Components
4
Twig Components
15
Render Count
9
ms
Render Time
6.0
MiB
Memory Usage
Components
| Name | Metadata | Render Count | Render Time |
|---|---|---|---|
| GestionPanierFavoriComponents |
"App\Twig\Components\GestionPanierFavoriComponents"components/GestionPanierFavoriComponents.html.twig |
12 | 4.48ms |
| GestionEntetePageComponents |
"App\Twig\Components\GestionEntetePageComponents"components/GestionEntetePageComponents.html.twig |
1 | 2.81ms |
| ListePanier |
"App\Twig\Components\ListePanier"components/ListePanier.html.twig |
1 | 1.28ms |
| AjoutMailNewsletterComponent |
"App\Twig\Components\AjoutMailNewsletterComponent"components/AjoutMailNewsletterComponent.html.twig |
1 | 0.24ms |
Render calls
| GestionEntetePageComponents | App\Twig\Components\GestionEntetePageComponents | 6.0 MiB | 2.81 ms | |
|---|---|---|---|---|
| Input props | [] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionEntetePageComponents {#2541 -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 {#2388 …} } |
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| ListePanier | App\Twig\Components\ListePanier | 6.0 MiB | 1.28 ms | |
|---|---|---|---|---|
| Input props | [ "listeModal" => true "categorieProduitEnum" => [ "VINYLES" => "Vinyles" "MATERIEL_HIFI" => "Matériel HiFi" "ACCESSOIRES" => "Accessoires" "MASTER_TAPES" => "Master Tapes" ] ] |
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| Attributes | [] |
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| Component | App\Twig\Components\ListePanier {#2618 #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2621 …} -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 {#2620 …} -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +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 {#2388 …} -formView: Symfony\Component\Form\FormView {#2657 …} -form: Symfony\Component\Form\Form {#2807 …} +formName: "pays" +formValues: [ "nom" => "" ] +isValidated: false +validatedFields: [] -shouldAutoSubmitForm: true } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.67 ms | |
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| Input props | [ "produit" => App\Entity\Produit {#1841 -id: 2575 -nom: "Off the Wall - UltraDisc One-Step (2 LP) 45 RPM Box Set" -informationComplementaire: "" -description: """ Musicians : \r\n Michael Jackson (vocals, percussion), Patti Austin (lead and backing vocals), Michael Boddicker, George Duke, David Foster (synthesizer), Larry Carlton, Marlo Henderson, Phil Upchurch, Wah Wah Watson, David Williams (guitar), Gary Grant (trumpet), Jerry Hey (horn arrangements, trumpet, and flugelhorn), Kim Hutchcroft (baritone & tenor saxophone, flute), Louis Johnson (bass guitar), Greg Phillinganes (Rhodes piano, synthesizer, clavinet), Bill Reichenbach Jr. (trombone), Bobby Watson (bass guitar), Larry Williams (tenor saxophone & alto saxophone, flute), Hawk Wolinski (organFender Rhodes), Stevie Wonder (rhythm arrangement), Jim Gilstrap, Mortonette Jenkins, Augie Johnson, Paulette McWilliams, Zedrick Williams (background vocals), Paulinho Da Costa, Richard Heath, Randy Jackson (percussion), John Robinson (drums, percussion).\r\n \r\n - Michael Jackson’s Reign as the King of Pop Starts Here: RIAA-Certified Nine-Times-Platinum Off the Wall Blends Funk, Disco, Soul and R&B in Visionary Ways, Features “Don’t Stop ‘Til You Get Enough” and “Rock With You”.\r\n \r\n - 1979 Landmark Presented in Audiophile Sound for the First Time: Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set Explodes with Energy, Plays with Superb Clarity and Detail, Is Strictly Limited to 6000 Numbered Copies !\r\n \r\n - 1/4" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n \r\n Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Off the Wall is sourced from the original master tapes, housed in a deluxe slipcase, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 6000 numbered copies. The keepsake packaging of this Off the Wall UD1S set further befits the album's preeminent status. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful graphics. Aurally and visually, this reissue is made for everyone who desires to immerse themselves in everything involved with the nine-times-platinum landmark including the iconic album cover with Jackson dressed in a tuxedo. """ -prixVente: "179.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Michael Jackson (vocals, percussion), Patti Austin (lead and backing vocals), Michael Boddicker, George Duke, David Foster (synthesizer), Larry Carlton, Marlo Henderson, Phil Upchurch, Wah Wah Watson, David Williams (guitar)..." -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: true -extraitYoutube: "https://www.youtube.com/watch?v=n3qQtSRmHxo" -referenceProduit: "Mobile Fidelity Sound Lab" -titreMorceau: [ [ "nom" => "1. Don't Stop 'Til You Get Enough" "ordre" => 0 ] [ "nom" => "10. Burn This Disco Out" "ordre" => 9 ] [ "nom" => "2. Rock With You" "ordre" => 1 ] [ "nom" => "3. Workin' Day And Night" "ordre" => 2 ] [ "nom" => "4. Get On The Floor" "ordre" => 3 ] [ "nom" => "5. Off The Wall" "ordre" => 4 ] [ "nom" => "6. Girlfriend" "ordre" => 5 ] [ "nom" => "7. She's Out Of My Life" "ordre" => 6 ] [ "nom" => "8. I Can't Help It" "ordre" => 7 ] [ "nom" => "9. It's The Falling In Love" "ordre" => 8 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1471 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …} -enregistreLe: DateTime @1728549035 {#1896 : 2024-10-10 08:30:35.0 UTC (+00:00) } -modifierLe: DateTime @1740341609 {#1889 : 2025-02-23 20:13:29.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-off-the-wall-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3082 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#1841 -id: 2575 -nom: "Off the Wall - UltraDisc One-Step (2 LP) 45 RPM Box Set" -informationComplementaire: "" -description: """ Musicians : \r\n Michael Jackson (vocals, percussion), Patti Austin (lead and backing vocals), Michael Boddicker, George Duke, David Foster (synthesizer), Larry Carlton, Marlo Henderson, Phil Upchurch, Wah Wah Watson, David Williams (guitar), Gary Grant (trumpet), Jerry Hey (horn arrangements, trumpet, and flugelhorn), Kim Hutchcroft (baritone & tenor saxophone, flute), Louis Johnson (bass guitar), Greg Phillinganes (Rhodes piano, synthesizer, clavinet), Bill Reichenbach Jr. (trombone), Bobby Watson (bass guitar), Larry Williams (tenor saxophone & alto saxophone, flute), Hawk Wolinski (organFender Rhodes), Stevie Wonder (rhythm arrangement), Jim Gilstrap, Mortonette Jenkins, Augie Johnson, Paulette McWilliams, Zedrick Williams (background vocals), Paulinho Da Costa, Richard Heath, Randy Jackson (percussion), John Robinson (drums, percussion).\r\n \r\n - Michael Jackson’s Reign as the King of Pop Starts Here: RIAA-Certified Nine-Times-Platinum Off the Wall Blends Funk, Disco, Soul and R&B in Visionary Ways, Features “Don’t Stop ‘Til You Get Enough” and “Rock With You”.\r\n \r\n - 1979 Landmark Presented in Audiophile Sound for the First Time: Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP Box Set Explodes with Energy, Plays with Superb Clarity and Detail, Is Strictly Limited to 6000 Numbered Copies !\r\n \r\n - 1/4" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n \r\n Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Off the Wall is sourced from the original master tapes, housed in a deluxe slipcase, pressed on MoFi SuperVinyl at Fidelity Record Pressing, and strictly limited to 6000 numbered copies. The keepsake packaging of this Off the Wall UD1S set further befits the album's preeminent status. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful graphics. Aurally and visually, this reissue is made for everyone who desires to immerse themselves in everything involved with the nine-times-platinum landmark including the iconic album cover with Jackson dressed in a tuxedo. """ -prixVente: "179.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Michael Jackson (vocals, percussion), Patti Austin (lead and backing vocals), Michael Boddicker, George Duke, David Foster (synthesizer), Larry Carlton, Marlo Henderson, Phil Upchurch, Wah Wah Watson, David Williams (guitar)..." -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: true -extraitYoutube: "https://www.youtube.com/watch?v=n3qQtSRmHxo" -referenceProduit: "Mobile Fidelity Sound Lab" -titreMorceau: [ [ "nom" => "1. Don't Stop 'Til You Get Enough" "ordre" => 0 ] [ "nom" => "10. Burn This Disco Out" "ordre" => 9 ] [ "nom" => "2. Rock With You" "ordre" => 1 ] [ "nom" => "3. Workin' Day And Night" "ordre" => 2 ] [ "nom" => "4. Get On The Floor" "ordre" => 3 ] [ "nom" => "5. Off The Wall" "ordre" => 4 ] [ "nom" => "6. Girlfriend" "ordre" => 5 ] [ "nom" => "7. She's Out Of My Life" "ordre" => 6 ] [ "nom" => "8. I Can't Help It" "ordre" => 7 ] [ "nom" => "9. It's The Falling In Love" "ordre" => 8 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1471 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …} -enregistreLe: DateTime @1728549035 {#1896 : 2024-10-10 08:30:35.0 UTC (+00:00) } -modifierLe: DateTime @1740341609 {#1889 : 2025-02-23 20:13:29.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-off-the-wall-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.33 ms | |
|---|---|---|---|---|
