Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2612
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
}

[
  "listeModal" => true
  "categorieProduitEnum" => [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
]

App\Twig\Components\ListePanier {#2689
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2692 …}
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entityManager: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -gestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
  -formView: Symfony\Component\Form\FormView {#2728 …}
  -form: Symfony\Component\Form\Form {#2878 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1874
    -id: 2544
    -nom: "The Magnificent Thad Jones"
    -informationComplementaire: null
    -description: """
      The Magnificent Thad Jones is widely regarded as the greatest small group recording of the trumpeter and composer's career. Following his Blue Note debut Detroit New York Junction in March 1956, Jones returned to the studio in July to record this supremely swinging date with Billy Mitchell on tenor saxophone, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums.\r\n
      \r\n
      The album opens with an iconic performance of "April In Paris," a reprise of the famous version featuring Jones that the Count Basie Orchestra had cut the previous year, complete with the trumpeter's sly "Pop Goes The Weasel" quote. Other highlights of the set include two Jones originals-the laid-back "Billie-Doo" and lightly swinging "Thedia" as well as the stunning ballad "If Someone Had Told Me".\r\n
      \r\n
      This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Thad Jones (trumpet), Billy Mitchell (tenor saxophone), Percy Heath (bass), Barry Harris (piano), Max Roach (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1166 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: null
    -referenceProduit: "Blue Note Records BN 1527"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. April in Paris"
        "ordre" => 1
      ]
      [
        "nom" => "2. Billie-Doo"
        "ordre" => 2
      ]
      [
        "nom" => "3. If I Love Again"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. If Someone Had Told Me"
        "ordre" => 5
      ]
      [
        "nom" => "2. Thedia"
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1950 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2081 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1955 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2069 …}
    -enregistreLe: DateTime @1722027941 {#1929
      date: 2024-07-26 21:05:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763072813 {#1922
      date: 2025-11-13 22:26:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-magnificent-thad-jones-blue-note-records-bn-1527"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3149
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#1874
    -id: 2544
    -nom: "The Magnificent Thad Jones"
    -informationComplementaire: null
    -description: """
      The Magnificent Thad Jones is widely regarded as the greatest small group recording of the trumpeter and composer's career. Following his Blue Note debut Detroit New York Junction in March 1956, Jones returned to the studio in July to record this supremely swinging date with Billy Mitchell on tenor saxophone, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums.\r\n
      \r\n
      The album opens with an iconic performance of "April In Paris," a reprise of the famous version featuring Jones that the Count Basie Orchestra had cut the previous year, complete with the trumpeter's sly "Pop Goes The Weasel" quote. Other highlights of the set include two Jones originals-the laid-back "Billie-Doo" and lightly swinging "Thedia" as well as the stunning ballad "If Someone Had Told Me".\r\n
      \r\n
      This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Thad Jones (trumpet), Billy Mitchell (tenor saxophone), Percy Heath (bass), Barry Harris (piano), Max Roach (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1166 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: null
    -referenceProduit: "Blue Note Records BN 1527"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. April in Paris"
        "ordre" => 1
      ]
      [
        "nom" => "2. Billie-Doo"
        "ordre" => 2
      ]
      [
        "nom" => "3. If I Love Again"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. If Someone Had Told Me"
        "ordre" => 5
      ]
      [
        "nom" => "2. Thedia"
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1950 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2081 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1955 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2069 …}
    -enregistreLe: DateTime @1722027941 {#1929
      date: 2024-07-26 21:05:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763072813 {#1922
      date: 2025-11-13 22:26:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-magnificent-thad-jones-blue-note-records-bn-1527"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
}

[
  "produit" => App\Entity\Produit {#2100
    -id: 2263
    -nom: "Kiss My Axe"
    -informationComplementaire: null
    -description: "Despite its confrontative title, Kiss My Axe is a somber album, reflective of the mature artist Al Di Meola had become at the time. First released in 1991, the album is a brilliant showcase of his impeccable technique yet doesn't overwhelm listeners with it. Di Meola uses his guitar skills rather subtly, enchanting the listeners and inviting them into this album filled to the brim with Latin influences and World Music elements, ranging from Middle Eastern harmonies to African grooves. The result is an immaculately arranged and passionately performed album that is widely regarded as one of the highlights in Al Di Meola's decades-spanning career."
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Al Di Meola (guitar), Anthony Jackson, Tony Scherr (bass), Gumbi Ortiz (congas), Barry Miles (keyboards), Rachel Z (synthesizer), Arto Tuncboyaciyan (percussion), Omar Hakim, Richie Morales (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=K8oro5Tv6u0"
    -referenceProduit: "Ear Music 6145"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. South Bound Traveler"
        "ordre" => 1
      ]
      [
        "nom" => "2. The Embrace"
        "ordre" => 2
      ]
      [
        "nom" => "3. Kiss My Axe"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. Morocco"
        "ordre" => 5
      ]
      [
        "nom" => "2. Gigi's Playtime Rhyme (Interlude #1)"
        "ordre" => 6
      ]
      [
        "nom" => "3. One Night Last June"
        "ordre" => 7
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "1. Phantom"
        "ordre" => 9
      ]
      [
        "nom" => "2. Erotic Interlude (Interlude #2)"
        "ordre" => 10
      ]
      [
        "nom" => "3. Global Safari"
        "ordre" => 11
      ]
      [
        "nom" => "Side D : "
        "ordre" => 12
      ]
      [
        "nom" => "1. Interlude #3"
        "ordre" => 13
      ]
      [
        "nom" => "2. Purple Orchids"
        "ordre" => 14
      ]
      [
        "nom" => "3. The Prophet (Interlude #4)"
        "ordre" => 15
      ]
      [
        "nom" => "4. Oriana (September 24, 1988)"
        "ordre" => 16
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2102 …}
    -label: Proxies\__CG__\App\Entity\Label {#2105 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2114 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2107 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2109 …}
    -enregistreLe: DateTime @1661323327 {#2096
      date: 2022-08-24 06:42:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763020685 {#2095
      date: 2025-11-13 07:58:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2111 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-kiss-my-axe-ear-music-6145"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3263
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2100
    -id: 2263
    -nom: "Kiss My Axe"
    -informationComplementaire: null
    -description: "Despite its confrontative title, Kiss My Axe is a somber album, reflective of the mature artist Al Di Meola had become at the time. First released in 1991, the album is a brilliant showcase of his impeccable technique yet doesn't overwhelm listeners with it. Di Meola uses his guitar skills rather subtly, enchanting the listeners and inviting them into this album filled to the brim with Latin influences and World Music elements, ranging from Middle Eastern harmonies to African grooves. The result is an immaculately arranged and passionately performed album that is widely regarded as one of the highlights in Al Di Meola's decades-spanning career."
    -prixVente: "69.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Al Di Meola (guitar), Anthony Jackson, Tony Scherr (bass), Gumbi Ortiz (congas), Barry Miles (keyboards), Rachel Z (synthesizer), Arto Tuncboyaciyan (percussion), Omar Hakim, Richie Morales (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=K8oro5Tv6u0"
    -referenceProduit: "Ear Music 6145"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. South Bound Traveler"
        "ordre" => 1
      ]
      [
        "nom" => "2. The Embrace"
        "ordre" => 2
      ]
      [
        "nom" => "3. Kiss My Axe"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. Morocco"
        "ordre" => 5
      ]
      [
        "nom" => "2. Gigi's Playtime Rhyme (Interlude #1)"
        "ordre" => 6
      ]
      [
        "nom" => "3. One Night Last June"
        "ordre" => 7
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "1. Phantom"
        "ordre" => 9
      ]
      [
        "nom" => "2. Erotic Interlude (Interlude #2)"
        "ordre" => 10
      ]
      [
        "nom" => "3. Global Safari"
        "ordre" => 11
      ]
      [
        "nom" => "Side D : "
        "ordre" => 12
      ]
      [
        "nom" => "1. Interlude #3"
        "ordre" => 13
      ]
      [
        "nom" => "2. Purple Orchids"
        "ordre" => 14
      ]
      [
        "nom" => "3. The Prophet (Interlude #4)"
        "ordre" => 15
      ]
      [
        "nom" => "4. Oriana (September 24, 1988)"
        "ordre" => 16
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2102 …}
    -label: Proxies\__CG__\App\Entity\Label {#2105 …}
    -style: App\Entity\Style {#1502 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2114 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2107 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2109 …}
    -enregistreLe: DateTime @1661323327 {#2096
      date: 2022-08-24 06:42:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763020685 {#2095
      date: 2025-11-13 07:58:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2111 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-kiss-my-axe-ear-music-6145"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
}

[
  "produit" => App\Entity\Produit {#2119
    -id: 2227
    -nom: "Eye In The Sky"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Alan Parsons, Eric Woolfson (keyboards, engineer), Ian Bairnson (acoustic & electric guitar), David Paton (bass), Mel Collins (saxophone), Colin Chambers, Hipgnosis (sleeve), Chris Rainbow, Colin Blunstone, David Paton, Elmer Gantry, Eric Woolfson, Lenny Zakatek, The English Chorale (vocals), Stuart Elliott (drums, percussion).\r\n
      \r\n
      MASTERED FROM THE ORIGINAL MASTER TAPES : 180 Gram 45 RPM (2 LP) SET PRESENTS MUSIC'S HALLMARK SMOOTHNESS, LUSHNESS, AND DETAIL IN REFERENCE SOUND\r\n
      \r\n
      1/2" / 30 IPS analog master to DSD 256 to analog console to lathe\r\n
      \r\n
      The Alan Parsons Project's Most Cohesive, Accessible, and Commercially Successful Album: Eye in the Sky Features Exquisite Arrangements, Orchestral Scope, and Pop Melodies\r\n
      \r\n
      Mastered from the Original Master Tapes : Mobile Fidelity Numbered 180g 45 RPM 2LP Set Presents Music's Hallmark Smoothness, Lushness, and Detail in Reference Sound\r\n
      \r\n
      The opening track to the Alan Parsons Project's Eye in the Sky remains the most recognized instrumental in sports – fanfare inseparably tied with introducing NBA legend Michael Jordan and his six-time world-champion Chicago Bulls mates before games, and still used by many teams as an energy-raising prelude. Indeed, the subdued grandiosity, cosmic bluster, and lights-out wonder of "Sirius" also sets the table for the band's smash 1982 album, whose hallmark smoothness, lushness, and balance reach epic heights on Mobile Fidelity's analog reissue.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, and afforded the luxurious groove space of a 45 RPM 2 LP, this numbered version of Eye in the Sky features succulent warmth, magnificent balance, low-end heft, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road. Akin to Mobile Fidelity's meticulous restoration of Parsons and company's I Robot, this super-clean edition will test the full-range capabilities of the world's finest stereo systems. In sum, there's more information, more detail, more texture, more nuance more of everything to be experienced.\r\n
      \r\n
      Boasting front-to-back depth, concert-hall-level separation, realistic presence, and bang-on accuracy, Mobile Fidelity's edition of Eye in the Sky illustrates the lasting importance of perfectionist-minded engineering and recording techniques. Few works possess such a mesmerizing blend of reference-setting sonics and commercial acumen, facets that helped earn the set a Grammy nomination for Best Engineered Album and, more than 35 years after its release, a Grammy for Best Immersive Audio Album for its surround format. Parsons' track record he sat behind the boards for the Beatles' Abbey Road and Pink Floyd's Dark Side of the Moon speaks for itself. As do the performances throughout Eye in the Sky, which features Woolfson's exquisite songwriting and memorable lead vocals on the hit title track.\r\n
