Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2534
  -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 {#2381 …}
}

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

App\Twig\Components\ListePanier {#2611
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2614 …}
  -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 {#2613 …}
  -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 {#2381 …}
  -formView: Symfony\Component\Form\FormView {#2650 …}
  -form: Symfony\Component\Form\Form {#2800 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 2953
    -nom: "Double Vision"
    -informationComplementaire: null
    -description: """
      - Foreigner's Double Vision Is the Epitome of Catchy, Punchy, Album-Oriented 70s Rock: Multi-Platinum 1978 Record Includes "Hot Blooded" !\r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM LP Explodes with Tremendous Dynamics and Soaring Vocals !\r\n
      - 1/4" / 15 IPS analog master to analog console to lathe !\r\n
      \r\n
      So much for sophomore jinxes that almost always go hand-in-hand with groups that explode onto the scene. Overflowing with first-rate songwriting, lascivious hooks, and sing-a-long choruses, Foreigner's Double Vision lays waste to conventional sophomore-release wisdom and went on to actually exceed the popularity of the band's blockbuster debut. More than seven million copies and two Top Five singles later, the 1978 set still rocks with definite purpose.\r\n
      \r\n
      Sourced from the original master tapes, Mobile Fidelity's numbered-edition 180 gram LP of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, bottom-end punch, and newfound instrumental separation. Sure, you may have heard songs such as "Double Vision" and "Hot Blooded" countless times, but trust us, you've never really heard them (outside of an arena setting, stadium amplifiers blaring) like this. You may just find yourself investing in a new power amp to get every last degree of detail that's been uncovered!\r\n
      \r\n
      Synonymous with AOR (album-oriented rock), Foreigner essentially perfects the style throughout this concise, focused, down-and-dirty ten-song set. The key to any memorable 70s rock record is a catchy single, and the quintet has several lying in the waiting. The title track, inspired by New York Rangers goalie John Davidson getting whacked in the head by a hockey puck, spills over with double-entendre meaning, tough-cut riffs, and a rotating groove, not to mention a mystical keyboard refrain. Equally memorable, and a permanent part of any radio station's rotation, "Hot Blooded" is the ideal come-on, the group's open-ended rhythm and dance-inspiring beats pouring with promise, salaciousness, and ass-kicking sexuality. A terrific power ballad infused with woe and longing, "Blue Morning, Blue Day" features insistent harmonies and piano notes that grab you by the collar and doesn't let go.\r\n
      \r\n
      Of course, great songs alone don't make for great records. The band's chemistry and performance needs to be on par with that of the material. And what else can be said of leather-lunged vocalist Lou Gramm and guitar-hero Mick Jones save for the fact the pair combine for a legendary one-two punch, leading their mates through sensational melodies and swaggering leads. Seldom has the balance between tough and polished, light and heavy, fun and reserved been better established and maintained.\r\n
      \r\n
      Ready to rock out? Wait until you hear this remaster. It'll bring back (double) visions of hot stage lights, dry-ice fog, feel-good times, and amplifiers cranked to 10 only this time, the experience will take place inside the confines of your own home. Check it and see!
