Atomic clr table

Creates a user-defined function. A user-defined function is a [! INCLUDE tsql ] or common language runtime CLR routine that accepts parameters, performs an action, such as a complex calculation, and returns the result of that action as a value. The return value can either be a scalar single value or a table.

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• Computing and Applying Atomic Regulons to Understand Gene Expression and Regulation
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You are using an out of date browser. It may not display this or other websites correctly. You should upgrade or use an alternative browser. In depth review. Thread starter Rocket Brother Start date Jul 12, Status Not open for further replies. Rocket Brother Power User. This will be a long post - sorry - but I hope anybody interested in the CLRs will find the review useful and interesting.

A little context before the review. I own or have owned quite a few more of both guitars and amps, but those mentioned above are what have been at the core of my arsenal for years.

I never liked any modelers before the Axe Fx, but my Ultras became my favorite gigging tools. I got the RCF NXSMA as they meet my criterias; good tone, coaxial, top prosumer quality, light weight, rugged and portable at an IMO anyway fairly affordable price, especially considering the cost of the other elements in my signal chain. I received 3 active CLR wedges for review purposes from Tom King of Atomic Amps on the 11th of April - just shortly before we were heading into the final production rehearsals and out on tour, and I have used them extensively in a number of scenarios since.

I set out to test the CLRs very thoroughly, methodically and rigorously in a number of different scenarios, including: 1 Using the CLR as a personal monitor for the Axe Fx II at low bedroom, medium and full stage volumes, including real life live use in medium to large clubs and up to large halls, with electric and acoustic guitars. Some of the basics about the CLR will be in the part about using the CLR as a personal monitor so I recommend reading at least that part of the review.

This attention to and care in packing is important in a costly and relatively heavy device such as the CLR. The shipping agent that delivered the CLRs to me had man-handled the boxes a little, but the quality boxes, quality packing material and good packing made sure that no damage had come to the CLRs. The CLR itself has a clean professional feel, look and build quality.

Wooden cabinet, painted black and a black metal grill to keep the drivers out of harms way. Apart from the new Atomic logo there is nothing flamboyant about the look of the wedge — so just as it should be IMO. Why RCF chose to put a handle like that on their monitor is beyond me. Atomics choice of a regular pro quality handle like we all know from the industry standard Marshall 4x12 cab makes much better sense and is far more ergonomic. The CLR wedge has rubber feet for positioning it on the floor as either a wedge or up-right as a cab.

Furthermore there is a speaker stand cup on the bottom, allowing you to — yep — put it onto a speaker stand and raise it up to whatever level you want it at. This is far from a trivial feature and a real plus for the CLR. The first time I fired up the CLRs I was pleasantly surprised and could immediately tell that these monitors are indeed very special and are a professional grade monitor.

All the detail, depth, space and punch was present and the sound image very clear. The broad dispersion pattern with a completely uniform sound quality is terrific. Then I tried out the patches I had made using the RCF, and again really liked what I heard, I just had a lot of fun going through my own presets and even a few of the factory presets.

I really liked what I heard from the RCF, it felt like home and had a nice fat mid range tone to it. I tried both again with some backing tracks at the same time through the monitors and then it was very clear that the CLR had better separation, depth and clarity, not only between my guitar and the backing track but also between the instruments on the backing track.

I took a walk, came back and decided to tweak a new clean Fender and a new driven Plexi tone on both monitors — I found that I worked faster and got a better result on both types of tones tweaking on the CLR because I could more easily separate the different frequencies and hear everything better.

The prominent mids present on the RCF, that I had liked at first glance in the comparison, made dialing the sounds in on the RCFs a bit harder, as the mids got a bit wolly compared to the CLR. The CLRs excel throughout the entire frequency range and have perfect mid representation. Numerous tests confirmed that to me, and I felt secure enough to bring the CLR to rehearsals and shows.

Just 30 seconds into the first rehearsal I was grinning from ear to ear and I knew that there was no way around it for me — I had to have them. For guys wanting a monitor to give them cranked amp sounds at bedroom volumes I can think of no better sounding monitor than the CLR for the purpose.