| Input props | [ "produit" => App\Entity\Produit {#2035 -id: 997 -nom: "Business As Usual " -informationComplementaire: "" -description: """ 1982 set shattered records for most weeks spent at top of charts by a debut.\r\n \r\n Contains smash hits "Who Can It Be Now ?" and "Down Under".\r\n \r\n They came from the land down under. And they conquered the charts like no band before or since, with a 1983 debut that shattered records by staying for 15 consecutive weeks at the pole position on the Billboard Top 100. They were Men at Work, a quirky bunch led by a Scottish-born vocalist whose humor, style, and distinguished singing helped the quintet become one of the 1980s' definitive new-wave acts. And it all started with the irresistible Business As Usual.\r\n \r\n Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this LP retrieves an immeasurable amount of previously concealed details from the music. For the first time, the band's percolating rhythms, pulsating guitars, brassy horns, and whimsical beats come to fore without interference from congested mixes and a flat perspective. Spaciousness and imaging are restored, as is the rebirth of palpable dynamic contrast and instrumental separation. Above all, the record is more fun than ever before.\r\n \r\n Anchored by two ubiquitous singles, "Who Can It Be Now ?" and "Down Under", both still FM radio staples, Business As Usual signified a changing of the guard on the new-wave landscape. With leader Colin Hay's vocals bearing a passing resemblance to those of Sting, and his mates supplying what seems like a constant stream of keening pop-rock hooks, dance-baiting grooves, and brassy rejoinders, the record transcends any limitations and showcases a creative depth that extends to the album cuts. No wonder Men at Work soon shared stages with the likes of the Clash. """ -prixVente: "60.00" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "John Rees (bass, vocals), Greg Ham (saxophone, flute, keyboards, vocals), Colin Hay, Ron Strykert (guitar, vocals), Jerry Speiser (drums, vocals)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=XfR9iY5y94s" -referenceProduit: "MOFI 1-024" -titreMorceau: [ [ "nom" => "1. Who Can It Be Now ?" "ordre" => 1 ] [ "nom" => "10. Down By the Sea" "ordre" => 11 ] [ "nom" => "2. I Can See It In Your Eyes" "ordre" => 2 ] [ "nom" => "3. Down Under" "ordre" => 3 ] [ "nom" => "4. Underground" "ordre" => 4 ] [ "nom" => "5. Helpless Automation" "ordre" => 5 ] [ "nom" => "6. People Just Love To Play With Words" "ordre" => 7 ] [ "nom" => "7. Be Good Johnny" "ordre" => 8 ] [ "nom" => "8. Touching the Untouchables" "ordre" => 9 ] [ "nom" => "9. Catch A Star" "ordre" => 10 ] [ "nom" => "Side A :" "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 6 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1471 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2046 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2039 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2041 …} -enregistreLe: DateTime @1470816048 {#2032 : 2016-08-10 08:00:48.0 UTC (+00:00) } -modifierLe: DateTime @1733586605 {#2033 : 2024-12-07 15:50:05.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2043 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-business-as-usual-mofi-1-024" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3196 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2035 -id: 997 -nom: "Business As Usual " -informationComplementaire: "" -description: """ 1982 set shattered records for most weeks spent at top of charts by a debut.\r\n \r\n Contains smash hits "Who Can It Be Now ?" and "Down Under".\r\n \r\n They came from the land down under. And they conquered the charts like no band before or since, with a 1983 debut that shattered records by staying for 15 consecutive weeks at the pole position on the Billboard Top 100. They were Men at Work, a quirky bunch led by a Scottish-born vocalist whose humor, style, and distinguished singing helped the quintet become one of the 1980s' definitive new-wave acts. And it all started with the irresistible Business As Usual.\r\n \r\n Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this LP retrieves an immeasurable amount of previously concealed details from the music. For the first time, the band's percolating rhythms, pulsating guitars, brassy horns, and whimsical beats come to fore without interference from congested mixes and a flat perspective. Spaciousness and imaging are restored, as is the rebirth of palpable dynamic contrast and instrumental separation. Above all, the record is more fun than ever before.\r\n \r\n Anchored by two ubiquitous singles, "Who Can It Be Now ?" and "Down Under", both still FM radio staples, Business As Usual signified a changing of the guard on the new-wave landscape. With leader Colin Hay's vocals bearing a passing resemblance to those of Sting, and his mates supplying what seems like a constant stream of keening pop-rock hooks, dance-baiting grooves, and brassy rejoinders, the record transcends any limitations and showcases a creative depth that extends to the album cuts. No wonder Men at Work soon shared stages with the likes of the Clash. """ -prixVente: "60.00" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "John Rees (bass, vocals), Greg Ham (saxophone, flute, keyboards, vocals), Colin Hay, Ron Strykert (guitar, vocals), Jerry Speiser (drums, vocals)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=XfR9iY5y94s" -referenceProduit: "MOFI 1-024" -titreMorceau: [ [ "nom" => "1. Who Can It Be Now ?" "ordre" => 1 ] [ "nom" => "10. Down By the Sea" "ordre" => 11 ] [ "nom" => "2. I Can See It In Your Eyes" "ordre" => 2 ] [ "nom" => "3. Down Under" "ordre" => 3 ] [ "nom" => "4. Underground" "ordre" => 4 ] [ "nom" => "5. Helpless Automation" "ordre" => 5 ] [ "nom" => "6. People Just Love To Play With Words" "ordre" => 7 ] [ "nom" => "7. Be Good Johnny" "ordre" => 8 ] [ "nom" => "8. Touching the Untouchables" "ordre" => 9 ] [ "nom" => "9. Catch A Star" "ordre" => 10 ] [ "nom" => "Side A :" "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 6 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1471 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2046 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2039 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2041 …} -enregistreLe: DateTime @1470816048 {#2032 : 2016-08-10 08:00:48.0 UTC (+00:00) } -modifierLe: DateTime @1733586605 {#2033 : 2024-12-07 15:50:05.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2043 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-business-as-usual-mofi-1-024" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.32 ms | |
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| Input props | [ "produit" => App\Entity\Produit {#2051 -id: 2582 -nom: "Sorcerer - MoFi SuperVinyl" -informationComplementaire: "" -description: """ - THE THIRD OF FIVE ALBUMS FROM MILES DAVIS’ SECOND GREAT QUINTET: MOOD, INFLECTION, NUANCE, AND EXPRESSIONISM TAKE CENTER STAGE ON SORCERER !\r\n \r\n - Sourced from the Original Master Tapes and Pressed at Fidelity Record Pressing on MoFi SuperVinyl: Mobile Fidelity 180 gram 33 RPM SuperVinyl LP Plays with Reference Dynamics, Transparency, and Presence !\r\n \r\n - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n \r\n Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums by Miles Davis’ legendary Second Great Quintet and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz the 1967 effort mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP.\r\n \r\n Sourced from the original master tapes and pressed at Fidelity Record Pressing, this numbered-edition audiophile edition of Sorcerer joins the ranks of other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism. Credit goes to MoFi’s engineers as well as the label’s groundbreaking SuperVinyl profile that features the lowest-possible noise floor as well as sublime transparency, dead-quiet surfaces, and superb groove definition.\r\n \r\n By any measure, this is a reference reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter’s horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams’ rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock’s piano runs occupy their own space, where their relationship to the central rhythms and front line becomes clearer.\r\n \r\n Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad “Pee Wee,” an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another’s moves with guile and purpose. The opening “Prince of Darkness” showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.\r\n \r\n A lasting example of Davis’ visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing “Nothing Like You” — a brief tribute to Davis’ eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.\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 virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab. """ -prixVente: "89.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "" -referenceProduit: "Mobile Fidelity Sound Lab MFSV1-519" -titreMorceau: [ [ "nom" => "1. Limbo" "ordre" => 6 ] [ "nom" => "1. Prince of Darkness" "ordre" => 1 ] [ "nom" => "2. Pee Wee" "ordre" => 2 ] [ "nom" => "2. Vonetta" "ordre" => 7 ] [ "nom" => "3. Masqualero" "ordre" => 3 ] [ "nom" => "3. Nothing Like You" "ordre" => 8 ] [ "nom" => "4. The Sorcerer" "ordre" => 4 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 5 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2062 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2055 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2057 …} -enregistreLe: DateTime @1730153059 {#2048 : 2024-10-28 22:04:19.0 UTC (+00:00) } -modifierLe: DateTime @1732090555 {#2049 : 2024-11-20 08:15:55.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2059 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-sorcerer-mofi-supervinyl-mobile-fidelity-sound-lab-mfsv1-519" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3247 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2051 -id: 2582 -nom: "Sorcerer - MoFi SuperVinyl" -informationComplementaire: "" -description: """ - THE THIRD OF FIVE ALBUMS FROM MILES DAVIS’ SECOND GREAT QUINTET: MOOD, INFLECTION, NUANCE, AND EXPRESSIONISM TAKE CENTER STAGE ON SORCERER !\r\n \r\n - Sourced from the Original Master Tapes and Pressed at Fidelity Record Pressing on MoFi SuperVinyl: Mobile Fidelity 180 gram 33 RPM SuperVinyl LP Plays with Reference Dynamics, Transparency, and Presence !\r\n \r\n - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n \r\n Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums by Miles Davis’ legendary Second Great Quintet and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz the 1967 effort mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity’s 180 gram 33 RPM SuperVinyl LP.\r\n \r\n Sourced from the original master tapes and pressed at Fidelity Record Pressing, this numbered-edition audiophile edition of Sorcerer joins the ranks of other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism. Credit goes to MoFi’s engineers as well as the label’s groundbreaking SuperVinyl profile that features the lowest-possible noise floor as well as sublime transparency, dead-quiet surfaces, and superb groove definition.\r\n \r\n By any measure, this is a reference reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter’s horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams’ rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock’s piano runs occupy their own space, where their relationship to the central rhythms and front line becomes clearer.\r\n \r\n Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad “Pee Wee,” an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another’s moves with guile and purpose. The opening “Prince of Darkness” showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.\r\n \r\n A lasting example of Davis’ visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing “Nothing Like You” — a brief tribute to Davis’ eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.\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 virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab. """ -prixVente: "89.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (double bass), Tony Williams (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "" -referenceProduit: "Mobile Fidelity Sound Lab MFSV1-519" -titreMorceau: [ [ "nom" => "1. Limbo" "ordre" => 6 ] [ "nom" => "1. Prince of Darkness" "ordre" => 1 ] [ "nom" => "2. Pee Wee" "ordre" => 2 ] [ "nom" => "2. Vonetta" "ordre" => 7 ] [ "nom" => "3. Masqualero" "ordre" => 3 ] [ "nom" => "3. Nothing Like You" "ordre" => 8 ] [ "nom" => "4. The Sorcerer" "ordre" => 4 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 5 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2062 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2055 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2057 …} -enregistreLe: DateTime @1730153059 {#2048 : 2024-10-28 22:04:19.0 UTC (+00:00) } -modifierLe: DateTime @1732090555 {#2049 : 2024-11-20 08:15:55.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2059 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-sorcerer-mofi-supervinyl-mobile-fidelity-sound-lab-mfsv1-519" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.32 ms | |