      \r\n
      Bypassing the conceptual themes present on the group's other signature efforts, Eye in the Sky uses a string of seamless melodies, hooks, and mood to draw and hold listeners' attention. It survives as Parsons and Woolfson's pop triumph, full of exquisite songwriting, dreamy emotions, and soft edges that parallel an underlying orchestral scope and prog-derived drama. For example, the string- and brass-laden "Silence and I" alone qualifies as a rhapsodic symphony. The music's craftsmanship, cohesiveness, and accessibility can be attributed to Parsons and Woolfson's knack for recruiting session pros who translate the duo's visions with unquestioned emotion particularly, the assembly of star vocalists that include Elmer Gantry "Psychobabble", former Zombies frontman Colin Blunstone "Old and Wise", and soul singer Lenny Zakatek "You're Gonna Get Your Fingers Burned" and "Step by Step".\r\n
      \r\n
      As with all Parsons releases, the arrangements proverbially dot every "i" and cross every "t". Each note seems perfectly placed, every sequence painstakingly constructed. Not to mention the narratives to the surveillance-obsessed title track and pulsing "Psychobabble" carry more weight in the 21st century than they did in the early stages of the Reagan / Thatcher era. And, just as it begins, with an appropriate flourish announcing the catchiness that follows, the platinum-selling Eye on the Sky finishes with fitting sentimentality in the form of a spiraling, saxophone-led ballad "Old and Wise" that could easily fit on Pink Floyd's Wish You Were Here.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Alan Parsons, Eric Woolfson (keyboards, engineer), Ian Bairnson (acoustic & electric guitar), David Paton (bass), Mel Collins (saxophone), Colin Chambers, Hipgnosis (sleeve)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=j6Tz3LlrgTA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-500"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Sirius"
        "ordre" => 1
      ]
      [
        "nom" => "2. Eye In The Sky"
        "ordre" => 2
      ]
      [
        "nom" => "3. Children Of The Moon"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. Gemini"
        "ordre" => 5
      ]
      [
        "nom" => "2. Silence And I"
        "ordre" => 6
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
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        "nom" => "1. You're Gonna Get Your Fingers Burned"
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        "nom" => "2. Psychobabble"
        "ordre" => 9
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
      [
        "nom" => "1. Mammagamma"
        "ordre" => 11
      ]
      [
        "nom" => "2. Step By Step"
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      ]
      [
        "nom" => "3. Old And Wise"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
    -label: Proxies\__CG__\App\Entity\Label {#2124 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2133 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2126 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2128 …}
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    -modifierLe: DateTime @1763019317 {#2117
      date: 2025-11-13 07:35:17.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2130 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-eye-in-the-sky-mobile-fidelity-sound-lab-mfsl-2-500"
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]

App\Twig\Components\GestionPanierFavoriComponents {#3314
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2119
    -id: 2227
    -nom: "Eye In The Sky"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Alan Parsons, Eric Woolfson (keyboards, engineer), Ian Bairnson (acoustic & electric guitar), David Paton (bass), Mel Collins (saxophone), Colin Chambers, Hipgnosis (sleeve), Chris Rainbow, Colin Blunstone, David Paton, Elmer Gantry, Eric Woolfson, Lenny Zakatek, The English Chorale (vocals), Stuart Elliott (drums, percussion).\r\n
      \r\n
      MASTERED FROM THE ORIGINAL MASTER TAPES : 180 Gram 45 RPM (2 LP) SET PRESENTS MUSIC'S HALLMARK SMOOTHNESS, LUSHNESS, AND DETAIL IN REFERENCE SOUND\r\n
      \r\n
      1/2" / 30 IPS analog master to DSD 256 to analog console to lathe\r\n
      \r\n
      The Alan Parsons Project's Most Cohesive, Accessible, and Commercially Successful Album: Eye in the Sky Features Exquisite Arrangements, Orchestral Scope, and Pop Melodies\r\n
      \r\n
      Mastered from the Original Master Tapes : Mobile Fidelity Numbered 180g 45 RPM 2LP Set Presents Music's Hallmark Smoothness, Lushness, and Detail in Reference Sound\r\n
      \r\n
      The opening track to the Alan Parsons Project's Eye in the Sky remains the most recognized instrumental in sports – fanfare inseparably tied with introducing NBA legend Michael Jordan and his six-time world-champion Chicago Bulls mates before games, and still used by many teams as an energy-raising prelude. Indeed, the subdued grandiosity, cosmic bluster, and lights-out wonder of "Sirius" also sets the table for the band's smash 1982 album, whose hallmark smoothness, lushness, and balance reach epic heights on Mobile Fidelity's analog reissue.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, and afforded the luxurious groove space of a 45 RPM 2 LP, this numbered version of Eye in the Sky features succulent warmth, magnificent balance, low-end heft, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road. Akin to Mobile Fidelity's meticulous restoration of Parsons and company's I Robot, this super-clean edition will test the full-range capabilities of the world's finest stereo systems. In sum, there's more information, more detail, more texture, more nuance more of everything to be experienced.\r\n
      \r\n
      Boasting front-to-back depth, concert-hall-level separation, realistic presence, and bang-on accuracy, Mobile Fidelity's edition of Eye in the Sky illustrates the lasting importance of perfectionist-minded engineering and recording techniques. Few works possess such a mesmerizing blend of reference-setting sonics and commercial acumen, facets that helped earn the set a Grammy nomination for Best Engineered Album and, more than 35 years after its release, a Grammy for Best Immersive Audio Album for its surround format. Parsons' track record he sat behind the boards for the Beatles' Abbey Road and Pink Floyd's Dark Side of the Moon speaks for itself. As do the performances throughout Eye in the Sky, which features Woolfson's exquisite songwriting and memorable lead vocals on the hit title track.\r\n
      \r\n
      Bypassing the conceptual themes present on the group's other signature efforts, Eye in the Sky uses a string of seamless melodies, hooks, and mood to draw and hold listeners' attention. It survives as Parsons and Woolfson's pop triumph, full of exquisite songwriting, dreamy emotions, and soft edges that parallel an underlying orchestral scope and prog-derived drama. For example, the string- and brass-laden "Silence and I" alone qualifies as a rhapsodic symphony. The music's craftsmanship, cohesiveness, and accessibility can be attributed to Parsons and Woolfson's knack for recruiting session pros who translate the duo's visions with unquestioned emotion particularly, the assembly of star vocalists that include Elmer Gantry "Psychobabble", former Zombies frontman Colin Blunstone "Old and Wise", and soul singer Lenny Zakatek "You're Gonna Get Your Fingers Burned" and "Step by Step".\r\n
      \r\n
      As with all Parsons releases, the arrangements proverbially dot every "i" and cross every "t". Each note seems perfectly placed, every sequence painstakingly constructed. Not to mention the narratives to the surveillance-obsessed title track and pulsing "Psychobabble" carry more weight in the 21st century than they did in the early stages of the Reagan / Thatcher era. And, just as it begins, with an appropriate flourish announcing the catchiness that follows, the platinum-selling Eye on the Sky finishes with fitting sentimentality in the form of a spiraling, saxophone-led ballad "Old and Wise" that could easily fit on Pink Floyd's Wish You Were Here.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Alan Parsons, Eric Woolfson (keyboards, engineer), Ian Bairnson (acoustic & electric guitar), David Paton (bass), Mel Collins (saxophone), Colin Chambers, Hipgnosis (sleeve)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=j6Tz3LlrgTA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-500"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Sirius"
        "ordre" => 1
      ]
      [
        "nom" => "2. Eye In The Sky"
        "ordre" => 2
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      [
        "nom" => "3. Children Of The Moon"
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      [
        "nom" => "Side B : "
        "ordre" => 4
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      [
        "nom" => "1. Gemini"
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      [
        "nom" => "2. Silence And I"
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      [
        "nom" => "Side C : "
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        "nom" => "1. You're Gonna Get Your Fingers Burned"
        "ordre" => 8
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      [
        "nom" => "2. Psychobabble"
        "ordre" => 9
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
      [
        "nom" => "1. Mammagamma"
        "ordre" => 11
      ]
      [
        "nom" => "2. Step By Step"
        "ordre" => 12
      ]
      [
        "nom" => "3. Old And Wise"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
    -label: Proxies\__CG__\App\Entity\Label {#2124 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2133 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2126 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2128 …}
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    -modifierLe: DateTime @1763019317 {#2117
      date: 2025-11-13 07:35:17.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -disponible: null
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    -infoMasterTape: null
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  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
}

[
  "produit" => App\Entity\Produit {#2138
    -id: 2879
    -nom: "I Robot - Super Deluxe Edition Half-Speed Mastered (Box Set 2 LP, 45 RPM, 4CD, Blu-ray)"
    -informationComplementaire: null
    -description: """
      - The Alan Parsons Project "I Robot Super Deluxe Edition" !\r\n
      - Half-Speed Mastered 180 gram 45 RPM 2 LP, 4CD & Blu-ray limited edition box set !\r\n
      - 4CDs including a stereo remaster of the original album by Miles Showell plus 70 bonus tracks!\r\n
      - Blu-ray with stunning Dolby Atmos + 5.1 Surround Sound mixes by Alan Parsons !\r\n
      - Plus new stereo HD remaster by Miles Showell !\r\n
      \r\n
      The Alan Parsons Project I Robot, widely regarded as one of the greatest concept albums of all time, is reissued in a variety of different formats including a 4CD+Blu-ray+LP box set. The album has been newly remastered by Miles Showell at Abbey Road Studios.\r\n
      \r\n
      The Alan Parsons Project second studio album was originally released in July 1977, draws conceptually on author Isaac Asimov's science fiction Robot stories, exploring philosophical themes regarding artificial intelligence. The album was a worldwide hit selling in excess of 2 million copies, achieving platinum and gold status in numerous countries.\r\n
      \r\n
      Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Steve Harley, Allan Clarke, Lenny Zakatek, Peter Straker, Jack Harris and Jaki Whitren. Plus, a selection of session musicians such as guitarist Ian Bairnson and drummer Stuart Tosh, both of Pilot, with arrangements by Andrew Powell.\r\n
      \r\n
      The box set features 70 bonus tracks across three CDs. Mainly comprising studio outtakes, it also includes B-sides, single edits plus U.K. and U.S. radio advertisements for the album.\r\n
      \r\n
      All vinyl editions are hi-res transfers from "rarely played" duplicate analog tapes run off on a second master machine at the time, by Eric Woolfson.\r\n
      \r\n
      As well as the bonus tracks, the box comprises a Blu-ray housing a new Dolby Atmos and 5.1 Surround Sound remix of I Robot by Alan Parsons, plus the video of the single ‘I Wouldn't Want To Be Like You' and an archive interview with Eric Woolfson discussing the album. The LP included in the boxset is pressed on two 45 RPM records.\r\n
      \r\n
      Memorabilia in the boxset is a large format hardcover book featuring interviews with Parsons, the singers and musicians, lyrics, commentary on the bonus tracks and interviews with the late Woolfson's family. It also houses a replica of the original 1977 press folder, which features an A1 sized poster, a band biography, press photo, press release and postcard.\r\n
      \r\n
      The Alan Parsons Project went on to make eight further albums, before splitting after 1987's Gaudi. Their unreleased contractual obligation album The Sicilian Defence, recorded in 1979, was issued in 2014.
