SKU: 3834166363

Diode Dynamics Universal LED Light Bar SS20 (White)

Sale price$179.97 Regular price$199.97
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Description

Diode Dynamics Universal LED Light Bar SS20 (White)DONT FORGET THE HARNESS https: square1offroad. com products diode dynamics heavy duty single output 4 pin wiring harness?_pos=2&_sid=7492248b7&_ss=r Features Patented TIR Optics for maximum efficiency and output. Upgraded beam patterns engineered for real world performance. Modern welcome sequence and selectable backlight with SmartSelect technology. Now available in Sport, Pro, and Max power levels. Durable aluminum housing with ASTM standard

DONT FORGET THE HARNESS

 

Features

  • Patented TIR Optics for maximum efficiency and output.
  • Upgraded beam patterns engineered for real-world performance.
  • Modern welcome sequence and selectable backlight with SmartSelect technology.
  • Now available in Sport, Pro, and Max power levels.
  • Durable aluminum housing with ASTM-standard powdercoat finish.
  • Built for the extreme with IP69K waterproof rating.
  • Limited Lifetime Warranty.
  • Made in USA with Global Materials.

Overview

See Further and Go Faster with all-new SS20 LED Light Bar! With higher light output, modern optics, and greater intensity than anything else on the market — plus advanced control and unmatched configurability — the new Stage Series Lightbars are the most capable lightbars available today.

Designed for Performance. Each Stage Series Light Bar has been engineered from the ground up with the most modern optical, thermal, and circuit board technologies to provide more output than any other light bar on the market. Unlike reflectors, TIR optics capture and focus nearly all of the light output, shining it only where you need it, without glare or wasted light.

Thanks to copper circuit boards on the high-power models, thermal transfer materials, and optimized heatsinks, these lightbars effectively dissipate heat from the LED chips, allowing them to run at maximum power, producing serious light output.

Built for Every Application. Each beam pattern has been fine-tuned for real-world conditions to perform even better than before. No matter the application, there is a Stage Series Lightbar for you!

The all-new Combo/Driving pattern has been engineered to blend distance and width into one balanced beam pattern. Everyone wants a great all-around light, and while other options on the market try to tackle this by combining two patterns, the resulting output is less than desirable–spot gives you a harsh hotspot, while a flood or wide pattern produces unwanted glare and wasted light. Our new Combo/Driving optic uses dozens of carefully-designed pillow optics to produce a blended, even output that measures 60x30 degrees and gives you throw downrange while still providing ample foreground illumination. It’s the ideal choice when you want one bar that can handle just about any situation, and it elevates the standard for what a Combo light should be.

SAE Driving is designed to supplement your high beams, but it's also great for general illumination, providing extra punch and distance ahead, without being a tight spot pattern. The SAE Driving pattern is a slightly broad-spot that balances reach and width with a spread of 20x12 degrees. If you’re looking to add extra distance and output to your setup, this is the perfect option.

Flood pattern provides a uniform, even illumination with a broad 100x80 degree spread of light. Unlike generic "flood" lights that are simply a heavily diffused spotlight, our flood pattern uses advanced pillow optics on the outer lens surface, to provide a true optically-designed spread, for smooth, even illumination throughout. It is perfect to use as a backup light, for lighting up anything at low speeds, or for trailers, campsites, and work areas.

Spot shines light directly from the unmodified TIR optic in a tight, long-distance beam, resulting in a highly focused 8x8 degree beam of light. The Spot pattern is ideal for high-speed desert racing, rally stages with big straightaways, or anytime you need to see far ahead with precision.

Fully Illuminated Backlight. Stage Series LED Light Bars now include a backlight that fully illuminates the TIR optic, providing unique accent lighting that you won't find on other LED light bars.

SmartSelect models feature a selectable multicolor backlight in your choice of eight colors, plus a dynamic startup sequence. Anytime the backlight on your SmartSelect light bar powers on, the selected backlight color, with the exception of amber, will sequence back and forth across the entire bar before fully illuminating, for a truly premium appearance. The amber backlight color selection has been upgraded to a dedicated amber chip, part of a full RGBWA series of LEDs, which perfectly matches the color of our smaller LED pods. This elevates the appearance far above other RGB or RGBW backlights on the market. Selecting your backlight color is easy - simply alternate the power on and off. There’s no complicated programming with a controller!

