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Badhaai Ho (2018) pDVDRip x264 Hindi Movie

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<img class="img-responsive descrimg lazy" data-original="http://220xd.site//upload/small/2018/10/19/5bca0175c819b.jpg" src="https://220xd.site//upload/small/2018/10/19/5bca0175c819b.jpg" style="display: block;"> 
 
IMDB Rating : 8.7/10 ,Votes : 504
 
Rated : Not Rated
 
Runtime : 1h 54m 55s
 
Awards : 
Country : India
 
Director : Amit Ravindernath Sharma
 
Cast : Ayushmann Khurrana, Neena Gupta, Sanya Malhotra
 
 
Language: Hindi
 
Quality: 720p pDVDRip
 
Size: 680mb
 
Movie Resolution: 688*300
 
Subtitle: N/A
 
Movie Plot/Storyline: A man faces embarrassment in the society when he finds out his mother is pregnant 
 
 
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Badhaai Ho (2018) pDVDRip x264 Hindi Movie

IMDB Rating : 8.7/10 ,Votes : 504 Rated : Not Rated Runtime : 1h 54m 55s Awards : Country : India Director : Amit Ravindernath Sha...

Goosebumps 2 Haunted Halloween 2018 HDTS.x264.AC3-ETRG

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 <a href="https://www.imgextra.uk/image/Sq8" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/Sq8.md.jpg" src="https://www.imgextra.uk/images/2018/10/17/Sq8.md.jpg" style="display: block;" /></a> <a href="https://www.imgextra.uk/image/mAl" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/03/13/mAl.jpg" src="https://www.imgextra.uk/images/2018/03/13/mAl.jpg" style="display: block;" /></a> Bitrate         : 1282kbps                             
 Resolution      : 848 X 328                 
 Frame Rate      :  30000 fps                       
 Aspect Ratio    : 2.585
 Audio :-                                             
 Codec ID        :   AC3                             
 Sample Rate     :   48.0 KHZ 
 Bitrate         :   128kbps                         
 Channel(s)      :   2                               
 Duration        :   01h21m  
                                     :     
 File Size       :   820MB                           
 Sample          :   Ye
 Release Date    :   17-10-2018                        
 Language        :   English    Note .Main ads cut out  ,cropped yellow ads aswell                      
 <a href="https://www.imgextra.uk/image/Sqs" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/Sqs.th.png" src="https://www.imgextra.uk/images/2018/10/17/Sqs.th.png" style="display: block;" /></a> <a href="https://www.imgextra.uk/image/SqD" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/SqD.th.png" src="https://www.imgextra.uk/images/2018/10/17/SqD.th.png" style="display: block;" /></a> <a href="https://www.imgextra.uk/image/Sqn" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/Sqn.th.png" src="https://www.imgextra.uk/images/2018/10/17/Sqn.th.png" style="display: block;" /></a> <a href="https://www.imgextra.uk/image/Sqz" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/Sqz.th.png" src="https://www.imgextra.uk/images/2018/10/17/Sqz.th.png" style="display: block;" /></a> <a href="https://www.imgextra.uk/image/SqK" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/SqK.th.png" src="https://www.imgextra.uk/images/2018/10/17/SqK.th.png" style="display: block;" /></a> <a href="https://www.imgextra.uk/image/SqM" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/SqM.th.png" src="https://www.imgextra.uk/images/2018/10/17/SqM.th.png" style="display: block;" /></a> <a href="https://www.imgextra.uk/image/SqO" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/SqO.th.png" src="https://www.imgextra.uk/images/2018/10/17/SqO.th.png" style="display: block;" /></a> <a href="https://www.imgextra.uk/image/SqS" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/SqS.th.png" src="https://www.imgextra.uk/images/2018/10/17/SqS.th.png" style="display: block;" /></a> <a href="https://www.imgextra.uk/image/SqX" target="_blank"><img class="img-responsive descrimg lazy" data-original="https://www.imgextra.uk/images/2018/10/17/SqX.th.png" src="https://www.imgextra.uk/images/2018/10/17/SqX.th.png" style="display: block;" /></a> 
 
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Goosebumps 2 Haunted Halloween 2018 HDTS.x264.AC3-ETRG

Bitrate : 1282kbps Resolution : 848 X 328 Frame Rate : 30000 fps ...