      """
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: null
    -referenceProduit: "Cooking Vinyl 0841"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. I Robot"
        "ordre" => 1
      ]
      [
        "nom" => "2. I Wouldn’t Want To Be Like You"
        "ordre" => 2
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "1. Some Other Time"
        "ordre" => 4
      ]
      [
        "nom" => "2. Breakdown"
        "ordre" => 5
      ]
      [
        "nom" => "3. Don’t Let It Show"
        "ordre" => 6
      ]
      [
        "nom" => "Side C :"
        "ordre" => 7
      ]
      [
        "nom" => "1. The Voice"
        "ordre" => 8
      ]
      [
        "nom" => "2. Nucleus"
        "ordre" => 9
      ]
      [
        "nom" => "3. Day After Day (The Show Must Go On)"
        "ordre" => 10
      ]
      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. Total Eclipse"
        "ordre" => 12
      ]
      [
        "nom" => "2. Genesis Ch.1 V.32"
        "ordre" => 13
      ]
      [
        "nom" => "CD 1"
        "ordre" => 14
      ]
      [
        "nom" => "1. I Robot, 2. I Wouldn’t Want To Be Like You, 3. Some Other Time, 4. Breakdown, "
        "ordre" => 15
      ]
      [
        "nom" => "5. Don’t Let It Show, 6. The Voice, 7. Nucleus, 8. Day After Day (The Show Must Go On), "
        "ordre" => 16
      ]
      [
        "nom" => "9. Total Eclipse,  10. Genesis Ch.1 V.32, 11. US Radio Commercial For I Robot ,"
        "ordre" => 17
      ]
      [
        "nom" => "12. I Robot (Boules Experiment),  13. I Robot (Hilary Western Soprano Vocal Rehearsal),"
        "ordre" => 18
      ]
      [
        "nom" => "14. Extract 1 From The Alan Parsons Project Audio Guide,  15. Extrac 2 From"
        "ordre" => 19
      ]
      [
        "nom" => "The Alan Parsons Project Audio Guide,  16. I Wouldn’t Want To Be Like You"
        "ordre" => 20
      ]
      [
        "nom" => "(Backing Track Rough Mix), 17. Some Other Time (Complete Vocal by Jaki Whitren), "
        "ordre" => 21
      ]
      [
        "nom" => "18. Breakdown (Early Demo Of Backing Riff), 19. Extract 3 From The Alan Parsons"
        "ordre" => 22
      ]
      [
        "nom" => "Project Audio Guide, 20. Breakdown (The Choir), 21. Don’t Let It Show (Eric Woolfson Demo),"
        "ordre" => 23
      ]
      [
        "nom" => "22. Day After Day (Early Stage Rough Mix), 23. Genesis Ch1. V.32 (Choir Session),"
        "ordre" => 24
      ]
      [
        "nom" => "24. The Naked Robot"
        "ordre" => 25
      ]
      [
        "nom" => "CD 2"
        "ordre" => 26
      ]
      [
        "nom" => "1. I Robot (Outtake and Rough Mix), 2. I Robot (Experimental Lead Guitar Part With"
        "ordre" => 27
      ]
      [
        "nom" => "Guide Count), 3. I Robot (John Leach Kantele Takes), 4. I Robot (Ian Bairnson Rhythm"
        "ordre" => 28
      ]
      [
        "nom" => "Electric Guitar) 5. I Robot (Choir Takes) 6. I Robot (Early Mix Before Choir), 7. I Robot"
        "ordre" => 29
      ]
      [
        "nom" => "(Single Edit), 8. I Wouldn’t Want To Be Like You (Slower Backing Outtake), 9. I Wouldn’t"
        "ordre" => 30
      ]
      [
        "nom" => "Want To Be Like You (Eric Woolfson Keyboard Take), 10. I Wouldn’t Want To Be Like You"
        "ordre" => 31
      ]
      [
        "nom" => "(Ian Bairnson Electric Rhythm Guitar), 11. I Wouldn’t Want To Be Like You (Early Mix Of"
        "ordre" => 32
      ]
      [
        "nom" => "Backing Track), 12. I Wouldn’t Want To Be Like You (Lenny Zakatek Alternative Vocal),"
        "ordre" => 33
      ]
      [
        "nom" => "13. Some Other Time (Eric Woolfson Piano Take), 14. Some Other Time (Ian Bairnson"
        "ordre" => 34
      ]
      [
        "nom" => "Acoustic Guitar Takes), 15. Some Other Time (Ian Bairnson Lead Electric Guitar Takes),"
        "ordre" => 35
      ]
      [
        "nom" => "16. Some Other Time (Rough Mix With Jaki Whitren Alternative Lyrics and Ad libs)"
        "ordre" => 36
      ]
      [
        "nom" => "CD 3"
        "ordre" => 37
      ]
      [
        "nom" => "1. Breakdown (Eric Woolfson Keyboard Part), 2. Breakdown (Projectron And Bass),"
        "ordre" => 38
      ]
      [
        "nom" => "3. Breakdown (Ian Bairnson Acoustic Guitar Takes), 4. Breakdown (Ian Bairnson Electric"
        "ordre" => 39
      ]
      [
        "nom" => "Guitar Harmony Solo), 5. Breakdown (Strings, Brass & Horns Take), 6. Breakdown"
        "ordre" => 40
      ]
      [
        "nom" => "(Rough Mix and Alternative Backing Track Outtake), 7. Breakdown (Rough Mix Of"
        "ordre" => 41
      ]
      [
        "nom" => "Backing Track), 8. Don’t Let It Show (Eric Woolfson Piano Takes), 9. Don’t Let It Show"
        "ordre" => 42
      ]
      [
        "nom" => "(Eric Woolfson Organ Take), 10. Don’t Let It Show (Recorder & Horns Outtake in Key Of D),"
        "ordre" => 43
      ]
      [
        "nom" => "11. Don’t Let It Show (String Section Take), 12. Don’t Let It Show (Woodwind Take In Key Of D),"
        "ordre" => 44
      ]
      [
        "nom" => "13. Don’t Let It Show (Backing Track Early Rough Mix), 14. Don’t Let It Show (Rough Mix"
        "ordre" => 45
      ]
      [
        "nom" => "With Alternative Orchestra Score), 15. Don’t Let It Show (Extended End Section),"
        "ordre" => 46
      ]
      [
        "nom" => "16. The Voice (Rough Mix With Extra Strings and Alan Parsons Vocoder), 17. The Voice"
        "ordre" => 47
      ]
      [
        "nom" => "(Backing Track Rough Mix), 18. Nucleus (Experimenting With Sound Effects), 19. Nucleus"
        "ordre" => 48
      ]
      [
        "nom" => "(Talking Sound Effects), 20. Nucleus (Stuart Tosh Drum Take With Delay), 21. Nucleus"
        "ordre" => 49
      ]
      [
        "nom" => "(Projectron Only)"
        "ordre" => 50
      ]
      [
        "nom" => "CD 4"
        "ordre" => 51
      ]
      [
        "nom" => "1. Day After Day (The Show Must Go On) (BJ Cole Steel Outtake), 2. Day After Day (The Show"
        "ordre" => 52
      ]
      [
        "nom" => "Must Go On) (Synth Experiments), 3. Day After Day (The Show Must Go On) (Eric Woolfson"
        "ordre" => 53
      ]
      [
        "nom" => "Celeste Take), 4. Day After Day (The Show Must Go On) (Ian Bairnson Acoustic Guitar Take),"
        "ordre" => 54
      ]
      [
        "nom" => "5. Day After Day (The Show Must Go On) (BJ Cole Pedal Steel Take), 6. Day After Day"
        "ordre" => 55
      ]
      [
        "nom" => "(The Show Must Go On) (Backing Vocals), 7. Day After Day (The Show Must Go On) (Backing"
        "ordre" => 56
      ]
      [
        "nom" => " Track), 8. Day After Day (The Show Must Go On) (Single Edit), 9. Total Eclipse & Nucleus"
        "ordre" => 57
      ]
      [
        "nom" => "(Choral Experiments), 10. Total Eclipse (Choir Only), 11. Genesis Ch.1 V.32 (Alan Parsons"
        "ordre" => 58
      ]
      [
        "nom" => "Demo), 12. Genesis Ch.1 V.32 (Everything But The Choir), 13. Genesis Ch.1 V.32 (Ian Bairnson"
        "ordre" => 59
      ]
      [
        "nom" => "Acoustic Guitars), 14. Genesis Ch.1 V.32 (Strings Only), 15. Genesis Ch.1 V.32 (Backing"
        "ordre" => 60
      ]
      [
        "nom" => "Singers & Choir Take), 16. Alan Parsons Spacey Vibraphone, 17. Eric’s Jupiter (Start Of"
        "ordre" => 61
      ]
      [
        "nom" => "Gemini Idea), 18. Taking It All Away (Eric Woolfson Songwriting Diary First Version),"
        "ordre" => 62
      ]
      [
        "nom" => "19. I Robot Radio Adverts"
        "ordre" => 63
      ]
      [
        "nom" => "Blu-ray"
        "ordre" => 64
      ]
      [
        "nom" => "1. 2025 Alan Parsons Dolby Atmos Mix"
        "ordre" => 65
      ]
      [
        "nom" => "2. 2025 Alan Parsons 5.1 Surround Sound Mix"
        "ordre" => 66
      ]
      [
        "nom" => "3. Original Album Remastered in Stereo by Miles Showell 2025"
        "ordre" => 67
      ]
      [
        "nom" => "4. I Wouldn’t Want To Be Like You (video)"
        "ordre" => 68
      ]
      [
        "nom" => "5. Eric Woolfson Interview Footage"
        "ordre" => 69
      ]
      [
        "nom" => ""
        "ordre" => 70
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
    -label: Proxies\__CG__\App\Entity\Label {#2140 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2149 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2142 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2144 …}
    -enregistreLe: DateTime @1760776678 {#2135
      date: 2025-10-18 08:37:58.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763018807 {#2136
      date: 2025-11-13 07:26:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2146 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-i-robot-super-deluxe-edition-half-speed-mastered-box-set-2-lp-45-rpm-4cd-blu-ray-cooking-vinyl-0841"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3367
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2138
    -id: 2879
    -nom: "I Robot - Super Deluxe Edition Half-Speed Mastered (Box Set 2 LP, 45 RPM, 4CD, Blu-ray)"
    -informationComplementaire: null
    -description: """
      - The Alan Parsons Project "I Robot Super Deluxe Edition" !\r\n
      - Half-Speed Mastered 180 gram 45 RPM 2 LP, 4CD & Blu-ray limited edition box set !\r\n
      - 4CDs including a stereo remaster of the original album by Miles Showell plus 70 bonus tracks!\r\n
      - Blu-ray with stunning Dolby Atmos + 5.1 Surround Sound mixes by Alan Parsons !\r\n
      - Plus new stereo HD remaster by Miles Showell !\r\n
      \r\n
      The Alan Parsons Project I Robot, widely regarded as one of the greatest concept albums of all time, is reissued in a variety of different formats including a 4CD+Blu-ray+LP box set. The album has been newly remastered by Miles Showell at Abbey Road Studios.\r\n
      \r\n
      The Alan Parsons Project second studio album was originally released in July 1977, draws conceptually on author Isaac Asimov's science fiction Robot stories, exploring philosophical themes regarding artificial intelligence. The album was a worldwide hit selling in excess of 2 million copies, achieving platinum and gold status in numerous countries.\r\n
      \r\n
      Like other Alan Parsons Project albums, there were a variety of different lead vocalists employed including Steve Harley, Allan Clarke, Lenny Zakatek, Peter Straker, Jack Harris and Jaki Whitren. Plus, a selection of session musicians such as guitarist Ian Bairnson and drummer Stuart Tosh, both of Pilot, with arrangements by Andrew Powell.\r\n
      \r\n
      The box set features 70 bonus tracks across three CDs. Mainly comprising studio outtakes, it also includes B-sides, single edits plus U.K. and U.S. radio advertisements for the album.\r\n
      \r\n
      All vinyl editions are hi-res transfers from "rarely played" duplicate analog tapes run off on a second master machine at the time, by Eric Woolfson.\r\n
      \r\n
      As well as the bonus tracks, the box comprises a Blu-ray housing a new Dolby Atmos and 5.1 Surround Sound remix of I Robot by Alan Parsons, plus the video of the single ‘I Wouldn't Want To Be Like You' and an archive interview with Eric Woolfson discussing the album. The LP included in the boxset is pressed on two 45 RPM records.\r\n
      \r\n
      Memorabilia in the boxset is a large format hardcover book featuring interviews with Parsons, the singers and musicians, lyrics, commentary on the bonus tracks and interviews with the late Woolfson's family. It also houses a replica of the original 1977 press folder, which features an A1 sized poster, a band biography, press photo, press release and postcard.\r\n
      \r\n
      The Alan Parsons Project went on to make eight further albums, before splitting after 1987's Gaudi. Their unreleased contractual obligation album The Sicilian Defence, recorded in 1979, was issued in 2014.