The other good option for bedroom volume IMHO is a set of good studio monitors. So if you are willing to spend that amount on a set of studio monitors for the Axe Fx II, you should seriously consider a CLR instead — not stereo I know but sublime mono is IMO better than decent to good stereo for guitar tones any day of the week. The most important ingredient in getting a in the room sound is absolutely the choice of speaker IR. The CLR accurately reproduces the signal you feed them, which makes them absolutely wonderful and simple to work on and they take out all of the guesswork about how your sound will translate to other quality systems or in recordings.

Another thing that really stands out to me is the sound quality and frequency spectrum once you get out of the ideal dispersion zone, which is very wide on the CLR. On the CLR it seems like the frequencies fades away uniformly, whereas on most monitors including most hi-end pro monitors once you get outside of the ideal dispersion zone the frequencies falls off in a very uneven and sporadic way so you might get a very muddy or very shrill sound outside of the ideal dispersion zone.

Remember the rest of the band is typically, not to say always, outside of the ideal dispersion zone of you monitor so - unless you are always on large stages with everybody standing fixed in front of their personal monitor - this matters greatly when you think of how the rest of the band hears you even though they might have dedicated monitors. Monitors like the CLR can reduce the volume war on stage and make the experience of performing much better for all involved, which often leads to better playing and better performances.

The CLRs have not made a single hiccup, they sound clear, natural, transparent and translate perfectly. There is great detail, separation, depth and punch in the CLR. It has proven to be money more than once, and I love having the 2nd input on the CLRs for this application. Continued in next post All the clinics were done in a trio format with guitar, bass and drums. Some sessions had all 3 band members present and some with only one of us preset.

All clinics had an intro were we played 3 songs and ended with a mini concert 1 hour set. I had high expectations based on the way the CLRs carried the room at rehearsal and my expectations were more than meet. The CLRs were easily loud enough, spread the sound nicely across the room and sounded just great exhibiting all the sonic characteristics I described in the paragraph above about using the CLR as a personal monitor.

There was a spot in two of the clinics where I went out into the room to solo - cheasy I know — but it gave me the chance to hear the CLRs from among the audience in a filled room. At the other instance it was a set of HK Linear 5 without a sub.

In both instances I found the CLRs clearly superior as they had way better articulation, punch, frequency response, dispersion and they just plain translated better. Using the CLRs as backline amplification I only very rarely play in settings where we rely on backline amplification, I mostly play with a wedge in front of me or with in-ears, but I was curious as to how the CLR would handle the task. In both these scenarios the CLRs worked absolutely great.

That said, three CLRs in a wet-dry-wet configuration is just about as sinful, delightful and sublime sounding as a rig can get. Again it might be lost on low-end or medium level PAs. This is a very compact but insanely versatile W-D-W rig with the effects and number of amp and cab sims in the Axe II.

Both the Axe II and the tube amp based W-D-W rigs sounds sublime and the sound just engulfs you, the effects breath, but your tone has punch and cuts, and still you have a physical center the dry cab from which your base tone comes, just as when you are playing through a good combo or stack.

I got rid of it quickly as it was simply too impractical, and I was tired of only being able to use it on big productions on big stages, with plenty of roadies and big trucks. Also although big rigs were all the rage back then I just felt a bit stupid with a setup that big behind me and I actually preferred a more vintage rock sound, so I liquidated it and build a small, compact and killer 8 units rack rig centered around my Soldano X99 preamp for the modern stuff and bought a bunch of vintage amps for the proceeds, as vintage amps at that time was just considered old and undesirable so they were dirt cheap.

I can do all this with a very compact rig that I can comfortably bring myself, with just a 4 U rack, a midi board and 3 CLRs. I never had a dedicated bass rig as I would always borrow one on the rare occasions that I needed it. So I was very curious as to how well the CLRs would handle bass duties at apartment volumes and even more so at stage volumes. We played a show in his home town, and he had some of his old friends come by and spend the day with us, two of those were also bassists and quite good at that.

So I got to hear 3 good and distinctly different bassists play my rig with a quick preset we made in a matter of minutes with a SV amp sim and a SV 4x10 cab IR and just quickly re-tweaked for a minute or so whenever we changed the bassist.

The CLRs never broke a sweat, never farted out or broke up, it just delivered punchy and great bass sound. To cut to the chase the CLR easily came out on top in all cases and on all parameters concerning sound. The dynamics, punch, frequency response, dispersion, clarity, dimension and depth of the sound is simply unmatched by any of those other monitors. I can tell you that the owner of that set of TurboSounds was quite cocky before we fired the monitors up, but looked a little misty eyed as soon as the music played.