|---|---|---|---|---|
| Input props | [ "produit" => App\Entity\Produit {#2067 -id: 963 -nom: "The Blues... "A Real Summit Meeting / Live At Newport"" -informationComplementaire: "Rare : MFSL 2-518, Double LP Record, first MFSL Series Japan pressing by JVC in Japan " -description: """ Mobile Fidelity Sound Labs (MFSL) Records, 2 x 12 inch, 33 1/3 RPM Stereo LP, Cat. MFSL 2-518, First Pressing. Featuring : Muddy Waters, B.B. King, Big Mama Thornton, Jay McShann, Arthur Big Boy Crudup, Eddie Cleanhead Vinson, Clarence Gatemouth Brown, and Lloyd Glenn. Titled : "The Blues ... A Real Summit Meeting (Recorded Live At Newport In New York, 1973)".\r\n \r\n If you're not familiar with this recording, here's some additional information : Recorded in front of a live Newport audience in New York, 1973. Besides the legendary B.B. King, Eddie "Cleanhead" Vinson and Muddy Waters, of historical interest, Big Mama Thornton, Lloyd Glenn, Arthur "Big Boy" Crudup, and Jay McShann offer renditions of their own songs that were covered for a much larger audience by Janis Joplin, Elvis Presley, and others. An unexpected delight is the electrified violin played by Clarence "Gatemouth" Brown, who backs other performers here as well as taking the lead on two tunes.\r\n \r\n Mobile Fidelity Sound Lab has been the undisputed pioneer and leader in audiophile recordings since the company's inception in 1977. Established by dedicated audiophiles, Mobile Fidelity's first and foremost goal was to offer faithfully reproduced high fidelity recordings that would compliment the numerous advances occurring in audio delivery systems. Throughout its history, Mobile Fidelity has remained true to this goal, pioneering state-of-the-art technologies and setting audiophile standards that remain in place today.\r\n \r\n """ -prixVente: "599.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …} -musicienOrchestre: "" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=ZyOaCWoF3Dg" -referenceProduit: "MFSL 2-518" -titreMorceau: [ [ "nom" => "1. Honky Tonk Train - Lloyd Glenn" "ordre" => 12 ] [ "nom" => "1. Little Red Rooster - "Big Mama" Thornton" "ordre" => 1 ] [ "nom" => "1. The Drifter - Clarence "Gatemouth" Brown" "ordre" => 19 ] [ "nom" => "1. They Call Me Mr. Cleanhead - Eddie "Cleanhead" Vinson" "ordre" => 6 ] [ "nom" => "2. After Hours - Lloyd Glenn" "ordre" => 13 ] [ "nom" => "2. Ball And Chain - "Big Mama" Thornton" "ordre" => 2 ] [ "nom" => "2. Hold It Right There - Eddie "Cleanhead" Vinson" "ordre" => 7 ] [ "nom" => "2. Please Mr. Nixon - Clarence "Gatemouth" Brown" "ordre" => 20 ] [ "nom" => "3. Back Door Blues - Eddie "Cleanhead" Vinson" "ordre" => 8 ] [ "nom" => "3. Outside Help - B.B. King" "ordre" => 21 ] [ "nom" => "3. Pine Tops Boogie Woogie - Lloyd Glenn" "ordre" => 14 ] [ "nom" => "3. Smooth Sailing - Jay McShann" "ordre" => 3 ] [ "nom" => "4. Cronfessin' The Blues - Jay McShann" "ordre" => 4 ] [ "nom" => "4. Kidney Stew - Eddie "Cleanhead" Vinson" "ordre" => 9 ] [ "nom" => "4. Long Distance Call - Muddy Waters" "ordre" => 15 ] [ "nom" => "5. That's Alright Now Mama - Arthur "Big Boy" Crudup" "ordre" => 10 ] [ "nom" => "5. Where's My Woman Been - Muddy Waters" "ordre" => 16 ] [ "nom" => "6. Get My Mojo Workin' - Muddy Waters" "ordre" => 17 ] [ "nom" => "Side A :" "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 5 ] [ "nom" => "Side C : " "ordre" => 11 ] [ "nom" => "Side D : " "ordre" => 18 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2069 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1455 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2078 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2071 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2073 …} -enregistreLe: DateTime @1467795650 {#2064 : 2016-07-06 09:00:50.0 UTC (+00:00) } -modifierLe: DateTime @1730756485 {#2065 : 2024-11-04 21:41:25.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-the-blues-a-real-summit-meeting-live-at-newport-mfsl-2-518" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3298 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2067 -id: 963 -nom: "The Blues... "A Real Summit Meeting / Live At Newport"" -informationComplementaire: "Rare : MFSL 2-518, Double LP Record, first MFSL Series Japan pressing by JVC in Japan " -description: """ Mobile Fidelity Sound Labs (MFSL) Records, 2 x 12 inch, 33 1/3 RPM Stereo LP, Cat. MFSL 2-518, First Pressing. Featuring : Muddy Waters, B.B. King, Big Mama Thornton, Jay McShann, Arthur Big Boy Crudup, Eddie Cleanhead Vinson, Clarence Gatemouth Brown, and Lloyd Glenn. Titled : "The Blues ... A Real Summit Meeting (Recorded Live At Newport In New York, 1973)".\r\n \r\n If you're not familiar with this recording, here's some additional information : Recorded in front of a live Newport audience in New York, 1973. Besides the legendary B.B. King, Eddie "Cleanhead" Vinson and Muddy Waters, of historical interest, Big Mama Thornton, Lloyd Glenn, Arthur "Big Boy" Crudup, and Jay McShann offer renditions of their own songs that were covered for a much larger audience by Janis Joplin, Elvis Presley, and others. An unexpected delight is the electrified violin played by Clarence "Gatemouth" Brown, who backs other performers here as well as taking the lead on two tunes.\r\n \r\n Mobile Fidelity Sound Lab has been the undisputed pioneer and leader in audiophile recordings since the company's inception in 1977. Established by dedicated audiophiles, Mobile Fidelity's first and foremost goal was to offer faithfully reproduced high fidelity recordings that would compliment the numerous advances occurring in audio delivery systems. Throughout its history, Mobile Fidelity has remained true to this goal, pioneering state-of-the-art technologies and setting audiophile standards that remain in place today.\r\n \r\n """ -prixVente: "599.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …} -musicienOrchestre: "" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=ZyOaCWoF3Dg" -referenceProduit: "MFSL 2-518" -titreMorceau: [ [ "nom" => "1. Honky Tonk Train - Lloyd Glenn" "ordre" => 12 ] [ "nom" => "1. Little Red Rooster - "Big Mama" Thornton" "ordre" => 1 ] [ "nom" => "1. The Drifter - Clarence "Gatemouth" Brown" "ordre" => 19 ] [ "nom" => "1. They Call Me Mr. Cleanhead - Eddie "Cleanhead" Vinson" "ordre" => 6 ] [ "nom" => "2. After Hours - Lloyd Glenn" "ordre" => 13 ] [ "nom" => "2. Ball And Chain - "Big Mama" Thornton" "ordre" => 2 ] [ "nom" => "2. Hold It Right There - Eddie "Cleanhead" Vinson" "ordre" => 7 ] [ "nom" => "2. Please Mr. Nixon - Clarence "Gatemouth" Brown" "ordre" => 20 ] [ "nom" => "3. Back Door Blues - Eddie "Cleanhead" Vinson" "ordre" => 8 ] [ "nom" => "3. Outside Help - B.B. King" "ordre" => 21 ] [ "nom" => "3. Pine Tops Boogie Woogie - Lloyd Glenn" "ordre" => 14 ] [ "nom" => "3. Smooth Sailing - Jay McShann" "ordre" => 3 ] [ "nom" => "4. Cronfessin' The Blues - Jay McShann" "ordre" => 4 ] [ "nom" => "4. Kidney Stew - Eddie "Cleanhead" Vinson" "ordre" => 9 ] [ "nom" => "4. Long Distance Call - Muddy Waters" "ordre" => 15 ] [ "nom" => "5. That's Alright Now Mama - Arthur "Big Boy" Crudup" "ordre" => 10 ] [ "nom" => "5. Where's My Woman Been - Muddy Waters" "ordre" => 16 ] [ "nom" => "6. Get My Mojo Workin' - Muddy Waters" "ordre" => 17 ] [ "nom" => "Side A :" "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 5 ] [ "nom" => "Side C : " "ordre" => 11 ] [ "nom" => "Side D : " "ordre" => 18 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2069 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1455 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2078 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2071 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2073 …} -enregistreLe: DateTime @1467795650 {#2064 : 2016-07-06 09:00:50.0 UTC (+00:00) } -modifierLe: DateTime @1730756485 {#2065 : 2024-11-04 21:41:25.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-the-blues-a-real-summit-meeting-live-at-newport-mfsl-2-518" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.58 ms | |
|---|---|---|---|---|
| Input props | [ "produit" => App\Entity\Produit {#2083 -id: 2567 -nom: "Live at Carnegie Hall" -informationComplementaire: "" -description: """ BILL WITHERS' LIVE AT CARNEGIE HALL IS AN EASYGOING PORTRAIT OF DOWN-HOME SOUL SINGER COMING INTO HIS OWN AND ESTABLISHING AN INDELIBLE BOND BETWEEN PERFORMER AND AUDIENCE.\r\n \r\n - 1/4" / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe !\r\n \r\n On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall is a forgotten classic an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the soundstaging, this reissue takes you inside the venue.\r\n """ -prixVente: "99.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Bill Withers (guitar, piano, vocals), Benorce Blackmon (guitar), Melvin Dunlap (bass), Ray Jackson (piano, string and horn arrangements), Bobbye Hall (percussion), James Gadson (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=QTflhlwFZIw" -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-446" -titreMorceau: [ [ "nom" => "1. I Can’t Write Left Handed" "ordre" => 11 ] [ "nom" => "1. Let Us Love" "ordre" => 16 ] [ "nom" => "1. Use Me" "ordre" => 1 ] [ "nom" => "1. World Keeps Going Around" "ordre" => 6 ] [ "nom" => "2. Friend of Mine" "ordre" => 2 ] [ "nom" => "2. Harlem / Cold Baloney" "ordre" => 17 ] [ "nom" => "2. Lean on Me" "ordre" => 12 ] [ "nom" => "2. Let Me In Your Life" "ordre" => 7 ] [ "nom" => "3. Ain’t No Sunshine" "ordre" => 3 ] [ "nom" => "3. Better Off Dead" "ordre" => 8 ] [ "nom" => "3. Lonely Town, Lonely Street" "ordre" => 13 ] [ "nom" => "4. For My Friend" "ordre" => 9 ] [ "nom" => "4. Grandma’s Hands" "ordre" => 4 ] [ "nom" => "4. Hope She’ll Be Happier" "ordre" => 14 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 5 ] [ "nom" => "Side C : " "ordre" => 10 ] [ "nom" => "Side D : " "ordre" => 15 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2085 …} -label: App\Entity\Label {#1063 …} -style: null -photoProduit: Doctrine\ORM\PersistentCollection {#2094 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2087 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2089 …} -enregistreLe: DateTime @1728136056 {#2080 : 2024-10-05 13:47:36.0 UTC (+00:00) } -modifierLe: DateTime @1728136673 {#2081 : 2024-10-05 13:57:53.