      """
    -prixVente: "299.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: null
    -referenceProduit: "Cooking Vinyl 0841"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. I Robot"
        "ordre" => 1
      ]
      [
        "nom" => "2. I Wouldn’t Want To Be Like You"
        "ordre" => 2
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "1. Some Other Time"
        "ordre" => 4
      ]
      [
        "nom" => "2. Breakdown"
        "ordre" => 5
      ]
      [
        "nom" => "3. Don’t Let It Show"
        "ordre" => 6
      ]
      [
        "nom" => "Side C :"
        "ordre" => 7
      ]
      [
        "nom" => "1. The Voice"
        "ordre" => 8
      ]
      [
        "nom" => "2. Nucleus"
        "ordre" => 9
      ]
      [
        "nom" => "3. Day After Day (The Show Must Go On)"
        "ordre" => 10
      ]
      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. Total Eclipse"
        "ordre" => 12
      ]
      [
        "nom" => "2. Genesis Ch.1 V.32"
        "ordre" => 13
      ]
      [
        "nom" => "CD 1"
        "ordre" => 14
      ]
      [
        "nom" => "1. I Robot, 2. I Wouldn’t Want To Be Like You, 3. Some Other Time, 4. Breakdown, "
        "ordre" => 15
      ]
      [
        "nom" => "5. Don’t Let It Show, 6. The Voice, 7. Nucleus, 8. Day After Day (The Show Must Go On), "
        "ordre" => 16
      ]
      [
        "nom" => "9. Total Eclipse,  10. Genesis Ch.1 V.32, 11. US Radio Commercial For I Robot ,"
        "ordre" => 17
      ]
      [
        "nom" => "12. I Robot (Boules Experiment),  13. I Robot (Hilary Western Soprano Vocal Rehearsal),"
        "ordre" => 18
      ]
      [
        "nom" => "14. Extract 1 From The Alan Parsons Project Audio Guide,  15. Extrac 2 From"
        "ordre" => 19
      ]
      [
        "nom" => "The Alan Parsons Project Audio Guide,  16. I Wouldn’t Want To Be Like You"
        "ordre" => 20
      ]
      [
        "nom" => "(Backing Track Rough Mix), 17. Some Other Time (Complete Vocal by Jaki Whitren), "
        "ordre" => 21
      ]
      [
        "nom" => "18. Breakdown (Early Demo Of Backing Riff), 19. Extract 3 From The Alan Parsons"
        "ordre" => 22
      ]
      [
        "nom" => "Project Audio Guide, 20. Breakdown (The Choir), 21. Don’t Let It Show (Eric Woolfson Demo),"
        "ordre" => 23
      ]
      [
        "nom" => "22. Day After Day (Early Stage Rough Mix), 23. Genesis Ch1. V.32 (Choir Session),"
        "ordre" => 24
      ]
      [
        "nom" => "24. The Naked Robot"
        "ordre" => 25
      ]
      [
        "nom" => "CD 2"
        "ordre" => 26
      ]
      [
        "nom" => "1. I Robot (Outtake and Rough Mix), 2. I Robot (Experimental Lead Guitar Part With"
        "ordre" => 27
      ]
      [
        "nom" => "Guide Count), 3. I Robot (John Leach Kantele Takes), 4. I Robot (Ian Bairnson Rhythm"
        "ordre" => 28
      ]
      [
        "nom" => "Electric Guitar) 5. I Robot (Choir Takes) 6. I Robot (Early Mix Before Choir), 7. I Robot"
        "ordre" => 29
      ]
      [
        "nom" => "(Single Edit), 8. I Wouldn’t Want To Be Like You (Slower Backing Outtake), 9. I Wouldn’t"
        "ordre" => 30
      ]
      [
        "nom" => "Want To Be Like You (Eric Woolfson Keyboard Take), 10. I Wouldn’t Want To Be Like You"
        "ordre" => 31
      ]
      [
        "nom" => "(Ian Bairnson Electric Rhythm Guitar), 11. I Wouldn’t Want To Be Like You (Early Mix Of"
        "ordre" => 32
      ]
      [
        "nom" => "Backing Track), 12. I Wouldn’t Want To Be Like You (Lenny Zakatek Alternative Vocal),"
        "ordre" => 33
      ]
      [
        "nom" => "13. Some Other Time (Eric Woolfson Piano Take), 14. Some Other Time (Ian Bairnson"
        "ordre" => 34
      ]
      [
        "nom" => "Acoustic Guitar Takes), 15. Some Other Time (Ian Bairnson Lead Electric Guitar Takes),"
        "ordre" => 35
      ]
      [
        "nom" => "16. Some Other Time (Rough Mix With Jaki Whitren Alternative Lyrics and Ad libs)"
        "ordre" => 36
      ]
      [
        "nom" => "CD 3"
        "ordre" => 37
      ]
      [
        "nom" => "1. Breakdown (Eric Woolfson Keyboard Part), 2. Breakdown (Projectron And Bass),"
        "ordre" => 38
      ]
      [
        "nom" => "3. Breakdown (Ian Bairnson Acoustic Guitar Takes), 4. Breakdown (Ian Bairnson Electric"
        "ordre" => 39
      ]
      [
        "nom" => "Guitar Harmony Solo), 5. Breakdown (Strings, Brass & Horns Take), 6. Breakdown"
        "ordre" => 40
      ]
      [
        "nom" => "(Rough Mix and Alternative Backing Track Outtake), 7. Breakdown (Rough Mix Of"
        "ordre" => 41
      ]
      [
        "nom" => "Backing Track), 8. Don’t Let It Show (Eric Woolfson Piano Takes), 9. Don’t Let It Show"
        "ordre" => 42
      ]
      [
        "nom" => "(Eric Woolfson Organ Take), 10. Don’t Let It Show (Recorder & Horns Outtake in Key Of D),"
        "ordre" => 43
      ]
      [
        "nom" => "11. Don’t Let It Show (String Section Take), 12. Don’t Let It Show (Woodwind Take In Key Of D),"
        "ordre" => 44
      ]
      [
        "nom" => "13. Don’t Let It Show (Backing Track Early Rough Mix), 14. Don’t Let It Show (Rough Mix"
        "ordre" => 45
      ]
      [
        "nom" => "With Alternative Orchestra Score), 15. Don’t Let It Show (Extended End Section),"
        "ordre" => 46
      ]
      [
        "nom" => "16. The Voice (Rough Mix With Extra Strings and Alan Parsons Vocoder), 17. The Voice"
        "ordre" => 47
      ]
      [
        "nom" => "(Backing Track Rough Mix), 18. Nucleus (Experimenting With Sound Effects), 19. Nucleus"
        "ordre" => 48
      ]
      [
        "nom" => "(Talking Sound Effects), 20. Nucleus (Stuart Tosh Drum Take With Delay), 21. Nucleus"
        "ordre" => 49
      ]
      [
        "nom" => "(Projectron Only)"
        "ordre" => 50
      ]
      [
        "nom" => "CD 4"
        "ordre" => 51
      ]
      [
        "nom" => "1. Day After Day (The Show Must Go On) (BJ Cole Steel Outtake), 2. Day After Day (The Show"
        "ordre" => 52
      ]
      [
        "nom" => "Must Go On) (Synth Experiments), 3. Day After Day (The Show Must Go On) (Eric Woolfson"
        "ordre" => 53
      ]
      [
        "nom" => "Celeste Take), 4. Day After Day (The Show Must Go On) (Ian Bairnson Acoustic Guitar Take),"
        "ordre" => 54
      ]
      [
        "nom" => "5. Day After Day (The Show Must Go On) (BJ Cole Pedal Steel Take), 6. Day After Day"
        "ordre" => 55
      ]
      [
        "nom" => "(The Show Must Go On) (Backing Vocals), 7. Day After Day (The Show Must Go On) (Backing"
        "ordre" => 56
      ]
      [
        "nom" => " Track), 8. Day After Day (The Show Must Go On) (Single Edit), 9. Total Eclipse & Nucleus"
        "ordre" => 57
      ]
      [
        "nom" => "(Choral Experiments), 10. Total Eclipse (Choir Only), 11. Genesis Ch.1 V.32 (Alan Parsons"
        "ordre" => 58
      ]
      [
        "nom" => "Demo), 12. Genesis Ch.1 V.32 (Everything But The Choir), 13. Genesis Ch.1 V.32 (Ian Bairnson"
        "ordre" => 59
      ]
      [
        "nom" => "Acoustic Guitars), 14. Genesis Ch.1 V.32 (Strings Only), 15. Genesis Ch.1 V.32 (Backing"
        "ordre" => 60
      ]
      [
        "nom" => "Singers & Choir Take), 16. Alan Parsons Spacey Vibraphone, 17. Eric’s Jupiter (Start Of"
        "ordre" => 61
      ]
      [
        "nom" => "Gemini Idea), 18. Taking It All Away (Eric Woolfson Songwriting Diary First Version),"
        "ordre" => 62
      ]
      [
        "nom" => "19. I Robot Radio Adverts"
        "ordre" => 63
      ]
      [
        "nom" => "Blu-ray"
        "ordre" => 64
      ]
      [
        "nom" => "1. 2025 Alan Parsons Dolby Atmos Mix"
        "ordre" => 65
      ]
      [
        "nom" => "2. 2025 Alan Parsons 5.1 Surround Sound Mix"
        "ordre" => 66
      ]
      [
        "nom" => "3. Original Album Remastered in Stereo by Miles Showell 2025"
        "ordre" => 67
      ]
      [
        "nom" => "4. I Wouldn’t Want To Be Like You (video)"
        "ordre" => 68
      ]
      [
        "nom" => "5. Eric Woolfson Interview Footage"
        "ordre" => 69
      ]
      [
        "nom" => ""
        "ordre" => 70
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
    -label: Proxies\__CG__\App\Entity\Label {#2140 …}
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    -enregistreLe: DateTime @1760776678 {#2135
      date: 2025-10-18 08:37:58.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763018807 {#2136
      date: 2025-11-13 07:26:47.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -slug: "vinyles-i-robot-super-deluxe-edition-half-speed-mastered-box-set-2-lp-45-rpm-4cd-blu-ray-cooking-vinyl-0841"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
}

[
  "produit" => App\Entity\Produit {#2156
    -id: 2237
    -nom: "I Robot (Box Set 2 LP) 45 RPM - UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES: ULTRADISC ONE-STEP SET IS THE ULTIMATE ANALOG VERSION OF 1977 AUDIOPHILE STANDARD !\r\n
      \r\n
      Audiophiles don't need any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved ? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180 gram 45 RPM (2 LP) box set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes, pressed at RTI on MoFi SuperVinyl, and afforded the luxurious groove space of 45 RPM LPs, I Robot comes to life like never before on this numbered, limited-edition reissue. Boasting a nearly undetectable noise floor, immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems.\r\n
      \r\n
      Put simply, there's more music, more information, more detail, more nuance, more of everything you want. Mobile Fidelity's transcendent UD1S 45 RPM edition invites you to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, these LPs are demonstration records for the ages—the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      The beautiful presentation of the numbered, limited-edition UD1S I Robot pressing speaks to the music's merit. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. Parsons' most iconic record deserves nothing less.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior and their relationship to increasing robotic supremacy in everyday life. Parsons musically reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32".\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=p6Fpllm1Iy8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 040"
    -titreMorceau: [
      [
        "nom" => "1. I Robot"
        "ordre" => 0
      ]
      [
        "nom" => "2. I Wouldn't Want to Be Like You"
        "ordre" => 1
      ]
      [
        "nom" => "3. Some Other Time"
        "ordre" => 2
      ]
      [
        "nom" => "4. Breakdown"
        "ordre" => 3
      ]
      [
        "nom" => "5. Don't Let It Show"
        "ordre" => 4
      ]
      [
        "nom" => "6. The Voice"
        "ordre" => 5
      ]
      [
        "nom" => "7. Nucleus"
        "ordre" => 6
      ]
      [
        "nom" => "8. Day After Day (The Show Must Go On)"
        "ordre" => 7
      ]
      [
        "nom" => "9. Total Eclipse"
        "ordre" => 8
      ]
      [
        "nom" => "10. Genesis Ch. 1 V. 32"
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3415
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2156
    -id: 2237
    -nom: "I Robot (Box Set 2 LP) 45 RPM - UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES: ULTRADISC ONE-STEP SET IS THE ULTIMATE ANALOG VERSION OF 1977 AUDIOPHILE STANDARD !\r\n
      \r\n
      Audiophiles don't need any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved ? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180 gram 45 RPM (2 LP) box set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes, pressed at RTI on MoFi SuperVinyl, and afforded the luxurious groove space of 45 RPM LPs, I Robot comes to life like never before on this numbered, limited-edition reissue. Boasting a nearly undetectable noise floor, immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems.\r\n
      \r\n
      Put simply, there's more music, more information, more detail, more nuance, more of everything you want. Mobile Fidelity's transcendent UD1S 45 RPM edition invites you to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, these LPs are demonstration records for the ages—the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      The beautiful presentation of the numbered, limited-edition UD1S I Robot pressing speaks to the music's merit. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. Parsons' most iconic record deserves nothing less.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior and their relationship to increasing robotic supremacy in everyday life. Parsons musically reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron," devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32".\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=p6Fpllm1Iy8"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S 040"