Standard models feature an amber-only backlight with no startup sequence. It provides a unique look and is perfect for forward-facing applications to provide extra visibility to others when stopped on the trail.

Choose Your Power Level. The SS20 LED Light Bar is available in two different power levels. Both options use high-intensity, automotive-grade LED emitters and TIR optics for unmatched focus and output. The Sport model offers the best bang for your buck, while the Pro model takes things a step further with a noticeable boost in power.

Not Just Off-Road. When installed as a pair and aimed in accordance with your state's regulations, the SAE Driving pattern meets SAE J581 standard as a Driving/Auxiliary High Beam Light. Please check your local laws and regulations for aiming, installation, and applicability.

Swappable Optics and Colors. Just like the rest of our Stage Series lineup, the lenses on the SS20 LED Light Bar are swappable. All Stage Series LED light bars use 6000K Cool White LED emitters. This means changing your optic and color is just a simple lens swap away. No need to worry about color variation when switching from yellow to white!

Now you might be wondering - if you have a multicolor backlight, how does that work with a yellow lens? Don’t worry. Our engineers included a small toggle switch on each circuit board. When swapping out a lens, you can configure that section to be either white or yellow, which will ensure the backlight functions according to the selected lens color. Click here to view our full lineup of replacement lenses.

Snap-On Covers. Protect your investment or take the customization even further with our full lineup of Snap-On Lens Covers! Available in clear, smoked, yellow, black, or amber, these covers install in seconds with no tools required. Just snap on and go! Click hereto view our full lineup of replacement lenses.

CrossLink. Looking to customize your setup even further? The SS20 is compatible with our mini CrossLink technology, allowing you to connect multiple LED light bars to create your own unique configuration, including curved setups. Click here to view our Stage Series LED Light Bar CrossLink mounting solution.

Proven Reliability. Stage Series LED lighting has been extensively tested for long-term operation from -40 to 185 degrees F, along with vibration, moisture intrusion, and corrosion testing. All of these tests are completed to SAE standards, just like factory components. They've also been put to the test on-road by racers and enthusiasts alike.

Experience. After over a decade in business, Diode Dynamics is one of the most trusted names in automotive LED lighting. We directly manufacture and engineer our own products in the United States using globally sourced materials, allowing for higher quality and performance, with the newest and brightest LED technology. No matter what you're driving, we pride ourselves in offering only the best possible LED solutions. Please contact us if you'd like to discuss your lighting project!

In the Box:
  • One (1) LED light bar
  • One (1) wire pigtail
  • Universal bracket set
Quantity: One (1)
Warranty: Lifetime warranty
Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • 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: 3834166363

