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300 Movie Hindi Audio Track Full [NEW]

@Harry...Prometheus (2012) hindi audio track added (1st link)enjoy...@Pradeep... G. I. Joe Retaliation's clear hindi audio is not available at the moment. Wait for few days. When it comes, i will add it above.

300 movie hindi audio track full

The original VHS specification had only two video heads. When the EP recording speed was introduced, the thickness of these heads was reduced to accommodate the narrower tracks. However, this subtly reduced the quality of the SP speed, and dramatically lowered the quality of freeze frame and high speed search. Later models implemented both wide and narrow heads, and could use all four during pause and shuttle modes to further improve quality. In machines supporting VHS HiFi (described later), yet another pair of heads was added to handle the VHS HiFi signal. Camcorders using the miniaturized drum required twice as many heads to complete any given task. This almost always meant four heads on the miniaturized drum with performance similar to a two head VCR with a full sized drum. No attempt was made to record Hi-Fi audio with such devices, as this would require an additional four heads to work.

After leaving the head drum, the tape passes over the stationary audio and control head. This records a control track at the bottom edge of the tape, and one or two linear audio tracks along the top edge.

In the original VHS specification, audio was recorded as baseband in a single linear track, at the upper edge of the tape, similar to how an audio compact cassette operates. The recorded frequency range was dependent on the linear tape speed. For the VHS SP mode, which already uses a lower tape speed than the compact cassette, this resulted in a mediocre frequency response of roughly 100 Hz to 10 kHz for NTSC,[citation needed] frequency response for PAL VHS with its lower standard tape speed was somewhat worse. The signal-to-noise ratio (SNR) was an acceptable 42 dB. Both parameters degraded significantly with VHS's longer play modes, with EP/NTSC frequency response peaking at 4 kHz. S-VHS tapes can give better audio (and video) quality, because the tapes are designed to have almost twice the bandwidth of VHS at the same speed.

Sound cannot be recorded on a VHS tape without recording a video signal, even in the audio dubbing mode. If there is no video signal to the VCR input, most VCRs will record black video and generate a control track while the sound is being recorded. Some early VCRs record audio without a control track signal; this is of little use, because the absence of a signal from the control track means that the linear tape speed is irregular during playback.

More sophisticated VCRs offer stereo audio recording and playback. Linear stereo fits two independent channels in the same space as the original mono audiotrack. While this approach preserves acceptable backward compatibility with monoaural audio heads, the splitting of the audio track degrades the audio's signal-to-noise ratio, causing objectionable tape hiss at normal listening volume. To counteract the hiss, linear stereo VHS VCRs use Dolby B noise reduction for recording and playback. This dynamically boosts the high frequencies of the audio program on the recorded medium, improving its signal strength relative to the tape's background noise floor, then attenuates the high frequencies during playback. Dolby-encoded program material exhibits a high-frequency emphasis when played on non-Hi-Fi VCRs that are not equipped with the matching Dolby Noise Reduction decoder, although this may actually improve the sound quality of non-Hi-Fi VCRs, especially at the slower recording speeds.

High-end consumer recorders take advantage of the linear nature of the audio track, as the audio track could be erased and recorded without disturbing the video portion of the recorded signal. Hence, "audio dubbing" and "video dubbing", where either the audio or video are re-recorded on tape (without disturbing the other), were supported features on prosumer linear video editing-decks. Without dubbing capability, an audio or video edit could not be done in-place on master cassette, and requires the editing output be captured to another tape, incurring generational loss.

Studio film releases began to emerge with linear stereo audiotracks in 1982. From that point onward nearly every home video release by Hollywood featured a Dolby-encoded linear stereo audiotrack. However, linear stereo was never popular with equipment makers or consumers.

Another linear control track at the tape's lower edge holds pulses that mark the beginning of every frame of video; these are used to fine-tune the tape speed during playback, so that the high speed rotating heads remained exactly on their helical tracks rather than somewhere between two adjacent tracks (known as "tracking"). Since good tracking depends on precise distances between the rotating drum and the fixed control/audio head reading the linear tracks, which usually varies by a couple of micrometers between machines due to manufacturing tolerances, most VCRs offer tracking adjustment, either manual or automatic, to correct such mismatches.