Shameless.US.S09E07.WEB.h264-CONVOY

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Doctor Who 2005 S11E03 720p HDTV x264-FoV

Doctor Who 2005 S11E03 720p HDTV x264-FoV [eztv] The Doctor takes her companions on their first journey back in time - to the dangerous, ...

Password Cracker 4.30

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Password Cracker 4.30
 
 
Function: Passwords recovery tool
 
 
System Requirement
 
 
Operating System
 
 
Windows 95/98/ME/NT/2000/XP/Vista/7/8x/10; 12 MB RAM; 0.05 MB HDD
 
 
:Win2000, WinXP, Win7 x32, Win7 x64, Windows 8, Windows 10, 
WinServer, WinOther, Windows2000, Windows2003, Windows Server 2012, 
Windows Tablet PC Edition 2005, Windows Media Center Edition 2005, 
WinVista, Windows Vista Starter, Windows Vista Home Basic, Windows Vista
 Home Premium, Windows Vista Business, Windows Vista Enterprise, Windows
 Vista Ultimate, WinVista x64, Windows Vista Home Basic x64, Windows 
Vista Home Premium x64, Windows Vista Business x64, Windows Vista 
Enterprise x64, Windows Vista Ultimate x64
 
 
File Size: 67 KB
 
 
Release Date: 10/11/2018 
 
 
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Password Cracker 4.30

Password Cracker 4.30 Function: Passwords recovery tool System Requirement Operating System Windows 95/98/ME/NT/2000/XP/Vista/7/...