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4.4 ★★★★★
Based on 11 reviews
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Product Reviews
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Sarah Pettingill
San Leandro, US
★★★★★ 5
🫶🏻
Color: Caviar PDRN
I love these. I put these on every morning when I’m getting ready. Sometimes I’ll even leave them on under sunglasses if I’m just doing school drop off 😆 They don’t slide off, they really help brighten and de-puff my under eyes, they have a cooling effect, unscented, and there’s no irritation. They also help concealer go on super smooth. I recommend!
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Reviewed in the United States on May 18, 2026
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Jessica Martin
Massapequa, US
★★★★★ 5
super hydrating
Color: Caviar PDRN
I love the full face mask but this is nice for a more frequent refresh. They are super convenient and work really well.
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Reviewed in the United States on June 4, 2026
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Zachary Bednar
Massapequa, US
★★★★★ 5
The Perpetual Joke
One of the best films I have ever seen is The Killing. It can boast a great many things. It can proudly say that it is the best heist film ever made and that it is the creme dela creme of film noir. Out of all the films in my top ten favorites, The Killing is easily the most watchable and purely entertaining. It doesn't try to be much more than a crime picture. A crime picture written by the legendary Jim Thompson of course. Thompson is one of the best American crime writers, well ever. And his work in The Killing is simply exemplary and total-classic Thompson. The film can also boast having a brilliant cast. Sterling Hayden, Elisha Cook Jr., and Marie Windsor soar, it can boast having possibly the strongest ensemble in all of the crime genre. It can boast having a pitch perfect tone and a distinctly unique and absorbing atmosphere. It can brag about the extraordinary tracking shots throughout or the lighting that startles and dazzles and vibes, melts. It can brag about being fun and devious and sly. It can brag about being unpredictable and clever. Smart. It can brag about being one the greatest films ever made. It's honestly that perfect. And did I mention that some guy named Stanley Kubrick directed the thing? The Killing is a film about a group of men who plan to knock off a racetrack, those who seek to thwart them, and how it all plays out. The characters are unforgettable. The Killing has in it's repertoire more than just a few of my favorite noir characters. What makes the players so special is that all of them are so sympathetic. Really. My heart goes out to each and every one of them, understanding and empathy seldom hits this hard within the parameters of the heist and noir genre. But here, the damn thing works every time. I've seen the film several times and I still physically act as if every time is my first. I cover my hands over my mouth in astonishment, I bite my nails in anticipation, I drum on my knees with rhythmic excitement, I laugh out loud, and I cheer relentlessly for everyone involved. I imagine myself as a member of the outfit. I have so much fun with this twisted picture that it's ridiculous. Okay. Lucien Ballard. Dick Tower. Earl Snyder. The men who walk the walk. One of the most dazzling things about The Killing is it's technical brilliance. The thing looks absolutely gorgeous and twisted and just right. Smokey and sexy and rough. There are shots in this film that your eyes can more than feast on, they can devour them. There are sequences of sight and sound and light that will make you fall in love with noir all over again. If that's not enough, Jim Thompson's dialogue will make your head spin it's so good. You'll find yourself quoting it to yourself without warrant or cause. The beats and the meter and time and scale of Thompson's writing will send you for a ride. Great dialogue and a truly complex and understated plot, the inner workings of which are not only of the heart-pounding variety but the very fabric that it is woven into is absolutely compelling. There is a subtext here as well. I don't think Kubrick ever really made a film just for the sake of doing so, he always had something deeper to communicate on top of it. The Killing communicates within the subtext the idea of the perpetual joke. Borderline Absurdism. Characters die literally howling about not being able to understand their own private punchline. Robberies take place by men in the guise of clowns. Think Hayden Sterling as Pagliacci The Clown. The Killing feels like a crime film written by Jim Thompson, directed by Stanley Kubrick, and dreamt up by Albert Camus. The idea that everything is absurd, that life is a frenzied haywire with a morbid sense of humor. I think Sterling's Johnny finally understood the great joke of life at the end of it all. And its pointless brand of mischief. It is fascinating seeing the great Stanley Kubrick, before he really was the GREAT Stanley Kubrick, working within the framework of the crime genre. Kubrick excels here, even if he was limited by boundaries of style and time. He is a filmmaker that mastered every genre he dabbled in. He is not only one of the greatest directors that ever lived but he is my personal favorite one. His films have a crazy power, an uncanny transcendental quality to them. The Killing possesses every bit as much magic that his post 2001 films do. The Killing has a little bit more than that as well. It has an incredible watchability factor. I could watch The Killing once a week for the rest of my life and still not get tired of it. I think I'll do just that. Why not? You only live once, right?
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Reviewed in the United States on July 17, 2014