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Mick Jones (lead guitar, , acoustic piano, backing vocals), Ian McDonald (guitars, keyboards, reeds, vocals), Al Greenwood (keyboards), Ed Gagliardi (bass, vocals), Lou Gramm (lead vocals, percussion), Dennis Elliott (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: "https://www.youtube.com/watch?v=dD-SpHH7qDA&list=RDdD-SpHH7qDA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-341"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Back Where You Belong"
      ]
      [
        "ordre" => 2
        "nom" => "2. Blue Morning, Blue Day"
      ]
      [
        "ordre" => 3
        "nom" => "3. Double Vision"
      ]
      [
        "ordre" => 4
        "nom" => "4. Hot Blooded"
      ]
      [
        "ordre" => 5
        "nom" => "5. I Have Waited So Long"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Lonely"
      ]
      [
        "ordre" => 8
        "nom" => "2. Love Has Taken It's Toll"
      ]
      [
        "ordre" => 9
        "nom" => "3. Spellbinder"
      ]
      [
        "ordre" => 10
        "nom" => "4. Tramontane (Instrumental)"
      ]
      [
        "ordre" => 11
        "nom" => "5. You're All I Am"
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -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 @1768301828 {#1896
      date: 2026-01-13 10:57:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1768302058 {#1889
      date: 2026-01-13 11:00:58.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-double-vision-mobile-fidelity-sound-lab-mfsl-1-341"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3075
  -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 {#2613 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 2953
    -nom: "Double Vision"
    -informationComplementaire: null
    -description: """
      - Foreigner's Double Vision Is the Epitome of Catchy, Punchy, Album-Oriented 70s Rock: Multi-Platinum 1978 Record Includes "Hot Blooded" !\r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM LP Explodes with Tremendous Dynamics and Soaring Vocals !\r\n
      - 1/4" / 15 IPS analog master to analog console to lathe !\r\n
      \r\n
      So much for sophomore jinxes that almost always go hand-in-hand with groups that explode onto the scene. Overflowing with first-rate songwriting, lascivious hooks, and sing-a-long choruses, Foreigner's Double Vision lays waste to conventional sophomore-release wisdom and went on to actually exceed the popularity of the band's blockbuster debut. More than seven million copies and two Top Five singles later, the 1978 set still rocks with definite purpose.\r\n
      \r\n
      Sourced from the original master tapes, Mobile Fidelity's numbered-edition 180 gram LP of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, bottom-end punch, and newfound instrumental separation. Sure, you may have heard songs such as "Double Vision" and "Hot Blooded" countless times, but trust us, you've never really heard them (outside of an arena setting, stadium amplifiers blaring) like this. You may just find yourself investing in a new power amp to get every last degree of detail that's been uncovered!\r\n
      \r\n
      Synonymous with AOR (album-oriented rock), Foreigner essentially perfects the style throughout this concise, focused, down-and-dirty ten-song set. The key to any memorable 70s rock record is a catchy single, and the quintet has several lying in the waiting. The title track, inspired by New York Rangers goalie John Davidson getting whacked in the head by a hockey puck, spills over with double-entendre meaning, tough-cut riffs, and a rotating groove, not to mention a mystical keyboard refrain. Equally memorable, and a permanent part of any radio station's rotation, "Hot Blooded" is the ideal come-on, the group's open-ended rhythm and dance-inspiring beats pouring with promise, salaciousness, and ass-kicking sexuality. A terrific power ballad infused with woe and longing, "Blue Morning, Blue Day" features insistent harmonies and piano notes that grab you by the collar and doesn't let go.\r\n
      \r\n
      Of course, great songs alone don't make for great records. The band's chemistry and performance needs to be on par with that of the material. And what else can be said of leather-lunged vocalist Lou Gramm and guitar-hero Mick Jones save for the fact the pair combine for a legendary one-two punch, leading their mates through sensational melodies and swaggering leads. Seldom has the balance between tough and polished, light and heavy, fun and reserved been better established and maintained.\r\n
      \r\n
      Ready to rock out? Wait until you hear this remaster. It'll bring back (double) visions of hot stage lights, dry-ice fog, feel-good times, and amplifiers cranked to 10 only this time, the experience will take place inside the confines of your own home. Check it and see!