Native Instruments Kontakt 5 v5.7.3 incl Patch

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 Description: Native
 Instrument's Kontakt has certainly been a trail-blazing success since 
its inception nine years ago, and has become the preferred format for a 
multitude of sample-based products. Its versatility, flexibility and 
ease of use make it a very attractive tool for beginners and serious 
under-the-hood geeks alike. From simple one-shot sample playback to the 
creation of complex, scripted virtual instruments, Kontakt seems to be 
capable of pretty much anything to do with sampling. If you're 
unfamiliar with the software and bemused by all the excitement, you can 
bone up on the story so far in the following SOS reviews: Kontakt 1 
(August 2002); Kontakt 2 (July 2005); Kontakt 3 (January 2008); and 
Kontakt 4 (February 2010).
 Just when you were wondering what more could possibly be added, 
Kontakt 5 delivers yet another bevy of sample-empowering goodies that 
you didn't know you couldn't live without. The new version remains 
cosmetically the same as version 4 apart from a minor change: in 
Instrument Edit mode, the green colour scheme is now replaced by a shade
 of pale brown that paint manufacturers might call 'Weimaraner'.
 New Filters
 Amongst the new filters are three State Variable Multi types: LP/HP 
Parallel, BP/BP Parallel and LP/HP Serial, each with fully adjustable 
bandwidth separating the cutoff frequencies of the filter pairs. Shown 
also is Formant 1, whose Size parameter acts like a gender control, 
changing the size of the 'vocal tract'.
 Amongst the new filters are three State Variable Multi types: LP/HP 
Parallel, BP/BP Parallel and LP/HP Serial, each with fully adjustable 
bandwidth separating the cutoff frequencies of the filter pairs. Shown 
also is Formant 1, whose Size parameter acts like a gender control, 
changing the size of the 'vocal tract'.
 Kontakt 5 adds an impressive list of 37 new filters to the original 
16 types, bringing the total to 53. New SV (State Variable) filters 
appear in the LP, HP, BP, Peak/Notch and Multi categories. NI describe 
them as the new standard for Kontakt, being cleaner than the legacy 
filters. The new Ladder filters, which are based on those found in older
 synths, also offer improved algorithms, together with a High Quality 
option that applies oversampling at the cost of slightly increased CPU 
overhead.
 Especially interesting are the AR (Adaptive Resonance) filters; 
these adjust the amount of resonance according to the amplitude of the 
input, acting as a sort of auto-limiter. You can crank the resonance up 
full and sweep away to your heart's content, safe in the knowledge that 
your speakers and eardrums will suffer no harm. In stark contrast, the 
resonance of the Daft LP and HP filters (borrowed from NI's Massive soft
 synth) can be pushed into self-oscillation. By tuning the cutoff 
frequency to track the keyboard over an evenly tempered scale, you can 
easily achieve the classic 'singing filter' effect of analogue synths.
 Four Peak/Notch filters are a welcome addition, useful both for fine
 surgical EQ and for creating effects similar to phase-shifting when 
modulated by an envelope, LFO or the mod wheel, for example. Of the four
 varieties, SV Notch 4 has a bipolar character: resonance values above 
25 percent produce a peak, while lower values produce a notch.
 Also of special note are two new Formant filters that simulate the 
vocal tract, allowing you to morph through the vowel sounds all the way 
from 'ooo' to 'eee'. These will bring a smile of recognition to anyone 
familiar with the Delay Lama plug-in instrument by AudioNerdz (the 
animated singing Tibetan Monk with the inscrutably mobile Roger Moore 
eyebrows). Whereas Delay Lama was monophonic, had one fixed waveform, no
 envelopes or filters, and sounded (and I say this with the greatest 
affection) untameably raucous, Kontakt offers all the facilities you 
need to sculpt any sample into a musically useful sonic chatterbox. The 
two variations of Formant filter differ in that Formant 1 is the more 
severe of the two, with a sharper, more focused effect. For a list of 
the new filters, see the 'New Filter Types' box.
 Sampler Engine Enhancements
 The controls for the Solid-G EQ. The buttons below the LF and HF 
bands toggle between shelf and bell curves; both LMF and HMF bands have 
variable bandwidth (Q) knobs.
 The controls for the Solid-G EQ. The buttons below the LF and HF 
bands toggle between shelf and bell curves; both LMF and HMF bands have 
variable bandwidth (Q) knobs.
 The sampler engine receives three new playback modes. The most 
significant of these is Time Machine Pro, a real-time, high quality 
time-stretching algorithm that gives you independent control over sample
 playback speeds and tuning with fewer artifacts than the existing two 
modes (Time Machine and Time Machine 2). Both of those were capable of 
producing good results, but it could be hit-and-miss, depending on the 
type of material they had to work with. Looped samples often came off 
badly (loop points were usually thrown off kilter) and even mild speed 
variations could sound grainy and distorted, especially when slowing 
things down. Naturally, I tested Time Machine Pro with a variety of 
material, and found the results to be variable but generally impressive.