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Terry Seale
Waukegan, US
★★★★★ 5
Worth viewing and studying.
First major Kubrick feature film noir. Nothing about Sterling Hayden's Communism here. Cool caper with a classic cast. The flick provides an impactful reminder to never skimp on low quality luggage, to use a double lock, and to take time whenever possible to bundle your cash with rubber bands. "While playing chess in Washington Square, Kubrick met producer James B. Harris, who considered Kubrick to be "the most intelligent, most creative person I have ever come in contact with", and the two formed the Harris-Kubrick Pictures Corporation in 1955.[52] Harris purchased the rights to Lionel White's novel Clean Break for $10,000,[g] and upon Kubrick's suggestion, they hired film noir novelist Jim Thompson to write the script for the film—which later became The Killing (1956)—about a meticulously planned racetrack robbery gone wrong. The film starred Sterling Hayden, with whom Kubrick had been impressed in The Asphalt Jungle (1950).[54] Kubrick and Harris moved to Los Angeles from New York and signed with the Jaffe Agency to shoot the picture, which became Kubrick's first full-length feature film shot with a professional cast and crew. The Union in Hollywood stated that Kubrick would not be permitted to be both the director and the cinematographer of the movie, so veteran cinematographer Lucien Ballard was hired for the shooting. Kubrick agreed to waive his fee for the production, which was shot in just 24 days on a budget of $330,000.[55] He clashed with Ballard during the shooting, and on one occasion Kubrick threatened to fire Ballard following a camera dispute, despite being only 27 years old at the time and 20 years Ballard's junior.[54] Hayden recalled that Kubrick was "cold and detached. Very mechanical, always confident. I've worked with few directors who are that good".[56] The Killing failed to secure a proper release across the United States; the film made little money, and was promoted only at the last minute, as a second feature to the Western movie Bandido! (1956). Several contemporary critics lauded the film, however, with a reviewer for TIME comparing its camerawork to that of Orson Welles.[57] Today, critics generally consider The Killing to be among the best films of Kubrick's early career; its nonlinear narrative and clinical execution also had a major influence on later directors of crime films, including Quentin Tarantino. Dore Schary of Metro-Goldwyn-Mayer was highly impressed as well, and offered Kubrick and Harris $75,000 to write, direct, and produce a film, which ultimately became Paths of Glory (1957)." [Wikipedia]
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Reviewed in the United States on February 21, 2016
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Smrz
Birmingham, US
★★★★★ 5
Quintessential 50's Kubrick Noir!
Criterion continues to keep them coming. The Killing(1956), Stanley Kubrick's great noir adds to the recent influx of Criterion's recent titles in 2011, which closely follows Kiss Me Deadly(1955). What a feast for Noir addicts! Now we have another pristine upgrade of a print which greatly improves past releases in both quality as well as great special features. This time we get two jam filled discs of a very important Noir. This two-dvd special edition includes a bounty of goodies for lovers of Noir. There is a new digital restoration, which is excellent, as well as a new interview with producer James B Harris. Interviews with lead actor Sterling Haden, who is excellent in his role as the small-time criminal who plans a dangerous race-track heist with help from a corrupt cop, and an interview with author Robert Polito about writer Jim Thompson. That is just on the first disc, Disc two includes a richly restored high-def digital transfer of Kubrick's 1955 feature Killer's Kiss, new video appreciation of Killer's Kiss by film critic Geoffrey O'Brien, and a new trailer. Of course, you also get a 20 page booklet featuring an essay by film historian Haden Guest and an interview with actress Marie Windsor, which is a reprint but still quite good. Now on to the feature. The Killing was Kubrick's 3rd feature, and to most film historians, the one that put him on the map, although some people would favor Paths Of Glory which was released in the next year 1957 as his breakthrough as a major director. I beg to differ. The Killing is told in a non-linear style which many movie goers have difficulty following, even now in the 21st Century. But to lovers of Noir, by 1956 they had become quite used to it and had no problem with it. In fact, many noir lovers enjoyed putting the pieces together which to them, only added to the experience. The film displays what has become a very familiar Kubrick theme. That is the breakdown, malfunction or fallibility of man and his plans. Just as in Kubrick's subsequent films such as Dr. Strangelove and further on to 2001:A Space Odyssey which became major mainstream successes. His manipulation of time in bits and pieces differs most strikingly from 40's Noir, such as The Killers and Out Of The Past. As players inthis game are established, the film leaps backwards until all of the parts fit together like the pieces of a jigsaw puzzle. The well planned heist falls apart just like the suitcase full of money falls off a cart and scatters the bills in the wind. Just as they say, "The Best Laid Plans". In addition to Hayden, the other members of the heist, especially Vince Edwards, Elisha Cook Jr, and especially Timothy Carey, are all excellent. Most definitely, pay the extra money and get this edition. SMRZ!!!
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Reviewed in the United States on September 15, 2011

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