A friend of mine who is a monitor and FOH tech, heard our monitor tech describe the sound I got from the CLRs, and contacted me wanting to do a shoot out with his set of hi-end Martin Audio monitors, so we are trying to set that up in the not to distant future. The CLRs have only one downside in this context, and that is size, as the CLRs needs a little more space to fit into the studio.

Having said that I was stunned at just how sublime they sounded and translated, and so was my friend the pro engineer. In fact we devised a test, where we used a day to mix a song that we are both intimately familiar with as we had recorded it together a short while back. We mixed the song on the CLRs using them as the only monitors, and we mixed the same song using the normal speakers in the studio, mostly the Adams, but using the NS10s and Genelecs as references.

We rough mixed first with both monitoring solutions, and then gave both mixes a final once over in the end. We took breaks throughout the sessions to ensure that our ears remained fresh. That not only saves the cost of a sub, it also means that you avoid all the placement issues you can have when integrating a sub into your monitoring system.

Computing and Applying Atomic Regulons to Understand Gene Expression and Regulation

Try out PMC Labs and tell us what you think. Learn More. Understanding gene function and regulation is essential for the interpretation, prediction, and ultimate design of cell responses to changes in the environment. An important step toward meeting the challenge of understanding gene function and regulation is the identification of sets of genes that are always co-expressed. These gene sets, Atomic Regulons ARs , represent fundamental units of function within a cell and could be used to associate genes of unknown function with cellular processes and to enable rational genetic engineering of cellular systems. Here, we describe an approach for inferring ARs that leverages large-scale expression data sets, gene context, and functional relationships among genes.

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The integration of the. NET programming languages. In particular, this article describes the support for large greater than bytes user-defined types and aggregates, multiple-input user defined aggregates, and order-aware table-valued functions. This framework includes: a class library for geometry types based on the Open Geospatial Consortium for both flat earth and round earth solutions, as well as a spatial index. UDTs are not a general object-relational O-R mapping mechanism. That is, you should not use UDTs to model complex business objects such as employee, contact, customer, or product. Microsoft designed SQL Server UDTs, implemented as CLR classes or structs, to model atomic scalar types such as monetary currency, geometry and spatial types see section on spatial types , specialized date or time, etc.

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More actions. The issue is that there is no point which can actually justify its use. Here are some points and counter points. NET to implement the logic. Most DBAs don't know.

Atomic CLR = Sonic bliss !!! In depth review

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Find centralized, trusted content and collaborate around the technologies you use most. Connect and share knowledge within a single location that is structured and easy to search. I've never done a CLR sproc that way, you appear to being returning a string array as opposed to an atomic string. Stack Overflow for Teams — Collaborate and share knowledge with a private group. Create a free Team What is Teams?

Coloradium or systematic name pentbiseptium Pbs is the hypothetical chemical element with symbol Clr and atomic number This element is named after the US State Colorado. The systematic name of this element is drawn up according to the rules of IUPAC, translated from Latin 'pentbiseptium' means 'fivehundredtwentysevenium'. This element is highly unstable, so it is not found in nature and it can only be created inside a laboratory.

No one has asked me that question just yet, but with the release of SQL Server just around the corner, I'm sure a handful of people will. NET class and use it as a column datatype. As long as a few requirements are followed, one can create any class with any number of properties and methods and use that class as a CLR UDT. Generally, when a new feature is introduced with a product, it can be a bit of a challenge to know when and how to use that feature. Let me repeat that. I'm pretty sure that this answer will just lead to more questions, so allow me to answer a few follow-up questions I'd anticipate.

Thank you for visiting nature. You are using a browser version with limited support for CSS. To obtain the best experience, we recommend you use a more up to date browser or turn off compatibility mode in Internet Explorer. In the meantime, to ensure continued support, we are displaying the site without styles and JavaScript. Here we report the crystal structure of ClR from the flavobacterium Nonlabens marinus S T determined under two conditions at 2. The structures reveal two chloride-binding sites, one around the protonated Schiff base and the other on a cytoplasmic loop. Detailed ClR structural analyses with functional studies in E.

Boughey, Janina. Oxford: Hart Publishing, Hart Studies in Comparative Public Law.