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[
  "produit" => App\Entity\Produit {#2169
    -id: 2187
    -nom: "I Robot - UltraDisc One-Step (Box Set 1 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES: ULTRADISC ONE-STEP SET IS THE ULTIMATE ANALOG VERSION OF 1977 AUDIOPHILE STANDARD !\r\n
      \r\n
      Audiophiles don't need any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved ? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 45RPM 2LP box set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes, pressed at RTI on MoFi SuperVinyl, and afforded the luxurious groove space of 45 RPM LPs, I Robot comes to life like never before on this numbered, limited-edition reissue. Boasting a nearly undetectable noise floor, immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems.\r\n
      \r\n
      Put simply, there's more music, more information, more detail, more nuance, more of everything you want. Mobile Fidelity's transcendent UD1S 45RPM edition invites you to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, these LPs are demonstration records for the ages the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      The beautiful presentation of the numbered, limited-edition UD1S I Robot pressing speaks to the music's merit. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. Parsons' most iconic record deserves nothing less.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior and their relationship to increasing robotic supremacy in everyday life. Parsons musically reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron", devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32".
      """
    -prixVente: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ROS-288KSnQ"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-040"
    -titreMorceau: [
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        "nom" => "1. I Robot"
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        "nom" => "2. I Wouldn't Want to Be Like You"
        "ordre" => 1
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        "nom" => "6. The Voice"
        "ordre" => 5
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        "nom" => "7. Nucleus"
        "ordre" => 6
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        "nom" => "8. Day After Day (The Show Must Go On)"
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        "nom" => "10. Genesis Ch. 1 V. 32"
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3463
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2169
    -id: 2187
    -nom: "I Robot - UltraDisc One-Step (Box Set 1 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES: ULTRADISC ONE-STEP SET IS THE ULTIMATE ANALOG VERSION OF 1977 AUDIOPHILE STANDARD !\r\n
      \r\n
      Audiophiles don't need any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued myriad times. Can it be improved ? Relish Mobile Fidelity's stupendous UltraDisc One-Step 180g 45RPM 2LP box set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes, pressed at RTI on MoFi SuperVinyl, and afforded the luxurious groove space of 45 RPM LPs, I Robot comes to life like never before on this numbered, limited-edition reissue. Boasting a nearly undetectable noise floor, immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this definitive edition is designed to demonstrate the full-range capabilities of the world's best stereo systems.\r\n
      \r\n
      Put simply, there's more music, more information, more detail, more nuance, more of everything you want. Mobile Fidelity's transcendent UD1S 45RPM edition invites you to savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, these LPs are demonstration records for the ages the likes of which are no longer being made. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      The beautiful presentation of the numbered, limited-edition UD1S I Robot pressing speaks to the music's merit. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, it is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in everything about this conceptual landmark. Parsons' most iconic record deserves nothing less.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record extremely relevant in the 21st century. Indeed, Parsons' pinnacle creation dovetailed with the ascendency of Star Wars, which itself is experiencing a rebirth in an age of self-driving cars, smart devices, and mindless automation. Lyrically, songs such as "The Voice" call into question human behavior and their relationship to increasing robotic supremacy in everyday life. Parsons musically reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      The absorbing tunes on I Robot also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion that only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron", devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as a frightening track that presages the climactic "Genesis Ch. 1 V. 32".
      """
    -prixVente: "179.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ROS-288KSnQ"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-040"
    -titreMorceau: [
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        "nom" => "1. I Robot"
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      [
        "nom" => "10. Genesis Ch. 1 V. 32"
        "ordre" => 9
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
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    -modifierLe: DateTime @1763018096 {#2167
      date: 2025-11-13 07:14:56.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2174 …}
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
}

[
  "produit" => App\Entity\Produit {#2182
    -id: 866
    -nom: "I Robot"
    -informationComplementaire: null
    -description: """
      Audiophiles needn't any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued multiple times. Can it be improved ? Relish Mobile Fidelity's stupendous-sounding 180-Gram 45RPM 2LP set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, and afforded the luxurious groove space of a 45 RPM LP, I Robot comes to life like never before on this numbered limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this super-clean edition has been lovingly restored by Mobile Fidelity engineers with the intention of demonstrating the full-range capabilities of the world's best stereo systems. Put simply, there's more music, more information, more detail, more nuance, more everything.\r\n
      \r\n
      Savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, the analog masterwork is a demonstration record for the ages – the likes of which are no longer being made. Longtime fans can finally rest assured knowing they don't have to pony up hundreds of dollars for older pressings – including three prior Mobile Fidelity versions on LP and CD. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record increasingly relevant in the 21st century. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Sonically, Parsons reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      I Robot's absorbing tunes also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron", devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as an aptly frightening track that presages the climactic "Genesis Ch. 1 V. 32".\r\n
      \r\n
      Does man or machine win in the end ? Decide with Parsons as you get lost in Mobile Fidelity's definitive pressing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ROS-288KSnQ"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-455"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. I Robot"
        "ordre" => 1
      ]
      [
        "nom" => "2. I Wouldn't Want to Be Like You"
        "ordre" => 2
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      [
        "nom" => "Side B : "
        "ordre" => 3
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      [
        "nom" => "1. Some Other Time"
        "ordre" => 4
      ]
      [
        "nom" => "2. Breakdown"
        "ordre" => 5
      ]
      [
        "nom" => "3. Don't Let It Show"
        "ordre" => 6
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "1. The Voice"
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      ]
      [
        "nom" => "2. Nucleus"
        "ordre" => 9
      ]
      [
        "nom" => "3. Day After Day (The Show Must Go On)"
        "ordre" => 10
      ]
      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. Total Eclipse"
        "ordre" => 12
      ]
      [
        "nom" => "2. Genesis Ch. 1 V. 32"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
    -label: Proxies\__CG__\App\Entity\Label {#2124 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2190 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2183 …}
    -typeMasterTape: null
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App\Twig\Components\GestionPanierFavoriComponents {#3511
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2182
    -id: 866
    -nom: "I Robot"
    -informationComplementaire: null
    -description: """
      Audiophiles needn't any introduction to the Alan Parsons Project's I Robot. Engineered by Parsons after he performed the same duties on Pink Floyd's Dark Side of the Moon, the 1977 record reigns as a disc whose taut bass, crisp highs, clean production, and seemingly limitless dynamic range are matched only by the sensational prog-rock fare helmed by the keyboardist. Not surprisingly, it's been issued multiple times. Can it be improved ? Relish Mobile Fidelity's stupendous-sounding 180-Gram 45RPM 2LP set and the question becomes irrelevant.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, and afforded the luxurious groove space of a 45 RPM LP, I Robot comes to life like never before on this numbered limited-edition reissue. Boasting immaculate highs and lows, generous spaciousness, and see-through transparency that takes you into the studio with Parsons and creative partner Eric Woolfson at Abbey Road, this super-clean edition has been lovingly restored by Mobile Fidelity engineers with the intention of demonstrating the full-range capabilities of the world's best stereo systems. Put simply, there's more music, more information, more detail, more nuance, more everything.\r\n
      \r\n
      Savor reference-grade soundstages, immersive smoothness, sought-after instrumental separation, three-dimensional imaging, and consummate tonal balances. Able to be played back at high volumes without compromise or fatigue, the analog masterwork is a demonstration record for the ages – the likes of which are no longer being made. Longtime fans can finally rest assured knowing they don't have to pony up hundreds of dollars for older pressings – including three prior Mobile Fidelity versions on LP and CD. This is the very reason you own and invest in high-end audio gear.\r\n
      \r\n
      Inspired by and loosely based around the Isaac Asimov stories of the same name, I Robot delves into themes of artificial intelligence and technological dominance that make the record increasingly relevant in the 21st century. Lyrically, songs such as "The Voice" call into question human behavior – and their relationship to increasing robotic supremacy – in everyday life. Sonically, Parsons reflects the associated paranoia, dichotomy, and transformation via shifting sci-fi arrangements steeped in drama and moodiness.\r\n
      \r\n
      I Robot's absorbing tunes also continue to fascinate due to their perfectionism and innovation. Borrowing from Pink Floyd's strategies, Parsons utilizes a looped sequence on the title track to create new downbeats. "Some Other Time" employs two different lead vocalists and yet gives the illusion only one is involved. Captivating strings, a piccolo trumpet, and bona fide pipe organ grace "Don't Let It Show". The origins of "Nucleus" stem from a unique analog keyboard concoction dubbed "the Projectron", devised by Parsons and electronic engineer Keith Johnson. Andrew Powell's orchestral and choral arrangements top it all off, with "Total Eclipse" arriving as an aptly frightening track that presages the climactic "Genesis Ch. 1 V. 32".\r\n
      \r\n
      Does man or machine win in the end ? Decide with Parsons as you get lost in Mobile Fidelity's definitive pressing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Eric Woolfson, Alan Parsons, Duncan Mackay (claviers), David Paton (bass & acoustic guitar), Ian Bairnson (electric & acoustic guitar), BJ. Cole (steel guitar), Allan Clarke, Jack Harris, Peter Straker, Steve & Dave Towsend, (vocals), Stuart Tosh (drums)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=ROS-288KSnQ"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-455"