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Mick Jones (lead guitar, , acoustic piano, backing vocals), Ian McDonald (guitars, keyboards, reeds, vocals), Al Greenwood (keyboards), Ed Gagliardi (bass, vocals), Lou Gramm (lead vocals, percussion), Dennis Elliott (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: "https://www.youtube.com/watch?v=dD-SpHH7qDA&list=RDdD-SpHH7qDA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-341"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Back Where You Belong"
      ]
      [
        "ordre" => 2
        "nom" => "2. Blue Morning, Blue Day"
      ]
      [
        "ordre" => 3
        "nom" => "3. Double Vision"
      ]
      [
        "ordre" => 4
        "nom" => "4. Hot Blooded"
      ]
      [
        "ordre" => 5
        "nom" => "5. I Have Waited So Long"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Lonely"
      ]
      [
        "ordre" => 8
        "nom" => "2. Love Has Taken It's Toll"
      ]
      [
        "ordre" => 9
        "nom" => "3. Spellbinder"
      ]
      [
        "ordre" => 10
        "nom" => "4. Tramontane (Instrumental)"
      ]
      [
        "ordre" => 11
        "nom" => "5. You're All I Am"
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -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 @1768301828 {#1896
      date: 2026-01-13 10:57:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1768302058 {#1889
      date: 2026-01-13 11:00:58.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-double-vision-mobile-fidelity-sound-lab-mfsl-1-341"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2381 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 420
    -nom: "Foreigner"
    -informationComplementaire: null
    -description: """
      Numbered Edition 180 gram LP Sourced from Original Master Tapes : Blockbuster 1977 Debut Packed With Anthemic Classic Rock Hits and Heroic Guitar Riffs !\r\n
      \r\n
      Blissful feelings arise at the mere mention of 70s arena rock. It gives listeners the permission to have fun, sing along to aircraft-hangar-size choruses, play air guitar solos, forget about any troubles, recall the experience of a first kiss, and quite simply, rock out. Few albums better instill these pleasures than Foreigner's 1977 self-titled debut album, a five-times platinum blockbuster chock full of salacious riffs, soaring vocals, edgy beats, and lyrics that practically demand to be shouted. And while the record has always boasted clean, immediate production, never before has it exploded with the dynamic intensity and rich transparency now made possible on our dynamic 180 gram LP. This is what rock n' roll dreams are made of.\r\n
      \r\n
      Spearheaded by guitar hero Mick Jones, fresh off success with Spooky Tooth, Foreigner rallied around a talented collective pulled from the U.S. and U.K. Joining up with former King Crimson instrumentalist Ian McDonald and drummer Dennis Elliott, as well as keyboardist Al Greenwood and bassist Ed Gagliardi, Jones completed the puzzle with the addition of extraordinary singer Lou Gramm, whose vocal timbre and limitless pipes remain one of the most instantly identifiable combinations in music. Before long, two eternal radio classics  "Feels Like the First Time" and "Cold As Ice", composed on a miniature piano and inspired by Hollywood star Joan Crawford were in the bag. Eight more tunes, each as solid as those that came before, followed, and Foreigner quickly became an overnight rock sensation.\r\n
      \r\n
      In contrast to much of the era's angrier fare and crudely produced music, Foreigner stood out by way of its clean, muscular, professional production. Still, Mobile Fidelity believed that underneath the surfaces, an even fresher, bigger-sounding record loomed. Half-speed mastered from the original master tapes, MoFi's 180 gram LP presents the sextet's roof-raising anthems and scintillating blend of guitars, synths, and Gramm's soulful vocals across a wider, deeper soundstage than ever before imagined. Instrumental separation, tonal balance, and imaging are absolutely superb. Better still, the songs come across with an assertive liveliness that adds to their enjoyment, structure, and melodic character. The accessory flutes, saxophones, and synthesizer solos have never sounded so enmeshed within the overall sonic fabric.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Lou Gramm (lead vocals), Mick Jones (lead guitar, vocals), Ian McDonald (guitars, keyboards, horns, vocals), Al Greenwood (keyboards, synthesizer), Ed Gagliardi (bass, vocals), Dennis Elliott (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: "https://www.youtube.com/watch?v=SWqHuSaaBfk"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-338"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Feels Like the First Time"
      ]
      [
        "ordre" => 2
        "nom" => "2. Cold As Ice"
      ]
      [
        "ordre" => 3
        "nom" => "3. Starrider"
      ]
      [
        "ordre" => 4
        "nom" => "4. Headknocker"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Damage Is Done"
      ]
      [
        "ordre" => 6
        "nom" => "Side B :"
      ]
      [
        "ordre" => 7
        "nom" => "1. Long, Long Way From Home"
      ]
      [
        "ordre" => 8
        "nom" => "2. Woman Oh Woman"
      ]
      [
        "ordre" => 9
        "nom" => "3. At War With the World"
      ]
      [
        "ordre" => 10
        "nom" => "4. Fool For You Anyway"
      ]
      [
        "ordre" => 11