Around 1984, JVC added Hi-Fi audio to VHS (model HR-D725U, in response to Betamax's introduction of Beta Hi-Fi.) Both VHS Hi-Fi and Betamax Hi-Fi delivered flat full-range frequency response (20 Hz to 20 kHz), excellent 70 dB signal-to-noise ratio (in consumer space, second only to the compact disc), dynamic range of 90 dB, and professional audio-grade channel separation (more than 70 dB). VHS Hi-Fi audio is achieved by using audio frequency modulation (AFM), modulating the two stereo channels (L, R) on two different frequency-modulated carriers and embedding the combined modulated audio signal pair into the video signal. To avoid crosstalk and interference from the primary video carrier, VHS's implementation of AFM relied on a form of magnetic recording called depth multiplexing. The modulated audio carrier pair was placed in the hitherto-unused frequency range between the luminance and the color carrier (below 1.6 MHz), and recorded first. Subsequently, the video head erases and re-records the video signal (combined luminance and color signal) over the same tape surface, but the video signal's higher center frequency results in a shallower magnetization of the tape, allowing both the video and residual AFM audio signal to coexist on tape. (PAL versions of Beta Hi-Fi use this same technique). During playback, VHS Hi-Fi recovers the depth-recorded AFM signal by subtracting the audio head's signal (which contains the AFM signal contaminated by a weak image of the video signal) from the video head's signal (which contains only the video signal), then demodulates the left and right audio channels from their respective frequency carriers. The result of the complex process was audio of high fidelity, which was uniformly solid across all tape-speeds (EP, LP or SP.) Since JVC had gone through the complexity of ensuring Hi-Fi's backward compatibility with non-Hi-Fi VCRs, virtually all studio home video releases produced after this time contained Hi-Fi audio tracks, in addition to the linear audio track. Under normal circumstances, all Hi-Fi VHS VCRs will record Hi-Fi and linear audio simultaneously to ensure compatibility with VCRs without Hi-Fi playback, though only early high-end Hi-Fi machines provided linear stereo compatibility.

The sound quality of Hi-Fi VHS stereo is comparable to some extent to the quality of CD audio, particularly when recordings were made on high-end or professional VHS machines that have a manual audio recording level control. This high quality compared to other consumer audio recording formats such as compact cassette attracted the attention of amateur and hobbyist recording artists. Home recording enthusiasts occasionally recorded high quality stereo mixdowns and master recordings from multitrack audio tape onto consumer-level Hi-Fi VCRs. However, because the VHS Hi-Fi recording process is intertwined with the VCR's video-recording function, advanced editing functions such as audio-only or video-only dubbing are impossible. A short-lived alternative to the hifi feature for recording mixdowns of hobbyist audio-only projects was a PCM adaptor so that high-bandwidth digital video could use a grid of black-and-white dots on an analog video carrier to give pro-grade digital sounds though DAT tapes made this obsolete.

Some VHS decks also had a "simulcast" switch, allowing users to record an external audio input along with off-air pictures. Some televised concerts offered a stereo simulcast soundtrack on FM radio and as such, events like Live Aid were recorded by thousands of people with a full stereo soundtrack despite the fact that stereo TV broadcasts were some years off (especially in regions that adopted NICAM). Other examples of this included network television shows such as Friday Night Videos and MTV for its first few years in existence. Likewise, some countries, most notably South Africa, provided alternate language audio tracks for TV programming through an FM radio simulcast.

The ADAT format provides the ability to record multitrack digital audio using S-VHS media. JVC also developed SVHS-ET technology for its Super-VHS camcorders and VCRs, which simply allows them to record Super VHS signals onto lower-priced VHS tapes, albeit with a slight blurring of the image. Nearly all later JVC Super-VHS camcorders and VCRs have SVHS-ET ability.

The transcribe feature converts speech to a text transcript with each speaker individually separated. After your conversation, interview, or meeting, you can revisit parts of the recording by playing back the timestamped audio and edit the transcription to make corrections. You can save the full transcript as a Word document or insert snippets of it into existing documents.

Gerard Butler, Michael Fassbender, and a bunch of other burly guys strip down and do a ton of burpees and barrel forth bare-chested into CGI battle glory in Zack Snyders 300 - now on 4K UHD Blu-ray from Warner Bros. This hyper-stylish adaptation of Frank Miller's loose interpretation of historical events is a comic book come to life with outrageous visuals and action sequences. The film enjoys a modest improvement with the new upscaled HDR10 transfer, but the real upgrade is the new Atmos audio mix is a beast well worth cranking the volume for! The same set of bonus features so nothing new there. if you love the movie, 300 on 4K UHD Blu-ray is Recommended


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