 Most complex stereo material (such as full-blown mixes) could take 
around a speed variation of around 20 percent before acquiring a 
metallic ring (slower) or a fluttering quality (faster), with 
sustaining, orchestral music being the most susceptible to artifacts. 
Percussively oriented material coped a little better with wider speed 
variations. Nevertheless, the step up in quality from the older Time 
Machine modes is patently obvious. TM Pro should prove very useful for 
fine-tuning the duration of sampled special effects without altering 
their essential character, and since the speed parameter can be sync'ed 
to the host DAW's tempo, the speed of pre-sampled musical phrases will 
always remain in step with any variations in track tempo. TM Pro offers 
two-, four- or eight-voice polyphony, and also provides a 'Pro Mode' 
option, giving control over the formant character of the time-stretched 
samples.
 The Solid Bus Compressor, with its handy gain reduction meter on the
 right. The Mix knob adjusts from a dry to a fully compressed signal, 
with parallel compression occurring at all settings in between.
 The Solid Bus Compressor, with its handy gain reduction meter on the
 right. The Mix knob adjusts from a dry to a fully compressed signal, 
with parallel compression occurring at all settings in between.
 The new SP1200 Machine and MPC60 Machine engines aim to reproduce 
the sound quality and playback characteristics of two vintage drum 
machines (made by Emu and Akai respectively). Little clarification is 
given about these modes except that they degrade the playback quality of
 samples by replicating the sample rate and frequency range of each drum
 machine, as well as "changing the way Kontakt changes the pitch and 
basic handling of the sample playback engine”, according to the PDF 
manual — a somewhat cabalistic explanation. Curious to discover more, I 
compared the effect of the two engines on drum sounds. The MPC60 engine 
reveals a significant high-frequency emphasis; everything sounds 
super-bright. By contrast, the SP1200 engine's 12-bit, 26kHz emulation 
shaves just a gnat's off the top end. However, I didn't observe any 
obvious change in pitch behaviour, as alluded to in the documentation. 
Comparing their effect on instrument samples, it became apparent that 
the loop points of looped sounds were being slightly altered — a click 
here, a buzz there. Even more interesting were the strange additional 
harmonics creeping in when playing back sine-wave samples at certain 
pitches, notably with the SP1200 engine. I can only assume there's some 
sort of aliasing going on, which no doubt gives the SP1200 its signature
 sound. The SP1200 and MPC60 engines are clearly intended for one-shot 
drum samples rather than instrumental sounds. Aside from the bright 
quality of the MPC60, any other significant tonal differences when 
applied to drums (aliasing notwithstanding) were not overtly obvious to 
me, despite donning my best bat's ears. I'll doubtless be taken to task 
over this by hordes of angry 12-year-old retro drum-machine aficionados.
 As is the case with all the non-DFD engines, the entire sample data 
is loaded into RAM when any of these playback modes is used, so be wary 
if applying them to all Groups of a RAM-hungry instrument at once.
 Studio Quality Effects
 The Transient Master controls. The Smooth button can provide better results with non-percussive material.
 The Transient Master controls. The Smooth button can provide better results with non-percussive material.
 Four new effects have joined the Kontakt fold. Three of these are 
available to buy as separate plug-ins, so it's a real bonus to have them
 included as part of Kontakt 5. First up is the Solid-G EQ, presumably 
modelled on SSL's G-series console EQ. This four-band parametric design 
is a great asset, having switchable shelving or bell curves on the 
lowest and highest frequency bands. Kontakt EQs have always lacked high-
 and low-end shelving until now, and using wide Q bandwidths on the high
 and low frequencies as a substitute has always seemed unsatisfactory 
and lacking in sufficient subtlety. Solid-G fills this gap perfectly and
 sounds, to my ears, cleaner and more 'musical' than the standard 
Kontakt type, adding gloss, warmth or weight just where it's needed.
 The Solid Bus Comp appears to be modelled on the SSL G-series Bus 
Compressor and, again, is a vast improvement on the existing Kontakt 
effect. Controls for Threshold, Attack (0.1ms to 30ms), Ratio (1:1.5 to 
1:30), and Release (100ms to 1600ms + Auto) provide similar 
functionality to the SSL model. Parallel compression is possible with a 
simple tweak of the Mix knob, Makeup Gain brings the post-compression 
level back up, and a handy gain-reduction meter gives you a visual guide
 to how much you're pushing things. This compressor sounds good on 
pretty much anything, and really comes into its own when used with 
drums.
 The Transient Master is not a male instructor on a temporary 
supply-teaching job, but a tool for sculpting the dynamic shape of 
percussive sounds. There are two principal sculpting controls, Attack 
and Sustain. Positive values of Attack accentuate transients and 
negative values soften them. Soggy snares can be given added snap and 
