Eine solche Aussetzung kann um jeweils höchstens weitere drei Monate verlängert werden, sofern die Gründe für die vorübergehende Aussetzung weiterhin gegeben sind. Die Vorschriften dieser Verordnung, die die Erbringung von Dienstleistungen oder die Durchführung von Tätigkeiten durch Drittlandfirmen regeln, sollten die Möglichkeit unberührt lassen, dass in der Union niedergelassene Personen in der Union auf eigene Initiative Wertpapierdienstleistungen einer Drittlandfirma in Anspruch nehmen können oder dass Wertpapierfirmen oder Kreditinstitute der Union auf eigene Initiative Wertpapierdienstleistungen oder Anlagetätigkeiten einer Drittlandfirma in Anspruch nehmen können oder dass ein Kunde auf eigene Initiative Wertpapierdienstleistungen einer Drittlandfirma in Anspruch nehmen kann, die durch ein solches Kreditinstitut oder eine solche Wertpapierfirma vermittelt werden. März legt die Kommission nach Anhörung der ESMA dem Europäischen Parlament und dem Rat einen Bericht über geeignete Lösungen zur Minderung von Informationsasymmetrien zwischen den Marktakteuren sowie über Hilfsmittel vor, die den Regulierungsbehörden eine bessere Überwachung der Notationsaktivitäten an Handelsplätzen ermöglichen.
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It should be borne in mind that genetic drift means that there may still be unknown genetic differences between individuals within strains. Most laboratory mice have contributions from both Mus musculus musculus and Mus musculus domesticus.
There is evidence that smaller contributions also may have come from Mus musculus molossinus and Mus musculus castaneus. Therefore, they should not be referred to by species name, but rather as laboratory mice or by use of a specific strain or stock name. In addition, some recently developed laboratory mouse strains are derived wholly from other Mus species or other subspecies, such as M.
Laboratory rat strains derive from the Rattus norvegicus species. Another species, Rattus rattus , also is used as an experimental model, but has not contributed to the common laboratory rat strains. A key feature of mouse and rat nomenclature is the Laboratory Registration Code or Laboratory code, which is a code of usually three to four letters first letter uppercase, followed by all lowercase that identifies a particular institute, laboratory, or investigator that produced, and may hold stocks of, a mouse or rat strain.
Substrains should be identified by Laboratory codes, as should congenic and other strains where several different forms exist that are not otherwise distinguishable. Strains can be termed inbred if they have been mated brother x sister for 20 or more consecutive generations, and individuals of the strain can be traced to a single ancestral pair at the 20 th or subsequent generation. At this point the individuals' genomes will on average have only 0.
Inbred strains must be continuously mated brother x sister or equivalent thereafter. Other breeding schemes can be used to produce inbred strains; consecutive parent x offspring mating may be used, provided that the younger of the parents is always used i. Other breeding schemes are acceptable provided that the inbreeding is equivalent to 20 successive generations of sib mating Green An inbred strain should be designated by a unique brief symbol made up of uppercase, Roman, letters, or a combination of letters and numbers beginning with a letter.
Note that some pre-existing strains do not follow this convention; e. Care should be taken that mouse and rat strains do not overlap in strain designations. Inbred strains that have a common origin, but are separated before F20 are related inbred strains, and symbols should reflect this relationship. The number of brother x sister inbreeding generations can be indicated, if necessary, by addition in parentheses of F followed by the number of generations. Established inbred strains may genetically diverge with time into substrains, due to a number of circumstances: If two branches are separated after 20 but before 40 generations of inbreeding there still will be enough residual heterozygosity that two genetically different substrains will result Green If branches are separated for more than 20 generations from a common ancestor, it is likely that genetic variation between the branches will have occurred by mutation and genetic drift.
If genetic differences are proven by genetic analysis to have occurred between branches. Substrains are given the root symbol of the original strain, followed by a forward slash and a substrain designation. The designation is usually the Laboratory code of the individual or laboratory originating the strain. If a laboratory originates more than one substrain, serial numbers should be added to the Laboratory code.
Substrains may give rise to further substrains by continued maintenance by a different investigator or through establishment of a new colony. In addition, substrains arise if demonstrable genetic differences from the original substrain are discovered.