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2091 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-live-at-carnegie-hall-mobile-fidelity-sound-lab-mfsl-2-446" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3349 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2083 -id: 2567 -nom: "Live at Carnegie Hall" -informationComplementaire: "" -description: """ BILL WITHERS' LIVE AT CARNEGIE HALL IS AN EASYGOING PORTRAIT OF DOWN-HOME SOUL SINGER COMING INTO HIS OWN AND ESTABLISHING AN INDELIBLE BOND BETWEEN PERFORMER AND AUDIENCE.\r\n \r\n - 1/4" / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe !\r\n \r\n On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall is a forgotten classic an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the soundstaging, this reissue takes you inside the venue.\r\n """ -prixVente: "99.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Bill Withers (guitar, piano, vocals), Benorce Blackmon (guitar), Melvin Dunlap (bass), Ray Jackson (piano, string and horn arrangements), Bobbye Hall (percussion), James Gadson (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=QTflhlwFZIw" -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-446" -titreMorceau: [ [ "nom" => "1. I Can’t Write Left Handed" "ordre" => 11 ] [ "nom" => "1. Let Us Love" "ordre" => 16 ] [ "nom" => "1. Use Me" "ordre" => 1 ] [ "nom" => "1. World Keeps Going Around" "ordre" => 6 ] [ "nom" => "2. Friend of Mine" "ordre" => 2 ] [ "nom" => "2. Harlem / Cold Baloney" "ordre" => 17 ] [ "nom" => "2. Lean on Me" "ordre" => 12 ] [ "nom" => "2. Let Me In Your Life" "ordre" => 7 ] [ "nom" => "3. Ain’t No Sunshine" "ordre" => 3 ] [ "nom" => "3. Better Off Dead" "ordre" => 8 ] [ "nom" => "3. Lonely Town, Lonely Street" "ordre" => 13 ] [ "nom" => "4. For My Friend" "ordre" => 9 ] [ "nom" => "4. Grandma’s Hands" "ordre" => 4 ] [ "nom" => "4. Hope She’ll Be Happier" "ordre" => 14 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 5 ] [ "nom" => "Side C : " "ordre" => 10 ] [ "nom" => "Side D : " "ordre" => 15 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2085 …} -label: App\Entity\Label {#1063 …} -style: null -photoProduit: Doctrine\ORM\PersistentCollection {#2094 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2087 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2089 …} -enregistreLe: DateTime @1728136056 {#2080 : 2024-10-05 13:47:36.0 UTC (+00:00) } -modifierLe: DateTime @1728136673 {#2081 : 2024-10-05 13:57:53.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2091 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-live-at-carnegie-hall-mobile-fidelity-sound-lab-mfsl-2-446" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.33 ms | |
|---|---|---|---|---|
| Input props | [ "produit" => App\Entity\Produit {#2099 -id: 2564 -nom: "On The Corner - (Limited Numbered Edition Super Vinyl)" -informationComplementaire: "" -description: """ Musicians : \r\n Miles Davis (trumpet), David Liebman (soprano saxophone), Carlos Garnett (soprano & tenor saxophone), Herbie Hancock, Harold Williams, Chick Corea (electric piano, organ, piano, synthesizer), David Creamer, John McLaughlin (guitar), Mtume (percussion, bells), Collin Walcott (sitar), Badal Roy (tabla), Michael Henderson (electric bass), Bennie Maupin (bass clarinet), Paul Buckmaster (cello), Don Alias (congas, shaker), Billy Hart (drums, percussion, cowbell), Jack DeJohnette (drums).\r\n \r\n - 180 gram MoFi SuperVinyl 33 1/3 LP !\r\n \r\n - 1/4" / 15 ips analog master to DSD 256 to analog console to lathe !\r\n \r\n - Sourced from the original master tape !\r\n \r\n - Exotic, bold, streetwise, futuristic !\r\n \r\n - On The Corner embraces Miles Davis' "Jungle Sound" with percussive foundations, trance loops, and transformational arrangements !\r\n \r\n Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches the likes of which fill Davis' boldest and most controversial undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.\r\n \r\n Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180 gram 33 1/3 RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin", as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would've loved MoFi's groundbreaking SuperVinyl profile that features the lowest-possible analog noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.\r\n \r\n New degrees of spaciousness and airiness equally important to the musique concrete arrangements give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production and the trumpeter's cutting-edge aural collages in definitive fashion.\r\n \r\n Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties - Chick Corea and Herbie Hancock prominently figure he also relies on an all-star cast of sidemen for concentrated soloing and additional support.\r\n \r\n With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.\r\n \r\n Exotic, intrepid, and filled with Davis' "jungle sound", On the Corner remains daringly hip more than four decades later. """ -prixVente: "89.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Miles Davis (trumpet), David Liebman (soprano saxophone), Carlos Garnett (soprano & tenor saxophone), Herbie Hancock, Harold Williams, Chick Corea (electric piano, organ, piano, synthesizer)..." -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=AIqXprCArdo" -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-518" -titreMorceau: [ [ "nom" => "/ Vote for Miles" "ordre" => 2 ] [ "nom" => "1. On the Corner / New York Girl / Thinkin’ One Thing and Doin’ Another" "ordre" => 1 ] [ "nom" => "2. Black Satin" "ordre" => 3 ] [ "nom" => "3. One and One" "ordre" => 5 ] [ "nom" => "4. Helen Butte/Mr. Freedom X" "ordre" => 6 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 4 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2107 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2100 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2102 …} -enregistreLe: DateTime @1727758840 {#2096 : 2024-10-01 05:00:40.0 UTC (+00:00) } -modifierLe: DateTime @1727778893 {#2097 : 2024-10-01 10:34:53.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2104 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-on-the-corner-limited-numbered-edition-super-vinyl-mobile-fidelity-sound-lab-mfsl-1-518" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3402 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2099 -id: 2564 -nom: "On The Corner - (Limited Numbered Edition Super Vinyl)" -informationComplementaire: "" -description: """ Musicians : \r\n Miles Davis (trumpet), David Liebman (soprano saxophone), Carlos Garnett (soprano & tenor saxophone), Herbie Hancock, Harold Williams, Chick Corea (electric piano, organ, piano, synthesizer), David Creamer, John McLaughlin (guitar), Mtume (percussion, bells), Collin Walcott (sitar), Badal Roy (tabla), Michael Henderson (electric bass), Bennie Maupin (bass clarinet), Paul Buckmaster (cello), Don Alias (congas, shaker), Billy Hart (drums, percussion, cowbell), Jack DeJohnette (drums).\r\n \r\n - 180 gram MoFi SuperVinyl 33 1/3 LP !\r\n \r\n - 1/4" / 15 ips analog master to DSD 256 to analog console to lathe !\r\n \r\n - Sourced from the original master tape !\r\n \r\n - Exotic, bold, streetwise, futuristic !\r\n \r\n - On The Corner embraces Miles Davis' "Jungle Sound" with percussive foundations, trance loops, and transformational arrangements !\r\n \r\n Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches the likes of which fill Davis' boldest and most controversial undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.\r\n \r\n Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180 gram 33 1/3 RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin", as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would've loved MoFi's groundbreaking SuperVinyl profile that features the lowest-possible analog noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.\r\n \r\n New degrees of spaciousness and airiness equally important to the musique concrete arrangements give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production and the trumpeter's cutting-edge aural collages in definitive fashion.\r\n \r\n Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties - Chick Corea and Herbie Hancock prominently figure he also relies on an all-star cast of sidemen for concentrated soloing and additional support.\r\n \r\n With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.\r\n \r\n Exotic, intrepid, and filled with Davis' "jungle sound", On the Corner remains daringly hip more than four decades later. """ -prixVente: "89.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Miles Davis (trumpet), David Liebman (soprano saxophone), Carlos Garnett (soprano & tenor saxophone), Herbie Hancock, Harold Williams, Chick Corea (electric piano, organ, piano, synthesizer)..." -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=AIqXprCArdo" -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-518" -titreMorceau: [ [ "nom" => "/ Vote for Miles" "ordre" => 2 ] [ "nom" => "1. On the Corner / New York Girl / Thinkin’ One Thing and Doin’ Another" "ordre" => 1 ] [ "nom" => "2. Black Satin" "ordre" => 3 ] [ "nom" => "3. One and One" "ordre" => 5 ] [ "nom" => "4. Helen Butte/Mr. Freedom X" "ordre" => 6 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 4 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2107 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2100 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2102 …} -enregistreLe: DateTime @1727758840 {#2096 : 2024-10-01 05:00:40.0 UTC (+00:00) } -modifierLe: DateTime @1727778893 {#2097 : 2024-10-01 10:34:53.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2104 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-on-the-corner-limited-numbered-edition-super-vinyl-mobile-fidelity-sound-lab-mfsl-1-518" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.31 ms | |
|---|---|---|---|---|