vigour, while overly spiky guitars can be tamed to sit less prominently 
in the mix — without the need to alter their levels. Positive values of 
Sustain lift the post-transient level, bringing up the body of the 
sound, while negative values reduce and effectively shorten it. 
Transient Master is great for rescuing otherwise unusable samples; that 
plinky piano can be afforded the fullness it lacks, overly ambient drum 
samples dried out, and polite snares pumped up to in-your-face 
proportions.
 The Tape Saturator emulates the effect of over-recording to tape, 
and is not dissimilar to the Saturator effect from previous Kontakt 
versions. It adds subtle warmth at low values, increasing to aggressive 
distortion at higher values with greater amounts of compression. The 
gentle growl it can impart to organ samples is particularly good. The 
Warmth control boosts or cuts low frequencies, while the HF Roll-off 
attenuates frequencies above 12kHz. Oversampling can be applied with the
 High Quality button.
 At the time of writing, when Transient Master is applied as a Group 
insert effect, it doesn't function correctly. Consequently, it should be
 applied either as a main Instrument insert effect, or an Instrument Bus
 effect, where it works perfectly. A quick call to NI confirmed that 
they are aware of this bug, and that it will be fixed in a subsequent 
service update.
 Instrument Buses
 The Time Machine Pro engine with Pro Mode active. Pro Mode allows 
the spectral envelope (formant) to be adjusted with the Env.Order and 
Env.Fact knobs. The button at the right selects two-, four- or 
eight-voice polyphony.The Time Machine Pro engine with Pro Mode active. 
Pro Mode allows the spectral envelope (formant) to be adjusted with the 
Env.Order and Env.Fact knobs. The button at the right selects two-, 
four- or eight-voice polyphony.Perhaps one of the most useful additions 
to Kontakt, Instrument Buses are to be found nestled between the 
Amplifier module and the Insert Effects strip. They provide the solution
 to a perennial problem: how can you easily apply a single set of 
treatments to a collection of Groups without having to apply them to 
each Group individually? This is best illustrated with a typical 
scenario: processing the various elements that make up a drum kit. Take 
the snare for instance, often represented by numerous articulations — 
centre hits, edge hits, rim shot, side stick, flam, snares off... you 
get the picture. Articulations are often assigned to their own Groups, 
each of which may have its own unique level setting, or possibly an 
effect of some kind. To adjust the overall level of all the snare 
Groups, you'd previously have had to insert a Gainer as the last insert 
effect of every Group, and adjust them all in unison. Similarly, adding 
effects such as a compressor and an EQ would involve replicating those 
effects numerous times across all the Groups — hardly elegant or CPU 
friendly. All this can be done much more efficiently using Instrument 
Buses.Sixteen Buses are available to each Kontakt instrument and appear 
as destinations under each Group's output assign button. Once all the 
snare's Groups have been identified and selected for editing, simply 
route them to an Instrument Bus. Now the entire Bus's level and pan can 
be controlled easily from its own controls.Each of the 16 Buses also has
 slots for eight insert effects, so you only need to add a single 
compressor to the snare Bus, for example, to process all its 
articulations. Unlike Group insert effects, which operate polyphonically
 (ie. the effect is calculated for each individual note), Bus insert 
effects operate monophonically, just as they would if you were using 
outboard gear. Effect sends can also be added to each Bus's inserts, so 
adding reverb to the contents of a Bus is easy. The output from each Bus
 returns just before the main instrument insert effects by default, but 
there is also an option to bypass those insert effects, keeping any Bus 
you choose (and its own effects) entirely separate from the main 
effects.
 Conclusion
 Armed with the characterful Solid-G EQ and Solid Bus Comp 
compressor, the Transient Master and the excellent new Instrument 
Bussing system, it's now more feasible than ever to produce high-quality
 tracks entirely within Kontakt, given an adequately wide-ranging sample
 library. Sample library developers, too, will welcome Kontakt's 
extended Script Processor instruction set, which includes a MIDI file 
player. These improvements might not get every Kontakt user champing at 
the bit, but for anyone with a passion for tinkering, tweaking and 
fine-tuning their sounds, I'd say this is a must-have upgrade. Besides, 
with increasing numbers of Kontakt-based libraries being written 
specifically for version 5, upgrading may swiftly become a necessity! How to Install: 1). Instructions are included in ReadMe.txt if needed.
 2). Thats all, Done & enjoy. 
 
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Native Instruments Kontakt 5 v5.7.3 incl Patch

Description: Native Instrument's Kontakt has certainly been a trail-blazing success since its inception nine years ago, and has ...

Android- Only Paid + MOD + Premium Apps Collection (10/22/2018)

Collection Includes 170+ Android Apps: ►Daily Apps: MX Player, Truecaller, Office-Suite etc ►50 Best Substratum Theme ►Launchers ►V...