In either case, further substrain designations are added, without the addition of another slash. Laboratory codes should be accumulated because genetic differences will accumulate with time, the rate depending to some extent on varying levels of quality control at the facilities that have housed and bred the strain or substrain. Organizations distributing mice and rats should include the number of generations the strain has been separated from the parent strain in the information they provide regarding the strain.
Strain names can be abbreviated in publications after the first mention of the full proper designation. Mice or rats that are the progeny of two inbred strains, crossed in the same direction, are genetically identical, and can be designated using uppercase abbreviations of the two parents maternal strain listed first , followed by F1. Note that reciprocal F1 hybrids are not genetically identical, and their designations are, therefore, different.
B6D2F1 Mouse that is the offspring of the reciprocal cross. Further crosses produce offspring that are no longer genetically identical, but it may still be appropriate to give them designations reflecting their parentage, similar to those for F1 hybrids.
In all the above cases, for clarity, the full strain symbols should be given in any publication when the hybrids or crosses are first referred to. Approved abbreviations for common mouse strains are listed below: Mice or rats can be produced that have a defined genetic background, derived from two or more inbred strains, and that may or may not be genetically identical.
Such animals should be designated appropriately, according to the breeding scheme that produced them. Recombinant inbred RI strains contain unique, approximately equal proportions of genetic contributions from two original progenitor inbred strains. Traditionally, recombinant inbred RI strains are formed by crossing animals of two inbred strains, followed by 20 or more consecutive generations of brother x sister matings Bailey , Taylor Alternate breeding schemes can be used, such as creating RI strain sets from Advanced Intercross Lines, where F2 animals are nonsib mated for several generations, followed ultimately by 20 or more consecutive generations of brother x sister matings.
Note that if backcrossing to one of the parental strains is involved, this will create recombinant congenic strains and should be named accordingly. RI strains should be designated by uppercase one- or two-letter abbreviations of both parental strain names, with the female strain written first, and separated by an uppercase letter X with no intervening spaces. All members of RI sets involving the same two strains will be serially numbered regardless of whether they were created in one or more laboratories.
Sequential numbers may be obtained from MGD email to: If the second strain abbreviation ends in a number e. Recombinant inbred strains may be intercrossed for mapping complex traits. Such F1s are called recombinant inbred intercrosses RIX and are symbolized the same as F1s between other inbred strains.
Collaborative Cross CC strains are multiparental recombinant inbred lines each with unique contributions from eight original progenitor strains: They were developed using a funnel breeding scheme to include all eight progenitor strains in three outbreeding generations, followed by consecutive generations of brother x sister matings Threadgill and Churchill , Collaborative Cross Consortium Collaborative Cross strains are designated by CC, followed by a 4-digit number, a forward slash, and the laboratory code for the institution at which they were bred.
The three institutions responsible for the initial breeding, with their respective lab codes in parentheses, are: As with other inbred strains, additional lab codes are appended when substrains are established.
Collaborative Cross CC strains may be intercrossed for mapping complex traits. Once the full F1 designation is specified in a publication, an abbreviated version can be used. In the above example, the abbreviation would be: CC X 4. Otherwise, the strain abbreviation order may be by primary contributing strain or alphanumeric order.
Laboratory codes and serial numbers should be used to distinguish strains produced in different laboratories, or multiple strains from the same laboratory. December 11, at 2: Luxembourg Institute for High Performance in Sports is feeling motivated. De whole koalitiounsaccord on de whole text to sport can a https: Interesting post and thinking! Jürgen free research at the university of wuppertal for the use of foam roles in sport, the so-Called Fascia Therapy.
Here he explains why this is with caution to enjoy Translated. Luxembourg Institute for High Performance in Sports added 2 new photos. Never underestimate the importance of sleep! Luxembourg Institute for High Performance in Sports added 6 new photos. Lis Fautsch is with Anna Jonas and 3 others.
Die Arbeit hat begonnen und Monique ist motiviert die Anforderungen zu erfüllen! We are looking forward working with some of you in the future! Zehn Luxemburger bei den Olympischen Jugendspielen.