| Input props | [ "produit" => App\Entity\Produit {#2112 -id: 2421 -nom: "Round About Midnight - (Limited Numbered Edition Super Vinyl)" -informationComplementaire: "" -description: """ COLUMBIA RECORDS DEBUT HIGHLIGHTS DIVERSE PALETTE AND FAMED QUINTET\r\n \r\n 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe\r\n \r\n Hipness Personified : Miles Davis' Columbia Records Debut, 'Round About Midnight Blows Cool and Hot Jazz with Famed Quintet\r\n \r\n Lifelike Presence and Immediacy: Sourced from the Original Master Tapes, Mobile Fidelity's 180 gram Vinyl LP Presents Music in Direct Mono Sound\r\n \r\n Miles Davis' first album for Columbia, ‘Round About Midnight, represents both the beginning of a three-plus-decade relationship with the famed label as well as the start of an extended collaboration with then-unknown saxophonist John Coltrane. As one of the era's only complete start-to-finish full-length LPs, the 1957 set stands as a hard-bop benchmark a summation of the styles that came before its creation, an immersion into the period's cutting-edge strains, and a hint of the modalism that would follow. \r\n \r\n Sourced from the original master tapes, Mobile Fidelity's numbered-edition 180 gram vinyl LP traces the individual paths each musician takes in contributing to the whole, whether it's pianist Red Garland's left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.\r\n \r\n Few jazz records claim the significance boasted by ‘Round About Midnight. The album's creation and the assembly of Davis' quintet, which also includes Paul Chambers and Philly Joe Jones – stems from the headliner's rousing rendition of the title-inspired track, "'Round Midnight," a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasn't the composer's only surprise.\r\n \r\n 'Round About Midnight thrives due to diversity and consistency, a rare combination epitomized by the first-rate selection and astonishing performance of pensive ballads, bebop classics, pop standards, and folk pieces. Witness the counterpoint exchanges during "Ah-Leu-Cha" and its Dixieland shades. Soak up the progressive drama and swinging tempos on "All of You" and "Bye Bye Blackbird." Delight in the mélange of latticed textures and schematic moods throughout the sequence, here presented in gorgeous fidelity, zeroing in on Davis' warm, plush, rich, and close-up trumpet timbres and how, by playing his instrument right near the microphone, he infuses the arrangements with the sort of daring intimacy embraced by two lovers. \r\n \r\n Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, ‘Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and sip a cognac. This is Miles and Co. at their best. And hipness personified. \r\n \r\n "This is by far the best digital rendition of this music, and has a wonderful analogue sound found in the best of the Mobile Fidelity reissues. Essential in both [SACD and LP] formats". – Hi-Fi+ """ -prixVente: "89.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (double bass), Philly Joe Jones (drums)" -sonMusic: App\Enum\SonMusicEnum {#1132 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=w6PfwriXJbs" -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-373 M" -titreMorceau: [ [ "nom" => "1. Bye Bye Blackbird" "ordre" => 5 ] [ "nom" => "1. Round Midnight" "ordre" => 1 ] [ "nom" => "2. Ah-Leu-Cha" "ordre" => 2 ] [ "nom" => "2. Tadd's Delight" "ordre" => 6 ] [ "nom" => "3. All of You" "ordre" => 3 ] [ "nom" => "3. Dear Old Stockholm" "ordre" => 7 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 4 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2120 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2113 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2115 …} -enregistreLe: DateTime @1683268834 {#2109 : 2023-05-05 06:40:34.0 UTC (+00:00) } -modifierLe: DateTime @1727778832 {#2110 : 2024-10-01 10:33:52.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2117 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-round-about-midnight-limited-numbered-edition-super-vinyl-mobile-fidelity-sound-lab-mfsl-1-373-m" } "detaillePage" => false ] |
|||
| Attributes | [] |
|||
| Component | App\Twig\Components\GestionPanierFavoriComponents {#3450 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2112 -id: 2421 -nom: "Round About Midnight - (Limited Numbered Edition Super Vinyl)" -informationComplementaire: "" -description: """ COLUMBIA RECORDS DEBUT HIGHLIGHTS DIVERSE PALETTE AND FAMED QUINTET\r\n \r\n 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe\r\n \r\n Hipness Personified : Miles Davis' Columbia Records Debut, 'Round About Midnight Blows Cool and Hot Jazz with Famed Quintet\r\n \r\n Lifelike Presence and Immediacy: Sourced from the Original Master Tapes, Mobile Fidelity's 180 gram Vinyl LP Presents Music in Direct Mono Sound\r\n \r\n Miles Davis' first album for Columbia, ‘Round About Midnight, represents both the beginning of a three-plus-decade relationship with the famed label as well as the start of an extended collaboration with then-unknown saxophonist John Coltrane. As one of the era's only complete start-to-finish full-length LPs, the 1957 set stands as a hard-bop benchmark a summation of the styles that came before its creation, an immersion into the period's cutting-edge strains, and a hint of the modalism that would follow. \r\n \r\n Sourced from the original master tapes, Mobile Fidelity's numbered-edition 180 gram vinyl LP traces the individual paths each musician takes in contributing to the whole, whether it's pianist Red Garland's left hand spinning actinoid chords or Coltrane infusing a tune with harmony-defying fills that suggest arabesque patterns. Recorded at three separate sessions, the music has never sounded so cohesive, immediate, or involving.\r\n \r\n Few jazz records claim the significance boasted by ‘Round About Midnight. The album's creation and the assembly of Davis' quintet, which also includes Paul Chambers and Philly Joe Jones – stems from the headliner's rousing rendition of the title-inspired track, "'Round Midnight," a Thelonious Monk standard, at the 1955 Newport Jazz Festival. Stunning the audience with an interpretation that witnessed him personalize the composition with a brooding tone made possible via employment of his soon-to-be-trademark Harmon mute, Davis redefined perspective and possibility, taking ownership of the ballad as his own, and further improving upon its reach in the studio. It wasn't the composer's only surprise.\r\n \r\n 'Round About Midnight thrives due to diversity and consistency, a rare combination epitomized by the first-rate selection and astonishing performance of pensive ballads, bebop classics, pop standards, and folk pieces. Witness the counterpoint exchanges during "Ah-Leu-Cha" and its Dixieland shades. Soak up the progressive drama and swinging tempos on "All of You" and "Bye Bye Blackbird." Delight in the mélange of latticed textures and schematic moods throughout the sequence, here presented in gorgeous fidelity, zeroing in on Davis' warm, plush, rich, and close-up trumpet timbres and how, by playing his instrument right near the microphone, he infuses the arrangements with the sort of daring intimacy embraced by two lovers. \r\n \r\n Tension, suggestiveness, calm, mystery, nostalgia: All here. Gather now, ‘Round About Midnight. Slip on a pair of shades, draw the curtains, slouch into a chair, and sip a cognac. This is Miles and Co. at their best. And hipness personified. \r\n \r\n "This is by far the best digital rendition of this music, and has a wonderful analogue sound found in the best of the Mobile Fidelity reissues. Essential in both [SACD and LP] formats". – Hi-Fi+ """ -prixVente: "89.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1883 …} -musicienOrchestre: "Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (double bass), Philly Joe Jones (drums)" -sonMusic: App\Enum\SonMusicEnum {#1132 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=w6PfwriXJbs" -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-373 M" -titreMorceau: [ [ "nom" => "1. Bye Bye Blackbird" "ordre" => 5 ] [ "nom" => "1. Round Midnight" "ordre" => 1 ] [ "nom" => "2. Ah-Leu-Cha" "ordre" => 2 ] [ "nom" => "2. Tadd's Delight" "ordre" => 6 ] [ "nom" => "3. All of You" "ordre" => 3 ] [ "nom" => "3. Dear Old Stockholm" "ordre" => 7 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 4 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2120 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2113 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2115 …} -enregistreLe: DateTime @1683268834 {#2109 : 2023-05-05 06:40:34.0 UTC (+00:00) } -modifierLe: DateTime @1727778832 {#2110 : 2024-10-01 10:33:52.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2117 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-round-about-midnight-limited-numbered-edition-super-vinyl-mobile-fidelity-sound-lab-mfsl-1-373-m" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
|||
| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.31 ms | |
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| Input props | [ "produit" => App\Entity\Produit {#2125 -id: 2193 -nom: "Somethin' Else - UltraDisc One-Step (Box Set 2 LP) 45 RPM" -informationComplementaire: "" -description: """ MASTERED FROM THE ORIGINAL MASTER TAPES AND LIMITED TO 10000 NUMBERED COPIES !\r\n \r\n Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.\r\n \r\n Strictly limited to 10000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM 2 LP collector's edition pays tribute to the record's merit and enhances the intimate program for generations to come. Offering reference-caliber sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior.\r\n \r\n The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the iconic photos to the gorgeous finishes.\r\n \r\n The vibrant potency reveals itself openly on an analog set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing the definition of rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis ? Breathtakingly lifelike in timbre, naturalism, purity, and presence. This collector's version takes you there – there being Rudy Van Gelder's legendary New Jersey studio in March 1958 to witness it all unfold, again and again.\r\n \r\n For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin' Else is without question a record you'll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after its release, "The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer." Such inimitable feeling, or emotion, courses throughout every passage, and no where more obviously than on "Autumn Leaves" and "Love for Sale".\r\n \r\n Without question, the discreet interpretations of the Johnny Mercer and Cole Porter songs, respectively, found on Somethin' Else have long been considered part of jazz's alluring mystique. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on "Autumn Leaves", with the latter's muted trumpet and the headliner's lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity. Blues, melody, and romance pour from their horns. Their bandmates, picking up on the intimate vibe and calm mood here – as well as on the spry, head-over-heels spirit of "Love for Sale" join in on the conversation with sharp economy and float-on-air roundedness.\r\n \r\n Not to undersell the other three numbers, all deserving five-star status. Twelve measures in length, the title track offers a slow burn in swing. Written by Adderley's brother, Nat, the 12-bar "One for Daddy-O" transmits funk flavors. The closing "Dancing in the Dark" pops with lushness and temptation, its stream of bold colors and understated textures calling for a moonlight twirl, or at least fantasies suggestive of a memorable night. Somethin' else, indeed. """ -prixVente: "249.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …} -musicienOrchestre: "Cannonball Adderley (alto saxophone), Miles Davis (trumpet), Hank Jones (piano), Sam Jones (bass), Art Blakey (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: true -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=u37RF5xKNq8" -referenceProduit: "Mobile Fidelity Sound Lab UD1S-022" -titreMorceau: [ [ "nom" => "1. Autumn Leaves" "ordre" => 0 ] [ "nom" => "2. Love for Sale" "ordre" => 1 ] [ "nom" => "3. Somethin' Else" "ordre" => 2 ] [ "nom" => "4. One for Daddy-O" "ordre" => 3 ] [ "nom" => "5. Dancing in the Dark" "ordre" => 4 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2127 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2136 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2129 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2131 …} -enregistreLe: DateTime @1641539962 {#2122 : 2022-01-07 07:19:22.0 UTC (+00:00) } -modifierLe: DateTime @1719219339 {#2123 : 2024-06-24 08:55:39.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2133 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-somethin-else-ultradisc-one-step-box-set-2-lp-45-rpm-mobile-fidelity-sound-lab-ud1s-022" } "detaillePage" => false ] |
|||
| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3496 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2125 -id: 2193 -nom: "Somethin' Else - UltraDisc One-Step (Box Set 2 LP) 45 RPM" -informationComplementaire: "" -description: """ MASTERED FROM THE ORIGINAL MASTER TAPES AND LIMITED TO 10000 NUMBERED COPIES !\r\n \r\n Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.\r\n \r\n Strictly limited to 10000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM 2 LP collector's edition pays tribute to the record's merit and enhances the intimate program for generations to come. Offering reference-caliber sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior.\r\n \r\n The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the iconic photos to the gorgeous finishes.\r\n \r\n The vibrant potency reveals itself openly on an analog set that provides full-range reproduction of an ensemble that also includes pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey. Each and every snare hit, downbeat, and cymbal splash registered by the latter take on realistic proportions, blooming and decaying as they would right in front of you on a stage. Jones' foundational bass lines register with uncommon depth and palpability, the litheness of the strings and fullness of the instrument epitomizing the definition of rhythm. Stellar, too, are the surefooted 88s. Sublime in scale, tonality, and attack, with the delineation such you can practically separate the white and black keys in your mind. As for that liquid interplay between Adderley and Davis ? Breathtakingly lifelike in timbre, naturalism, purity, and presence. This collector's version takes you there – there being Rudy Van Gelder's legendary New Jersey studio in March 1958 to witness it all unfold, again and again.\r\n \r\n For reasons that extend far beyond the outstanding playing and flawless repertoire, Somethin' Else is without question a record you'll always want to watch and hear come together. As veteran critic Bob Blumenthal observed writing about the album four decades after its release, "The instant rapport achieved by the quintet is thus the product of much shared and common history, though the tensile strength that they create throughout created a totally unique feeling that can be attributed to the sensitive musicianship of all concerned, including the supposedly hard bopping leader and drummer." Such inimitable feeling, or emotion, courses throughout every passage, and no where more obviously than on "Autumn Leaves" and "Love for Sale".\r\n \r\n Without question, the discreet interpretations of the Johnny Mercer and Cole Porter songs, respectively, found on Somethin' Else have long been considered part of jazz's alluring mystique. Adderley and Davis bring contrasting approaches to the table yet sound of a singular mind on "Autumn Leaves", with the latter's muted trumpet and the headliner's lush alto saxophone dovetailing into a performance that endures as a blueprint for expression, counterpoint, sophistication, fluidity, and linearity. Blues, melody, and romance pour from their horns. Their bandmates, picking up on the intimate vibe and calm mood here – as well as on the spry, head-over-heels spirit of "Love for Sale" join in on the conversation with sharp economy and float-on-air roundedness.\r\n \r\n Not to undersell the other three numbers, all deserving five-star status. Twelve measures in length, the title track offers a slow burn in swing. Written by Adderley's brother, Nat, the 12-bar "One for Daddy-O" transmits funk flavors. The closing "Dancing in the Dark" pops with lushness and temptation, its stream of bold colors and understated textures calling for a moonlight twirl, or at least fantasies suggestive of a memorable night. Somethin' else, indeed. """ -prixVente: "249.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …} -musicienOrchestre: "Cannonball Adderley (alto saxophone), Miles Davis (trumpet), Hank Jones (piano), Sam Jones (bass), Art Blakey (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: true -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=u37RF5xKNq8" -referenceProduit: "Mobile Fidelity Sound Lab UD1S-022" -titreMorceau: [ [ "nom" => "1. Autumn Leaves" "ordre" => 0 ] [ "nom" => "2. Love for Sale" "ordre" => 1 ] [ "nom" => "3. Somethin' Else" "ordre" => 2 ] [ "nom" => "4. One for Daddy-O" "ordre" => 3 ] [ "nom" => "5. Dancing in the Dark" "ordre" => 4 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2127 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2136 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2129 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2131 …} -enregistreLe: DateTime @1641539962 {#2122 : 2022-01-07 07:19:22.0 UTC (+00:00) } -modifierLe: DateTime @1719219339 {#2123 : 2024-06-24 08:55:39.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2133 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-somethin-else-ultradisc-one-step-box-set-2-lp-45-rpm-mobile-fidelity-sound-lab-ud1s-022" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.30 ms | |
|---|---|---|---|---|
| Input props | [ "produit" => App\Entity\Produit {#2141 -id: 1484 -nom: "52nd Street" -informationComplementaire: "Ré-édition 2024" -description: """ - Grammy-Winning Album Features Sophisticated Arrangements and Jazzy Backdrops : Billy Joel's 52nd Street Includes Hits "Big Shot" and "My Life" !\r\n \r\n - Sourced from the Original Analog Master Tapes and Pressed at RTI for Superb Sound : Mobile Fidelity's 180 gram 45 RPM Vinyl 2 LP Set Delivers Broad Soundtages and Expansive Dynamics !\r\n \r\n - 1/4" / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe !\r\n \r\n Some artists embrace their success by repeating the steps that originally granted them fame. Billy Joel did the opposite, refusing to be contained by prescribed approaches or constrained by a given label. The follow-up to the breakthrough The Stranger, 52nd Street further expands on its predecessor's bold production techniques and inventive arrangements, incorporating more sophisticated textures as well as reflecting a jazz edge gleaned from New York City's thriving club scene.\r\n \r\n A key piece of Mobile Fidelity's Billy Joel catalog restoration series, 52nd Street is here sourced from the original master tapes and pressed on 45 RPM 180 gram LP at RTI. The wider and deeper grooves as well as the meticulous mastering yield resplendent dynamics, broad soundstages, three-dimensional perspectives, and tonal balances absent from prior editions. This is how you want to experience the 1978 LP that captured the Grammy Award for Album of the Year.\r\n \r\n Teaming again with producer Phil Ramone, Joel capitalizes on his momentum, churning out another direct-sounding affair replete with captivating melodic devices, showmanship accents, and penetrating lyrics. The singer's concision and focus is evident via the tune's lengths, with only "Until the Night" breaking the six-minute mark. Hit singles "Big Shot" and "My Life" rattle forth with an urgency and intensity that Joel had not previously demonstrated, the combination of passionate deliveries, snide overtones, and insistent grooves setting the table for what follows.\r\n \r\n Broadening his palette, and drawing from New York's thriving jazz club scene and the city's late-70s grit, Joel splashes Latin and jazz colors on several pieces, employing veterans such as Dave Grusin and Freddie Hubbard to contribute along with a cast that includes a team of background vocalists and horn players. Everything is tastefully appointed, and yet the vocalist's trademark Broadway gaze and knack for the grand gesture coincide with the straight-ahead swagger.\r\n \r\n 52nd Street is one of the main reasons why Joel has always been championed for consistency. Everything here, from the production to the stand-up songs, helped redefine mainstream pop-rock. Decades later, it's finally available in fidelity that nears that of the Columbia Records' master tapes produced right on 52nd Street. """ -prixVente: "99.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …} -musicienOrchestre: "Billy Joel (piano), vocals), Doug Stegmeyer (bass, backing vocals), Steve Khan (guitar & acoustic guitar), Richie Cannata (saxophone, organ, clarinet), David Nadien (violin), Liberty DeVitto (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=zhF8AgBR8hM" -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-384" -titreMorceau: [ [ "nom" => "1. Big Shot" "ordre" => 1 ] [ "nom" => "1. Rosalinda's Eyes" "ordre" => 8 ] [ "nom" => "1. Until the Night" "ordre" => 11 ] [ "nom" => "1. Zanzibar" "ordre" => 5 ] [ "nom" => "2. 