusiasm for color, as evidenced by a series of pictures which he has produced, including the current release Drums.
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He is now planning an all-Technicolor series of pictures, of which the first is The Four Feathers, at present being photographed in the Sudan.