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "1. I Robot"
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        "nom" => "2. Nucleus"
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        "nom" => "3. Day After Day (The Show Must Go On)"
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        "nom" => "Side D : "
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        "nom" => "1. Total Eclipse"
        "ordre" => 12
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        "nom" => "2. Genesis Ch. 1 V. 32"
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    ]
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[
  "produit" => App\Entity\Produit {#2195
    -id: 840
    -nom: "Live At The Fillmore East"
    -informationComplementaire: null
    -description: """
      - The Allman Brothers Band At Fillmore East on 180 gram double LP !\r\n
      - Limited edition numbered album !\r\n
      - Ranked N° 49 on Rolling Stone's 500 Greatest Albums of All Time list !\r\n
      - Peerless Sonics : Mobile Fidelity edition provides fifth-row seat to historic March 1971 concerts !\r\n
      \r\n
      Fillmore East is synonymous with some of the greatest concerts ever staged. Yet the vaudeville venue belongs to one group : The Allman Brothers Band. This groundbreaking double album is why. As the collective's breakthrough, it broadcasts to the world wowing improvisational flights and seamless musical fusion the likes of which no one had ever heard. In communion with the crowd, the band establishes an interactive blueprint for all shows that followed, while its high-wire displays of powerhouse soloing and time-stretching arrangements remain the stuff of hall-of-fame legend.\r\n
      \r\n
      Mobile Fidelity's collectable double LP of At Fillmore East joins the reissue imprint's other Allman titles in presenting the inimitable ensemble's music in the most lifelike, uncompromising fidelity possible. Myriad versions of the 1971 set exist; it is rare to find the audiophile sensibilities found here - sonic traits that whisk the listener to the midst of the Fillmore East for four gigs performed on March 12 and 13, 1971, plunking them down in a fifth-row seat surrounded by fervent fans and a smoke-filled atmosphere. Every slippery bottleneck note, every aching vocal moan, every soulful purr from the organ, every gritty interlocking riff comes across with unfettered clarity and realism.\r\n
      \r\n
      While the record features multiple works the band never laid down in a studio, At Fillmore East is a meticulously conceived affair. The Allmans prepped rough sketches and layouts of the tunes, carving out spaces for each member's solos, and leaving the direction of such entirely up to the individual. As a result, the effort - anchored by iconic producer Tom Dowd's stellar production - presents a jazz-drifting rock band benefiting from both a sense of assured direction as well as opportunistic freedom.\r\n
      \r\n
      Indeed, At Fillmore East is the rare sounds of a group letting it all go, fearlessly maneuvering through bluesy shuffles, exquisite laments, graceful instrumental passages, and frenetic swamp-laden boogies. Achieved via a combination of virtuosic skill, visionary ambition, and natural chemistry, the six-piece burns white-hot with intensity and persuades via a padlock-tight rhythm section on which Duane's searing slide playing and Gregg's bottom-of-the-stomach vocals glide, each aural utterance coaxing on their respective mates to strive for new heights.\r\n
      \r\n
      The evidence abounds on the rollercoaster thrills of the dipping and diving "Whipping Post"; the biscuit-and-gravy purity of an aptly tempestuous "Stormy Monday", complete with harmonica from guest Tom Doucette; the flaming inertia established on the celebratory "Hot ‘Lanta"; and the jam-heavy hopscotch of an elastic "In Memory of Elizabeth Reed," one of numerous standout moments for lead guitarist Dickey Betts. It seems as if everyone knew what they were experiencing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Gregg Allman (organ, piano, vocals), Duane Allman (lead & slide guitar), Dicky Betts (lead guitar), Thom Doucette (harmonica), Berry Oakley (bass guitar), Butch Trucks, Jai Johanny Johanson (drums, percussion, congas, timbales)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=0wsUNMSiIII"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2434-45"
    -titreMorceau: [
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      [
        "nom" => "2. In Memory of Elizabeth Reed"
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      [
        "nom" => "Side D : "
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        "ordre" => 10
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2197 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3557
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  +produit: App\Entity\Produit {#2195
    -id: 840
    -nom: "Live At The Fillmore East"
    -informationComplementaire: null
    -description: """
      - The Allman Brothers Band At Fillmore East on 180 gram double LP !\r\n
      - Limited edition numbered album !\r\n
      - Ranked N° 49 on Rolling Stone's 500 Greatest Albums of All Time list !\r\n
      - Peerless Sonics : Mobile Fidelity edition provides fifth-row seat to historic March 1971 concerts !\r\n
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      Fillmore East is synonymous with some of the greatest concerts ever staged. Yet the vaudeville venue belongs to one group : The Allman Brothers Band. This groundbreaking double album is why. As the collective's breakthrough, it broadcasts to the world wowing improvisational flights and seamless musical fusion the likes of which no one had ever heard. In communion with the crowd, the band establishes an interactive blueprint for all shows that followed, while its high-wire displays of powerhouse soloing and time-stretching arrangements remain the stuff of hall-of-fame legend.\r\n
      \r\n
      Mobile Fidelity's collectable double LP of At Fillmore East joins the reissue imprint's other Allman titles in presenting the inimitable ensemble's music in the most lifelike, uncompromising fidelity possible. Myriad versions of the 1971 set exist; it is rare to find the audiophile sensibilities found here - sonic traits that whisk the listener to the midst of the Fillmore East for four gigs performed on March 12 and 13, 1971, plunking them down in a fifth-row seat surrounded by fervent fans and a smoke-filled atmosphere. Every slippery bottleneck note, every aching vocal moan, every soulful purr from the organ, every gritty interlocking riff comes across with unfettered clarity and realism.\r\n
      \r\n
      While the record features multiple works the band never laid down in a studio, At Fillmore East is a meticulously conceived affair. The Allmans prepped rough sketches and layouts of the tunes, carving out spaces for each member's solos, and leaving the direction of such entirely up to the individual. As a result, the effort - anchored by iconic producer Tom Dowd's stellar production - presents a jazz-drifting rock band benefiting from both a sense of assured direction as well as opportunistic freedom.\r\n
      \r\n
      Indeed, At Fillmore East is the rare sounds of a group letting it all go, fearlessly maneuvering through bluesy shuffles, exquisite laments, graceful instrumental passages, and frenetic swamp-laden boogies. Achieved via a combination of virtuosic skill, visionary ambition, and natural chemistry, the six-piece burns white-hot with intensity and persuades via a padlock-tight rhythm section on which Duane's searing slide playing and Gregg's bottom-of-the-stomach vocals glide, each aural utterance coaxing on their respective mates to strive for new heights.\r\n
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      The evidence abounds on the rollercoaster thrills of the dipping and diving "Whipping Post"; the biscuit-and-gravy purity of an aptly tempestuous "Stormy Monday", complete with harmonica from guest Tom Doucette; the flaming inertia established on the celebratory "Hot ‘Lanta"; and the jam-heavy hopscotch of an elastic "In Memory of Elizabeth Reed," one of numerous standout moments for lead guitarist Dickey Betts. It seems as if everyone knew what they were experiencing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Gregg Allman (organ, piano, vocals), Duane Allman (lead & slide guitar), Dicky Betts (lead guitar), Thom Doucette (harmonica), Berry Oakley (bass guitar), Butch Trucks, Jai Johanny Johanson (drums, percussion, congas, timbales)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=0wsUNMSiIII"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2434-45"
    -titreMorceau: [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2197 …}
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[
  "produit" => App\Entity\Produit {#2211
    -id: 823
    -nom: "Jack Of Hearts"
    -informationComplementaire: null
    -description: """
      A possible breakout album for Anthony Wilson, this organ trio with the superb Larry Goldings on B3 features two of the finest drummers working today - half the tunes are with the swinging Jeff Hamilton on drums and the rest session drummer par excellence Jim Keltner, who lays down some truly great percussion. Aside from Wilson's exploration of Latin, south-of-the-border influences, the recording features unique performances of music by Ellington, Hawkins, Jerry Goldsmith and Van Dyke Parks. \r\n
      \r\n
      "Sonically, you get everything you could hope for in a Michael C. Ross Oceanway live to two track analog production. There are sonic riches galore from the to salivate from Hammond B-3 organ with its big, fat warm bass lines to the warm, round yet precise electric guitar lines and the woody, cracklin' rim shots, snappy snares, punchy cymbals and cataclysmic kick drum explosions. Ross is going for impact not soundstage or three guys playing in the distance in a big room, so expect a big drum kit spread across the stage and room-filling man-sized images". Music = 8/10; Sound = 9/10 - Michael Fremer, Music Angle.\r\n
      \r\n
      TAS Recommended. Rated a "Best Audiophile Label Recording" in the November 2009 issue of The Absolute Sound.\r\n
      \r\n
      Recorded direct-to-2-track pure analog at Oceanway Studio A in Hollywood.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Anthony Wilson (guitar), ?Larry Goldings (Hammond B-3 organ, celeste), Jeff Hamilton, Jim Keltner (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ANtY0ewvfN8"
    -referenceProduit: "Groove Note Records GRN 1046-45"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
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        "nom" => "1. Mezcal"
        "ordre" => 1
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        "nom" => "2. Jack Of Hearts"
        "ordre" => 2
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        "nom" => "3. Hawkeyes"
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      [
        "nom" => "2. Theme from "Chinatown""
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      [
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      ]
      [
        "nom" => "1. Vida Perdida Acabou"
        "ordre" => 8
      ]
      [
        "nom" => "2. Orange Crate Art"
        "ordre" => 9
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      [
        "nom" => "3. Harajuku"
        "ordre" => 10
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      [
        "nom" => "Side D :"
        "ordre" => 11
      ]
      [
        "nom" => "1. Zweet Zursday"
        "ordre" => 12
      ]
      [
        "nom" => "2. Homecoming"
        "ordre" => 13
      ]
    ]
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  +produit: App\Entity\Produit {#2211
    -id: 823
    -nom: "Jack Of Hearts"
    -informationComplementaire: null
    -description: """
      A possible breakout album for Anthony Wilson, this organ trio with the superb Larry Goldings on B3 features two of the finest drummers working today - half the tunes are with the swinging Jeff Hamilton on drums and the rest session drummer par excellence Jim Keltner, who lays down some truly great percussion. Aside from Wilson's exploration of Latin, south-of-the-border influences, the recording features unique performances of music by Ellington, Hawkins, Jerry Goldsmith and Van Dyke Parks. \r\n
      \r\n