52nd Street" "ordre" => 12 ] [ "nom" => "2. Half a Mile Away" "ordre" => 9 ] [ "nom" => "2. Honesty" "ordre" => 2 ] [ "nom" => "2. Stiletto" "ordre" => 6 ] [ "nom" => "3. My Life" "ordre" => 3 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 4 ] [ "nom" => "Side C : " "ordre" => 7 ] [ "nom" => "Side D : " "ordre" => 10 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2143 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1471 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2152 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2145 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2147 …} -enregistreLe: DateTime @1545404198 {#2138 : 2018-12-21 14:56:38.0 UTC (+00:00) } -modifierLe: DateTime @1707641297 {#2139 : 2024-02-11 08:48:17.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2149 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-52nd-street-mobile-fidelity-sound-lab-mfsl-2-384" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3547 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2141 -id: 1484 -nom: "52nd Street" -informationComplementaire: "Ré-édition 2024" -description: """ - Grammy-Winning Album Features Sophisticated Arrangements and Jazzy Backdrops : Billy Joel's 52nd Street Includes Hits "Big Shot" and "My Life" !\r\n \r\n - Sourced from the Original Analog Master Tapes and Pressed at RTI for Superb Sound : Mobile Fidelity's 180 gram 45 RPM Vinyl 2 LP Set Delivers Broad Soundtages and Expansive Dynamics !\r\n \r\n - 1/4" / 15 IPS / Dolby A analog master to DSD 64 to analog console to lathe !\r\n \r\n Some artists embrace their success by repeating the steps that originally granted them fame. Billy Joel did the opposite, refusing to be contained by prescribed approaches or constrained by a given label. The follow-up to the breakthrough The Stranger, 52nd Street further expands on its predecessor's bold production techniques and inventive arrangements, incorporating more sophisticated textures as well as reflecting a jazz edge gleaned from New York City's thriving club scene.\r\n \r\n A key piece of Mobile Fidelity's Billy Joel catalog restoration series, 52nd Street is here sourced from the original master tapes and pressed on 45 RPM 180 gram LP at RTI. The wider and deeper grooves as well as the meticulous mastering yield resplendent dynamics, broad soundstages, three-dimensional perspectives, and tonal balances absent from prior editions. This is how you want to experience the 1978 LP that captured the Grammy Award for Album of the Year.\r\n \r\n Teaming again with producer Phil Ramone, Joel capitalizes on his momentum, churning out another direct-sounding affair replete with captivating melodic devices, showmanship accents, and penetrating lyrics. The singer's concision and focus is evident via the tune's lengths, with only "Until the Night" breaking the six-minute mark. Hit singles "Big Shot" and "My Life" rattle forth with an urgency and intensity that Joel had not previously demonstrated, the combination of passionate deliveries, snide overtones, and insistent grooves setting the table for what follows.\r\n \r\n Broadening his palette, and drawing from New York's thriving jazz club scene and the city's late-70s grit, Joel splashes Latin and jazz colors on several pieces, employing veterans such as Dave Grusin and Freddie Hubbard to contribute along with a cast that includes a team of background vocalists and horn players. Everything is tastefully appointed, and yet the vocalist's trademark Broadway gaze and knack for the grand gesture coincide with the straight-ahead swagger.\r\n \r\n 52nd Street is one of the main reasons why Joel has always been championed for consistency. Everything here, from the production to the stand-up songs, helped redefine mainstream pop-rock. Decades later, it's finally available in fidelity that nears that of the Columbia Records' master tapes produced right on 52nd Street. """ -prixVente: "99.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1879 …} -musicienOrchestre: "Billy Joel (piano), vocals), Doug Stegmeyer (bass, backing vocals), Steve Khan (guitar & acoustic guitar), Richie Cannata (saxophone, organ, clarinet), David Nadien (violin), Liberty DeVitto (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=zhF8AgBR8hM" -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-384" -titreMorceau: [ [ "nom" => "1. Big Shot" "ordre" => 1 ] [ "nom" => "1. Rosalinda's Eyes" "ordre" => 8 ] [ "nom" => "1. Until the Night" "ordre" => 11 ] [ "nom" => "1. Zanzibar" "ordre" => 5 ] [ "nom" => "2. 52nd Street" "ordre" => 12 ] [ "nom" => "2. Half a Mile Away" "ordre" => 9 ] [ "nom" => "2. Honesty" "ordre" => 2 ] [ "nom" => "2. Stiletto" "ordre" => 6 ] [ "nom" => "3. My Life" "ordre" => 3 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 4 ] [ "nom" => "Side C : " "ordre" => 7 ] [ "nom" => "Side D : " "ordre" => 10 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2143 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1471 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2152 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2145 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2147 …} -enregistreLe: DateTime @1545404198 {#2138 : 2018-12-21 14:56:38.0 UTC (+00:00) } -modifierLe: DateTime @1707641297 {#2139 : 2024-02-11 08:48:17.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2149 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-52nd-street-mobile-fidelity-sound-lab-mfsl-2-384" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
|||
| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.32 ms | |
|---|---|---|---|---|
| Input props | [ "produit" => App\Entity\Produit {#2157 -id: 1052 -nom: "Bob Dylan" -informationComplementaire: "Reissue 2023" -description: """ Bob Dylan "Bob Dylan" on Numbered Limited Edition 180 gram 45 RPM 2 LP (Mono and Stereo).\r\n \r\n Understated 1962 Debut Launched Immeasurably Influential Career.\r\n \r\n Bob Dylan’s self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.\r\n \r\n Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan’s name or music is to miss the forest for the trees. Distinguished from the era’s other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he’d soon trailblaze and everyone else would follow.\r\n \r\n By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson’s “See That My Grave Is Kept Clean”, Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.\r\n \r\n As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, “Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn’t, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer’s name as if it were already common coin”. It all starts here.\r\n """ -prixVente: "99.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …} -musicienOrchestre: "Bob Dylan (acoustic guitar, harmonica, vocals)" -sonMusic: App\Enum\SonMusicEnum {#1132 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=ACla5QpZSyU" -referenceProduit: "MFSL 0420-45" -titreMorceau: [ [ "nom" => "1. Fixin' to Die" "ordre" => 6 ] [ "nom" => "1. Freight Train Blues" "ordre" => 14 ] [ "nom" => "1. Gospel Plow" "ordre" => 10 ] [ "nom" => "1. You're No Good" "ordre" => 1 ] [ "nom" => "2. Baby, Let Me Follow You Down" "ordre" => 11 ] [ "nom" => "2. Pretty Peggy-O" "ordre" => 7 ] [ "nom" => "2. Song to Woody" "ordre" => 15 ] [ "nom" => "2. Talkin' New York" "ordre" => 2 ] [ "nom" => "3. Highway 51" "ordre" => 8 ] [ "nom" => "3. House of the Risin' Sun" "ordre" => 12 ] [ "nom" => "3. In My Time of Dyin'" "ordre" => 3 ] [ "nom" => "3. See That My Grave Is Kept Clean" "ordre" => 16 ] [ "nom" => "4. Man of Constant Sorrow" "ordre" => 4 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 5 ] [ "nom" => "Side C : " "ordre" => 9 ] [ "nom" => "Side D : " "ordre" => 13 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2159 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1471 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2168 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2161 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2163 …} -enregistreLe: DateTime @1474653555 {#2154 : 2016-09-23 17:59:15.0 UTC (+00:00) } -modifierLe: DateTime @1685688449 {#2155 : 2023-06-02 06:47:29.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2165 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-bob-dylan-mfsl-0420-45" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3598 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2157 -id: 1052 -nom: "Bob Dylan" -informationComplementaire: "Reissue 2023" -description: """ Bob Dylan "Bob Dylan" on Numbered Limited Edition 180 gram 45 RPM 2 LP (Mono and Stereo).\r\n \r\n Understated 1962 Debut Launched Immeasurably Influential Career.\r\n \r\n Bob Dylan’s self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.\r\n \r\n Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan’s name or music is to miss the forest for the trees. Distinguished from the era’s other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he’d soon trailblaze and everyone else would follow.\r\n \r\n By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson’s “See That My Grave Is Kept Clean”, Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.\r\n \r\n As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, “Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn’t, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer’s name as if it were already common coin”. It all starts here.\r\n """ -prixVente: "99.50" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …} -musicienOrchestre: "Bob Dylan (acoustic guitar, harmonica, vocals)" -sonMusic: App\Enum\SonMusicEnum {#1132 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1140 …} -lpsMusic: 2 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=ACla5QpZSyU" -referenceProduit: "MFSL 0420-45" -titreMorceau: [ [ "nom" => "1. Fixin' to Die" "ordre" => 6 ] [ "nom" => "1. Freight Train Blues" "ordre" => 14 ] [ "nom" => "1. Gospel Plow" "ordre" => 10 ] [ "nom" => "1. You're No Good" "ordre" => 1 ] [ "nom" => "2. Baby, Let Me Follow You Down" "ordre" => 11 ] [ "nom" => "2. Pretty Peggy-O" "ordre" => 7 ] [ "nom" => "2. Song to Woody" "ordre" => 15 ] [ "nom" => "2. Talkin' New York" "ordre" => 2 ] [ "nom" => "3. Highway 51" "ordre" => 8 ] [ "nom" => "3. House of the Risin' Sun" "ordre" => 12 ] [ "nom" => "3. In My Time of Dyin'" "ordre" => 3 ] [ "nom" => "3. See That My Grave Is Kept Clean" "ordre" => 16 ] [ "nom" => "4. Man of Constant Sorrow" "ordre" => 4 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 5 ] [ "nom" => "Side C : " "ordre" => 9 ] [ "nom" => "Side D : " "ordre" => 13 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2159 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1471 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2168 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2161 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2163 …} -enregistreLe: DateTime @1474653555 {#2154 : 2016-09-23 17:59:15.0 UTC (+00:00) } -modifierLe: DateTime @1685688449 {#2155 : 2023-06-02 06:47:29.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2165 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-bob-dylan-mfsl-0420-45" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.38 ms | |