Additionally, we generally drop in an additional wide pair of microphones for a large section of woodwinds. For example, the Keeping Score Stravinsky live capture also used this wide pair of microphones to help cover the extremely large woodwind section used in those performances; the Keeping Score Beethoven Symphony No. And even though it is not a perfect system, it allows for great efficiency with musically compelling results. Here is our somewhat abbreviated qualitative summary: The following list contains information on both the specifics and purpose of the San Francisco Symphony microphones as used in audio-for-video productions: Although the above touches on the basic design and application of the San Francisco Symphony recording microphone methodology, the remaining, complementary infrastructure for the recording system has been created to comply with site-specific requirements which are detailed as follows: The AES42 system also allowed the receivers to be located in the SFS Record Booth which meant we were still in compliance with the concerns articulated in 3.
It's worth noting that we also ran comparison tests on analog microphone runs with line-level output preamplifiers placed at 10', 25', 40', 50', 75', and ' intervals. Within the context of our microphone inventory which generally utilizes low impedance, high output models , we did not feel that the differences when compared to the ' total run were significant after the 40' interval.
In other words, if we could place a preamp after the analog microphone at cable lengths of 40' or less, there was a significant qualitative benefit to justify doing so. But since our hanging microphones cannot actually address a preamp connection point at less than 75' which includes both the trim and slack length in the attic , we agreed to live with the less than ideal results for everything other than the Main orchestral microphones.
The HV-3D is an single, 8 channel unit that does not comply with the modularity requirements of 4 above; the SMPs however, are modular, series units and only require about 2 minutes to replace in the event of failure.
The SMPs also have redundant power supplies for their frames. The AD units are 8 channel, series units that can be replaced in about 2 minutes in the event of failure. With the general exception of the microphones and cables that deliver their signals to the Record Booth, the San Francisco Symphony recording infrastructure is not only redundantly constructed but quickly and easily repairable during a live event.
Assuming correct diagnostics, responding to and solving potential failures can be accomplished by one operator in an efficient, timely fashion. If there was a contest for recognizing the least attractive, least comfortable control room facility for the capture of performances by a major symphonic organization, our Record Booth would not likely be the winner; on the other hand, it probably wouldn't be selected for a glossy, industry magazine cover story either! It seems almost traditional that most concert halls built in the US thirty or more years ago never allocated appropriate space - let alone acoustically isolated construction - for the purpose of having a full featured recording facility.
We don't have access to any adjoining unused space for a machine room so computers, drives, etc. And although we have a terrific surround speaker system, the unsolved acoustic issues of the Record Booth greatly compromise performance.
Here is the San Francisco Symphony Record Booth inventory as used for most audio-for-video productions: The following charts show both the synchronization and analog routing for the above equipment: It turns out that there is enough ambiguity in these Director Camera Layouts that make it difficult to precisely guess what each camera is going to be doing.
Although that turns out to be true and shouldn't cause any microphone issues, camera 2 is also going to try to get some solo woodwind shots which WILL have microphone issues!! As a result, a long shot once zoomed can very quickly find a microphone blocking a shot. With the exception of the 4 Main orchestral mics, we have to be prepared to consider moving any microphone that disrupts the shot if no other practical option is available.
For another example, let's look at the plot for Audience Cameras in Figure 4 and locate Camera 8 on the stage left side of the terrace. That camera position was the only one that could capture many of the mallet instruments on the stage right side of the stage.
Between that camera and the percussion is a lot of territory that included many hanging and stand mics. Ultimately, the solution was to actually move the entire percussion section 1 foot upstage rather than trying to change hanging microphone locations which would have been remarkably difficult. BTW, a Card Rehearsal is a run-through of the programmed works with all the scripted camera moves but following a CD recording rather than the live orchestra.
The term "Card" refers to the placards with instrumentation IDs positioned on music stands - they show where important players are located and help the video director and camera operators to refine shots and script.
With over 9 major HD productions under our collective belts, it is my feeling that the audio director has to be as preemptive as possible regarding these problems so that the amount of last minute drama is minimized. Our audio crews try to study the camera locations and shot goals as early as possible in the production process.
If we suspect potential issues, we talk to the individual camera operators BEFORE the video director views the shots; collaboration at that level before the constraints of time reduces flexibility is extremely important. Finally, the audio crew needs to be extremely sympathetic to the video goals in order to establish trust with the video director. It has been historically the case that, in live concert video productions of the type we're discussing, most audio components generally conform to video.
This means the video director edits primarily for the benefit of the picture content and the audio post-production personnel have to make this work no matter what is inherited. Performances that have great camera work, for example, can sometimes contain inferior musical elements.