      "Sonically, you get everything you could hope for in a Michael C. Ross Oceanway live to two track analog production. There are sonic riches galore from the to salivate from Hammond B-3 organ with its big, fat warm bass lines to the warm, round yet precise electric guitar lines and the woody, cracklin' rim shots, snappy snares, punchy cymbals and cataclysmic kick drum explosions. Ross is going for impact not soundstage or three guys playing in the distance in a big room, so expect a big drum kit spread across the stage and room-filling man-sized images". Music = 8/10; Sound = 9/10 - Michael Fremer, Music Angle.\r\n
      \r\n
      TAS Recommended. Rated a "Best Audiophile Label Recording" in the November 2009 issue of The Absolute Sound.\r\n
      \r\n
      Recorded direct-to-2-track pure analog at Oceanway Studio A in Hollywood.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Anthony Wilson (guitar), ?Larry Goldings (Hammond B-3 organ, celeste), Jeff Hamilton, Jim Keltner (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ANtY0ewvfN8"
    -referenceProduit: "Groove Note Records GRN 1046-45"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Mezcal"
        "ordre" => 1
      ]
      [
        "nom" => "2. Jack Of Hearts"
        "ordre" => 2
      ]
      [
        "nom" => "3. Hawkeyes"
        "ordre" => 3
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
      [
        "nom" => "1. Carnegie Blues"
        "ordre" => 5
      ]
      [
        "nom" => "2. Theme from "Chinatown""
        "ordre" => 6
      ]
      [
        "nom" => "Side C :"
        "ordre" => 7
      ]
      [
        "nom" => "1. Vida Perdida Acabou"
        "ordre" => 8
      ]
      [
        "nom" => "2. Orange Crate Art"
        "ordre" => 9
      ]
      [
        "nom" => "3. Harajuku"
        "ordre" => 10
      ]
      [
        "nom" => "Side D :"
        "ordre" => 11
      ]
      [
        "nom" => "1. Zweet Zursday"
        "ordre" => 12
      ]
      [
        "nom" => "2. Homecoming"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2213 …}
    -label: Proxies\__CG__\App\Entity\Label {#2216 …}
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      date: 2025-11-12 22:39:06.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -disponible: null
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[
  "produit" => App\Entity\Produit {#2230
    -id: 822
    -nom: "Our Gang"
    -informationComplementaire: null
    -description: """
      Composer-arranger-bandleader and guitarist Anthony Wilson, the son of big band maestro Gerald Wilson, is one of the most brilliant musicians working in the US jazz scene today. A recipient of the IAJE's Gil Evans Fellowship Award, Wilson's rich, fluid and easy going style, with it's seductive references to Wes Montgomery and Kenny Burrell, is much in evidence on his latest album, Our Gang from the Groove Note label out of Los Angeles. \r\n
      \r\n
      Playing with a much pared down structure of guitar trio with organ and drums (his previous recordings have been with much larger outfits) gave Wilson the freedom to focus more on his own inventive and incomparable skills as soloist, and his close rapport with drummer Mark Ferber and organist Joe Bagg, with whom he has been playing with regularly for the last 2-3 years, pays off richly in this session. \r\n
      \r\n
      Wilson's previous three albums for the Mama label received a great deal of critical and commercial recognition. The self-titled debut album hit number 1 on the Gavin charts and received a Grammy nomination in the Large Jazz Ensemble category in 1997. His second album Goat Hill Junket also achieved great success both critically and on radio while his third album released in 1999 features talents such as Jeff Clayton, Greg Ellis and Jack Nimitz all performing a suite commissioned by the IAJE. Wilson also received a Downbeat International Critics Poll award for Composer Deserving Wider Recognition in 2000. \r\n
      \r\n
      Wilson's Our Gang is the culmination of his more recent ideas, in both originals and standards, and this album includes some stunning performances of standards like Chitlins Con Carne (By Kenny Burrell), I Want You - She's So Heavy (from Abbey Road), and Prelude To A Kiss (Strayhorn). \r\n
      \r\n
      The album also contains further evidence of Anthony Wilson's skill and talent as a composer as demonstrated by original compositions like Our Gang and Britta's Blues. The sterling back-up by Ferber and Bagg also deserves special mention with organist Bagg in particular exchanging great solos on the Hammond B-3 with Wilson. \r\n
      \r\n
      Recorded by the A-list team of producer Joe Harley (ECM, Enja) and Mike Ross (engineer) at Cello Studios in Hollywood, this remarkable session serves not only to cement the much vaunted reputation established with the Mama albums but in fact greatly extends Wilson's high profile position as one jazz's finest talents. \r\n
      \r\n
      There are many records and labels who declare themselves to be of "audiophile quality". Groove Note records all of their albums at the best studios in Hollywood (Oceanway, Record One, Cello, Sunset Sound) using a top Grammy nominated recording engineer, Michael C. Ross. All of our albums are recorded 100% analogue and the production masters are also mixed by 100% analogue by MC Ross. All albums are cut by one of the greatest mastering engineers in the world, Bernie Grundman, on an all analogue tube cutting system using all upgraded and modified vintage Sculley cutting lathes. All LPs plated and pressed by RTI on 180 gram audiophile vinyl.\r\n
      \r\n
      Product Reviews : \r\n
      "… a lush, plush, gorgeous-sounding album.... Anthony Wilson is an up and coming jazz guitar star" - Frank Doris, The Absolute Sound, Golden Ear Award 2001 Audiophile Audition, Best Jazz CDs of 2001. \r\n
      \r\n
      "His harmonic sophistication, technical control and sheer, suave elegance place him in the ranks of the major jazz guitarists...The production/engineering team of Joe Harley and Michael C. Ross have been responsible for some of the best sounding recordings ever made...the electric guitar and Hammond B-3 are capable of the subtlest sonorities and most tantalizing depths". - Thomas Conrad, Stereophile Magazine.\r\n
      \r\n
      "...harmonic sophistication, technical control and sheer suave elegance place (Wilson) in the major ranks of jazz guitarists". - Thomas Conrad, Downbeat, 4 Stars !\r\n
      \r\n
      "Wilson is a fine, exceptionally fluid player" - Jim Ferguson, Jazz Times.\r\n
      \r\n
      "A clever young cat who could become a jazz icon in the 21st century". -Ed Kopp/allaboutjazz.com. \r\n
      \r\n
      "An easy swinging open-minded guitarist who offers a rich compelling sound". - Zan Stewart/LA Times
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Anthony Wilson (guitar),?Joe Bagg (Hammond B3),?Mark Ferber (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=MC_ZcaLathA"
    -referenceProduit: "Groove Note Records GR 1008-45"
    -titreMorceau: [
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        "nom" => "Side A :"
        "ordre" => 0
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        "nom" => "1. Our Gang"
        "ordre" => 1
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        "nom" => "2. Chitlins Con Carne"
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        "nom" => "1. Britta's Blues"
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      [
        "nom" => "2. Time Flies"
        "ordre" => 5
      ]
      [
        "nom" => "Side C : "
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      ]
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        "nom" => "1. Road Trip"
        "ordre" => 7
      ]
      [
        "nom" => "2. Luck Be A Lady"
        "ordre" => 8
      ]
      [
        "nom" => "Side D : "
        "ordre" => 9
      ]
      [
        "nom" => "1. I Want You (She's So Heavy)"
        "ordre" => 10
      ]
      [
        "nom" => "2. Prelude To A Kiss"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2213 …}
    -label: Proxies\__CG__\App\Entity\Label {#2216 …}
    -style: App\Entity\Style {#1507 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2238 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2231 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2233 …}
    -enregistreLe: DateTime @1443959463 {#2227
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    }
    -modifierLe: DateTime @1762987000 {#2228
      date: 2025-11-12 22:36:40.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2235 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-our-gang-groove-note-records-gr-1008-45"
  }
  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3661
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2230
    -id: 822
    -nom: "Our Gang"
    -informationComplementaire: null
    -description: """
      Composer-arranger-bandleader and guitarist Anthony Wilson, the son of big band maestro Gerald Wilson, is one of the most brilliant musicians working in the US jazz scene today. A recipient of the IAJE's Gil Evans Fellowship Award, Wilson's rich, fluid and easy going style, with it's seductive references to Wes Montgomery and Kenny Burrell, is much in evidence on his latest album, Our Gang from the Groove Note label out of Los Angeles. \r\n
      \r\n
      Playing with a much pared down structure of guitar trio with organ and drums (his previous recordings have been with much larger outfits) gave Wilson the freedom to focus more on his own inventive and incomparable skills as soloist, and his close rapport with drummer Mark Ferber and organist Joe Bagg, with whom he has been playing with regularly for the last 2-3 years, pays off richly in this session. \r\n
      \r\n
      Wilson's previous three albums for the Mama label received a great deal of critical and commercial recognition. The self-titled debut album hit number 1 on the Gavin charts and received a Grammy nomination in the Large Jazz Ensemble category in 1997. His second album Goat Hill Junket also achieved great success both critically and on radio while his third album released in 1999 features talents such as Jeff Clayton, Greg Ellis and Jack Nimitz all performing a suite commissioned by the IAJE. Wilson also received a Downbeat International Critics Poll award for Composer Deserving Wider Recognition in 2000. \r\n
      \r\n
      Wilson's Our Gang is the culmination of his more recent ideas, in both originals and standards, and this album includes some stunning performances of standards like Chitlins Con Carne (By Kenny Burrell), I Want You - She's So Heavy (from Abbey Road), and Prelude To A Kiss (Strayhorn). \r\n
      \r\n
      The album also contains further evidence of Anthony Wilson's skill and talent as a composer as demonstrated by original compositions like Our Gang and Britta's Blues. The sterling back-up by Ferber and Bagg also deserves special mention with organist Bagg in particular exchanging great solos on the Hammond B-3 with Wilson. \r\n
      \r\n
      Recorded by the A-list team of producer Joe Harley (ECM, Enja) and Mike Ross (engineer) at Cello Studios in Hollywood, this remarkable session serves not only to cement the much vaunted reputation established with the Mama albums but in fact greatly extends Wilson's high profile position as one jazz's finest talents. \r\n
      \r\n
      There are many records and labels who declare themselves to be of "audiophile quality". Groove Note records all of their albums at the best studios in Hollywood (Oceanway, Record One, Cello, Sunset Sound) using a top Grammy nominated recording engineer, Michael C. Ross. All of our albums are recorded 100% analogue and the production masters are also mixed by 100% analogue by MC Ross. All albums are cut by one of the greatest mastering engineers in the world, Bernie Grundman, on an all analogue tube cutting system using all upgraded and modified vintage Sculley cutting lathes. All LPs plated and pressed by RTI on 180 gram audiophile vinyl.\r\n
      \r\n
      Product Reviews : \r\n
      "… a lush, plush, gorgeous-sounding album.... Anthony Wilson is an up and coming jazz guitar star" - Frank Doris, The Absolute Sound, Golden Ear Award 2001 Audiophile Audition, Best Jazz CDs of 2001. \r\n
      \r\n
      "His harmonic sophistication, technical control and sheer, suave elegance place him in the ranks of the major jazz guitarists...The production/engineering team of Joe Harley and Michael C. Ross have been responsible for some of the best sounding recordings ever made...the electric guitar and Hammond B-3 are capable of the subtlest sonorities and most tantalizing depths". - Thomas Conrad, Stereophile Magazine.\r\n
      \r\n
      "...harmonic sophistication, technical control and sheer suave elegance place (Wilson) in the major ranks of jazz guitarists". - Thomas Conrad, Downbeat, 4 Stars !\r\n
      \r\n