|---|---|---|---|---|
| Input props | [ "produit" => App\Entity\Produit {#2173 -id: 526 -nom: "Undercurrent" -informationComplementaire: "Reissue 2023" -description: """ - DIVERSE SET ENCOMPASSES BALLADS, WALTZES, HARD-SWINGING BOP\r\n \r\n - 1/4" / 15 IPS Dolby A analog copy to analog console to lathe\r\n \r\n Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.\r\n \r\n While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.\r\n \r\n In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream", as well as the Hall original "Romain", the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.\r\n \r\n Indeed, even the album's cover an iconic photograph by Toni Frissell exhibits the surreal, almost-hallucinogenic properties of the fare contained within.\r\n \r\n \r\n \r\n """ -prixVente: "60.00" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …} -musicienOrchestre: "Bill Evans (piano), Jim Hall (guitar)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=_-N_9xpWXVU" -referenceProduit: "Mobile Fidelity Sound Labs MOFI 1-031" -titreMorceau: [ [ "nom" => "1. My Funny Valentine" "ordre" => 1 ] [ "nom" => "1. Romain" "ordre" => 5 ] [ "nom" => "2. I Hear A Rhapsody" "ordre" => 2 ] [ "nom" => "2. Skating In Central Park" "ordre" => 6 ] [ "nom" => "3. Darn That Dream" "ordre" => 7 ] [ "nom" => "3. Dream Gypsy" "ordre" => 3 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 4 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2175 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2184 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2177 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2179 …} -enregistreLe: DateTime @1341518987 {#2170 : 2012-07-05 20:09:47.0 UTC (+00:00) } -modifierLe: DateTime @1684998636 {#2171 : 2023-05-25 07:10:36.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2181 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-undercurrent-mobile-fidelity-sound-labs-mofi-1-031" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3649 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2173 -id: 526 -nom: "Undercurrent" -informationComplementaire: "Reissue 2023" -description: """ - DIVERSE SET ENCOMPASSES BALLADS, WALTZES, HARD-SWINGING BOP\r\n \r\n - 1/4" / 15 IPS Dolby A analog copy to analog console to lathe\r\n \r\n Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.\r\n \r\n While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.\r\n \r\n In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream", as well as the Hall original "Romain", the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.\r\n \r\n Indeed, even the album's cover an iconic photograph by Toni Frissell exhibits the surreal, almost-hallucinogenic properties of the fare contained within.\r\n \r\n \r\n \r\n """ -prixVente: "60.00" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …} -musicienOrchestre: "Bill Evans (piano), Jim Hall (guitar)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "https://www.youtube.com/watch?v=_-N_9xpWXVU" -referenceProduit: "Mobile Fidelity Sound Labs MOFI 1-031" -titreMorceau: [ [ "nom" => "1. My Funny Valentine" "ordre" => 1 ] [ "nom" => "1. Romain" "ordre" => 5 ] [ "nom" => "2. I Hear A Rhapsody" "ordre" => 2 ] [ "nom" => "2. Skating In Central Park" "ordre" => 6 ] [ "nom" => "3. Darn That Dream" "ordre" => 7 ] [ "nom" => "3. Dream Gypsy" "ordre" => 3 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 4 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2175 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2184 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2177 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2179 …} -enregistreLe: DateTime @1341518987 {#2170 : 2012-07-05 20:09:47.0 UTC (+00:00) } -modifierLe: DateTime @1684998636 {#2171 : 2023-05-25 07:10:36.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2181 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-undercurrent-mobile-fidelity-sound-labs-mofi-1-031" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| GestionPanierFavoriComponents | App\Twig\Components\GestionPanierFavoriComponents | 6.0 MiB | 0.31 ms | |
|---|---|---|---|---|
| Input props | [ "produit" => App\Entity\Produit {#2189 -id: 2276 -nom: "In a Silent Way" -informationComplementaire: "Awaiting Repress" -description: """ - FEATURES JOHN MCLAUGHLIN, CHICK COREA, HERBIE HANCOCK, JOE ZAWINUL, WAYNE SHORTER, DAVE HOLLAND, AND TONY WILLIAMS !\r\n \r\n - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe ! \r\n \r\n Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who lineup that sends the music into an ethereal stratosphere.\r\n \r\n Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of "jazz", ˜rock", and "ambience", following a loose theory Davis dubbed "New Directions".\r\n \r\n Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.\r\n \r\n If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the group's members. The lineup is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.\r\n \r\n Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as color is the primary unit of currency on Davis' Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.\r\n \r\n Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.\r\n """ -prixVente: "60.00" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1925 …} -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Dave Holland (bass), Chick Corea, Herbie Hancock (electric piano), Josef Zawinul (electric piano, organ), John McLaughlin (guitar), Tony Williams (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "" -referenceProduit: "MFSL 1-377" -titreMorceau: [ [ "nom" => "1. In a Silent Way / It's About That Time" "ordre" => 3 ] [ "nom" => "1. Shhh / Peaceful" "ordre" => 1 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 2 ] [ "nom" => "\t" "ordre" => 4 ] [ "nom" => "\t" "ordre" => 5 ] [ "nom" => "\t" "ordre" => 6 ] [ "nom" => "\t" "ordre" => 7 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2197 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2190 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2192 …} -enregistreLe: DateTime @1663312268 {#2186 : 2022-09-16 07:11:08.0 UTC (+00:00) } -modifierLe: DateTime @1681330613 {#2187 : 2023-04-12 20:16:53.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2194 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-in-a-silent-way-mfsl-1-377" } "detaillePage" => false ] |
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| Attributes | [] |
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| Component | App\Twig\Components\GestionPanierFavoriComponents {#3702 -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 {#2620 …} -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …} +produit: App\Entity\Produit {#2189 -id: 2276 -nom: "In a Silent Way" -informationComplementaire: "Awaiting Repress" -description: """ - FEATURES JOHN MCLAUGHLIN, CHICK COREA, HERBIE HANCOCK, JOE ZAWINUL, WAYNE SHORTER, DAVE HOLLAND, AND TONY WILLIAMS !\r\n \r\n - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe ! \r\n \r\n Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who lineup that sends the music into an ethereal stratosphere.\r\n \r\n Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of "jazz", ˜rock", and "ambience", following a loose theory Davis dubbed "New Directions".\r\n \r\n Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.\r\n \r\n If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the group's members. The lineup is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.\r\n \r\n Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as color is the primary unit of currency on Davis' Sketches of Spain, laidback episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.\r\n \r\n Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.\r\n """ -prixVente: "60.00" -delaiLivraison: App\Enum\TempsLivraisonEnum {#1925 …} -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Dave Holland (bass), Chick Corea, Herbie Hancock (electric piano), Josef Zawinul (electric piano, organ), John McLaughlin (guitar), Tony Williams (drums)" -sonMusic: App\Enum\SonMusicEnum {#1133 …} -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …} -rpmMusic: App\Enum\RPMMusicEnum {#1139 …} -lpsMusic: 1 -setBoxMusic: false -limitedEdition: true -preCommande: false -selectionAAD: false -extraitYoutube: "" -referenceProduit: "MFSL 1-377" -titreMorceau: [ [ "nom" => "1. In a Silent Way / It's About That Time" "ordre" => 3 ] [ "nom" => "1. Shhh / Peaceful" "ordre" => 1 ] [ "nom" => "Side A : " "ordre" => 0 ] [ "nom" => "Side B : " "ordre" => 2 ] [ "nom" => "\t" "ordre" => 4 ] [ "nom" => "\t" "ordre" => 5 ] [ "nom" => "\t" "ordre" => 6 ] [ "nom" => "\t" "ordre" => 7 ] ] -artiste: Proxies\__CG__\App\Entity\Artiste {#2053 …} -label: App\Entity\Label {#1063 …} -style: App\Entity\Style {#1468 …} -photoProduit: Doctrine\ORM\PersistentCollection {#2197 …} -morceauMP3: Doctrine\ORM\PersistentCollection {#2190 …} -typeMasterTape: null -marque: null -typeMateriel: null -produitTestePar: null -adresseInternetTest: null -poids: null -unite: null -caracteristique: null -typeAccessoire: null -optionPrixes: Doctrine\ORM\PersistentCollection {#2192 …} -enregistreLe: DateTime @1663312268 {#2186 : 2022-09-16 07:11:08.0 UTC (+00:00) } -modifierLe: DateTime @1681330613 {#2187 : 2023-04-12 20:16:53.0 UTC (+00:00) } -categorie: App\Enum\CategorieProduitEnum {#1047 …} -produitComplementaires: Doctrine\ORM\PersistentCollection {#2194 …} -disponible: null -terminer: null -infoMasterTape: null -slug: "vinyles-in-a-silent-way-mfsl-1-377" } +optionPrix: null +quantite: 1 +detaillePage: false -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} } |
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| AjoutMailNewsletterComponent | App\Twig\Components\AjoutMailNewsletterComponent | 6.0 MiB | 0.24 ms | |
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| Input props | [] |
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| Attributes | [] |
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| Component | App\Twig\Components\AjoutMailNewsletterComponent {#3897 +email: "" -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2388 …} -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3898 …} -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3946 …} +isValidated: false +validatedFields: [] } |
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