      "Wilson is a fine, exceptionally fluid player" - Jim Ferguson, Jazz Times.\r\n
      \r\n
      "A clever young cat who could become a jazz icon in the 21st century". -Ed Kopp/allaboutjazz.com. \r\n
      \r\n
      "An easy swinging open-minded guitarist who offers a rich compelling sound". - Zan Stewart/LA Times
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Anthony Wilson (guitar),?Joe Bagg (Hammond B3),?Mark Ferber (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=MC_ZcaLathA"
    -referenceProduit: "Groove Note Records GR 1008-45"
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      ]
      [
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      ]
      [
        "nom" => "2. Prelude To A Kiss"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2213 …}
    -label: Proxies\__CG__\App\Entity\Label {#2216 …}
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    -modifierLe: DateTime @1762987000 {#2228
      date: 2025-11-12 22:36:40.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -disponible: null
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    -slug: "vinyles-our-gang-groove-note-records-gr-1008-45"
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  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
}

[
  "produit" => App\Entity\Produit {#2243
    -id: 320
    -nom: "Wild Planet"
    -informationComplementaire: null
    -description: """
      Party out of bounds ! Not only is this sentiment one of the B-52's directives on their ceaselessly fun sophomore album, it's one of the record's hit songs, and perfectly summarizes the spirit and intent behind this new-wave classic. Completely up to task in following up their kitschy debut, the B-52's step everything up a notch : Songwriting, humor, exaggeration, melodies, hooks and group interplay. Wild Planet also finds the band embracing stronger psychedelic accents that seamlessly mesh with its lava-lamp colors and textures. What an album. \r\n
      \r\n
      Rollicking, rousing and riotous, Wild Planet soars on vocal efforts put forth by the delightfully campy chanteuses Cindy Wilson and Kate Pierson, whose innocent girly tonalities wonderfully match up with Fred Schneider's effeminate deliveries and manic presentations. While the sheer exuberance and giddy nature of the music tends to make them an afterthought, the trio's harmonies are utterly amazing. Add in Ricky Wilson's propulsive beach-bound guitar riffs, random squealing synthesizers and a surfeit of danceable rhythms and you have nothing less than a 1980s masterpiece that, due to its optimistic vibes and buoyant grooves, only gets better with time.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Kate Pierson (vocals, keyboards), Fred Schneider (vocals, percussion), Ricky Wilson (guitars), Cindy Wilson (vocals, percussion), Keith Strickland (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=MNX1knUjZl4"
    -referenceProduit: "Mobile Fidelity Sound Lab MOFI 1-014"
    -titreMorceau: [
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        "nom" => "Side A :"
        "ordre" => 0
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        "nom" => "1. Party Out Of Bounds"
        "ordre" => 1
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        "nom" => "2. Dirty Back Road"
        "ordre" => 2
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        "nom" => "4. Give Me Back My Man"
        "ordre" => 4
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        "nom" => "5. Private Idaho"
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      ]
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        "nom" => "Side B :"
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      [
        "nom" => "1. Devil In My Car"
        "ordre" => 7
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        "nom" => "2. Quiche Lorraine"
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        "nom" => "4. 53 Miles West Of Venus"
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2245 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -disponible: null
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App\Twig\Components\GestionPanierFavoriComponents {#3707
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2243
    -id: 320
    -nom: "Wild Planet"
    -informationComplementaire: null
    -description: """
      Party out of bounds ! Not only is this sentiment one of the B-52's directives on their ceaselessly fun sophomore album, it's one of the record's hit songs, and perfectly summarizes the spirit and intent behind this new-wave classic. Completely up to task in following up their kitschy debut, the B-52's step everything up a notch : Songwriting, humor, exaggeration, melodies, hooks and group interplay. Wild Planet also finds the band embracing stronger psychedelic accents that seamlessly mesh with its lava-lamp colors and textures. What an album. \r\n
      \r\n
      Rollicking, rousing and riotous, Wild Planet soars on vocal efforts put forth by the delightfully campy chanteuses Cindy Wilson and Kate Pierson, whose innocent girly tonalities wonderfully match up with Fred Schneider's effeminate deliveries and manic presentations. While the sheer exuberance and giddy nature of the music tends to make them an afterthought, the trio's harmonies are utterly amazing. Add in Ricky Wilson's propulsive beach-bound guitar riffs, random squealing synthesizers and a surfeit of danceable rhythms and you have nothing less than a 1980s masterpiece that, due to its optimistic vibes and buoyant grooves, only gets better with time.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Kate Pierson (vocals, keyboards), Fred Schneider (vocals, percussion), Ricky Wilson (guitars), Cindy Wilson (vocals, percussion), Keith Strickland (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=MNX1knUjZl4"
    -referenceProduit: "Mobile Fidelity Sound Lab MOFI 1-014"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Party Out Of Bounds"
        "ordre" => 1
      ]
      [
        "nom" => "2. Dirty Back Road"
        "ordre" => 2
      ]
      [
        "nom" => "3. Runnin' Around"
        "ordre" => 3
      ]
      [
        "nom" => "4. Give Me Back My Man"
        "ordre" => 4
      ]
      [
        "nom" => "5. Private Idaho"
        "ordre" => 5
      ]
      [
        "nom" => "Side B :"
        "ordre" => 6
      ]
      [
        "nom" => "1. Devil In My Car"
        "ordre" => 7
      ]
      [
        "nom" => "2. Quiche Lorraine"
        "ordre" => 8
      ]
      [
        "nom" => "3. Strobe Light"
        "ordre" => 9
      ]
      [
        "nom" => "4. 53 Miles West Of Venus"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2245 …}
    -label: Proxies\__CG__\App\Entity\Label {#2124 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2254 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2247 …}
    -typeMasterTape: null
    -marque: null
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    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2249 …}
    -enregistreLe: DateTime @1278690877 {#2240
      date: 2010-07-09 15:54:37.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762986650 {#2241
      date: 2025-11-12 22:30:50.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2251 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-wild-planet-mobile-fidelity-sound-lab-mofi-1-014"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
}

[
  "produit" => App\Entity\Produit {#2259
    -id: 1714
    -nom: "The B-52's"
    -informationComplementaire: null
    -description: """
      Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time !\r\n
      \r\n
      Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.\r\n
      \r\n
      Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more !\r\n
      \r\n
      Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single "Rock Lobster" and splendid cover of the ubiquitous Petula Clark standard "Downtown." You've never heard anything like this.\r\n
      \r\n
      Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.\r\n
      \r\n
      Mastered on our world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Kate Pierson (organ, keyboard bass, 2nd guitar, vocals), Fred Schneider (walkie talkie, toy piano, keyboard bass, vocals), Cindy Wilson (bongoes, 2nd guitar, tambourine, vocals), Ricky Wilson (guitars, smoke alarm), Keith Strickland (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=47YAcpCa5dM"
    -referenceProduit: "Mobile Fidelity Sound Lab MOFI 1-004"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Planet Claire"
        "ordre" => 1
      ]
      [
        "nom" => "2. 52 Girls"
        "ordre" => 2
      ]
      [
        "nom" => "3. Dance This Mess Around"
        "ordre" => 3
      ]
      [
        "nom" => "4.Rock Lobster"
        "ordre" => 4
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
      [
        "nom" => "1. Lava"
        "ordre" => 6
      ]
      [
        "nom" => "2. There's a Moon in the Sky (Called the Moon)"
        "ordre" => 7
      ]
      [
        "nom" => "3. Hero Worship"
        "ordre" => 8
      ]
      [
        "nom" => "4. 6060-842 "
        "ordre" => 9
      ]
      [
        "nom" => "5. Downtown"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2245 …}
    -label: Proxies\__CG__\App\Entity\Label {#2124 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2267 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2260 …}
    -typeMasterTape: null
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    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2262 …}
    -enregistreLe: DateTime @1563777559 {#2256
      date: 2019-07-22 06:39:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762986273 {#2257
      date: 2025-11-12 22:24:33.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2264 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-b-52-s-mobile-fidelity-sound-lab-mofi-1-004"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3760
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2691 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2259
    -id: 1714
    -nom: "The B-52's"
    -informationComplementaire: null
    -description: """
      Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time !\r\n
      \r\n
      Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.\r\n
      \r\n
      Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more !\r\n
      \r\n
      Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single "Rock Lobster" and splendid cover of the ubiquitous Petula Clark standard "Downtown." You've never heard anything like this.\r\n
      \r\n
      Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.\r\n
      \r\n
      Mastered on our world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Kate Pierson (organ, keyboard bass, 2nd guitar, vocals), Fred Schneider (walkie talkie, toy piano, keyboard bass, vocals), Cindy Wilson (bongoes, 2nd guitar, tambourine, vocals), Ricky Wilson (guitars, smoke alarm), Keith Strickland (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=47YAcpCa5dM"
    -referenceProduit: "Mobile Fidelity Sound Lab MOFI 1-004"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Planet Claire"
        "ordre" => 1
      ]
      [
        "nom" => "2. 52 Girls"
        "ordre" => 2
      ]
      [
        "nom" => "3. Dance This Mess Around"
        "ordre" => 3
      ]
      [
        "nom" => "4.Rock Lobster"
        "ordre" => 4
      ]
      [
        "nom" => "Side B : "
        "ordre" => 5
      ]
      [
        "nom" => "1. Lava"
        "ordre" => 6
      ]
      [
        "nom" => "2. There's a Moon in the Sky (Called the Moon)"
        "ordre" => 7
      ]
      [
        "nom" => "3. Hero Worship"
        "ordre" => 8
      ]
      [
        "nom" => "4. 6060-842 "
        "ordre" => 9
      ]
      [
        "nom" => "5. Downtown"
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2245 …}
    -label: Proxies\__CG__\App\Entity\Label {#2124 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2267 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2260 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2262 …}
    -enregistreLe: DateTime @1563777559 {#2256
      date: 2019-07-22 06:39:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1762986273 {#2257
      date: 2025-11-12 22:24:33.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2264 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-b-52-s-mobile-fidelity-sound-lab-mofi-1-004"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3956
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2459 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3957 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#4005 …}
  +isValidated: false
  +validatedFields: []
}