        "nom" => "5. I Need You"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2043 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2036 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2038 …}
    -enregistreLe: DateTime @1298357731 {#2032
      date: 2011-02-22 06:55:31.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1768300899 {#2033
      date: 2026-01-13 10:41:39.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2040 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-foreigner-mobile-fidelity-sound-lab-mfsl-1-338"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3191
  -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 {#2613 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 420
    -nom: "Foreigner"
    -informationComplementaire: null
    -description: """
      Numbered Edition 180 gram LP Sourced from Original Master Tapes : Blockbuster 1977 Debut Packed With Anthemic Classic Rock Hits and Heroic Guitar Riffs !\r\n
      \r\n
      Blissful feelings arise at the mere mention of 70s arena rock. It gives listeners the permission to have fun, sing along to aircraft-hangar-size choruses, play air guitar solos, forget about any troubles, recall the experience of a first kiss, and quite simply, rock out. Few albums better instill these pleasures than Foreigner's 1977 self-titled debut album, a five-times platinum blockbuster chock full of salacious riffs, soaring vocals, edgy beats, and lyrics that practically demand to be shouted. And while the record has always boasted clean, immediate production, never before has it exploded with the dynamic intensity and rich transparency now made possible on our dynamic 180 gram LP. This is what rock n' roll dreams are made of.\r\n
      \r\n
      Spearheaded by guitar hero Mick Jones, fresh off success with Spooky Tooth, Foreigner rallied around a talented collective pulled from the U.S. and U.K. Joining up with former King Crimson instrumentalist Ian McDonald and drummer Dennis Elliott, as well as keyboardist Al Greenwood and bassist Ed Gagliardi, Jones completed the puzzle with the addition of extraordinary singer Lou Gramm, whose vocal timbre and limitless pipes remain one of the most instantly identifiable combinations in music. Before long, two eternal radio classics  "Feels Like the First Time" and "Cold As Ice", composed on a miniature piano and inspired by Hollywood star Joan Crawford were in the bag. Eight more tunes, each as solid as those that came before, followed, and Foreigner quickly became an overnight rock sensation.\r\n
      \r\n
      In contrast to much of the era's angrier fare and crudely produced music, Foreigner stood out by way of its clean, muscular, professional production. Still, Mobile Fidelity believed that underneath the surfaces, an even fresher, bigger-sounding record loomed. Half-speed mastered from the original master tapes, MoFi's 180 gram LP presents the sextet's roof-raising anthems and scintillating blend of guitars, synths, and Gramm's soulful vocals across a wider, deeper soundstage than ever before imagined. Instrumental separation, tonal balance, and imaging are absolutely superb. Better still, the songs come across with an assertive liveliness that adds to their enjoyment, structure, and melodic character. The accessory flutes, saxophones, and synthesizer solos have never sounded so enmeshed within the overall sonic fabric.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Lou Gramm (lead vocals), Mick Jones (lead guitar, vocals), Ian McDonald (guitars, keyboards, horns, vocals), Al Greenwood (keyboards, synthesizer), Ed Gagliardi (bass, vocals), Dennis Elliott (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: "https://www.youtube.com/watch?v=SWqHuSaaBfk"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-338"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Feels Like the First Time"
      ]
      [
        "ordre" => 2
        "nom" => "2. Cold As Ice"
      ]
      [
        "ordre" => 3
        "nom" => "3. Starrider"
      ]
      [
        "ordre" => 4
        "nom" => "4. Headknocker"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Damage Is Done"
      ]
      [
        "ordre" => 6
        "nom" => "Side B :"
      ]
      [
        "ordre" => 7
        "nom" => "1. Long, Long Way From Home"
      ]
      [
        "ordre" => 8
        "nom" => "2. Woman Oh Woman"
      ]
      [
        "ordre" => 9
        "nom" => "3. At War With the World"
      ]
      [
        "ordre" => 10
        "nom" => "4. Fool For You Anyway"
      ]
      [
        "ordre" => 11
        "nom" => "5. I Need You"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
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    }
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      date: 2026-01-13 10:41:39.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2040 …}
    -disponible: null
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  }
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[
  "produit" => App\Entity\Produit {#2048
    -id: 1503
    -nom: "Head Games"
    -informationComplementaire: null
    -description: """
      - FOREIGNER'S EDGIEST, HEAVIEST, HARDEST-HITTING ALBUM !\r\n
      - 1/4" / 15 IPS analog master to analog console to lathe !\r\n
      \r\n
      The moment Head Games begins, a nastier, grittier tone is established, and it becomes apparent that Foreigner is bringing something new to the table. Namely, an edgier, leaner sound built around stronger guitars and harder rhythms. The heaviest record of the band's career, the 1979 effort functions as irrefutable proof that the quintet rocked as hard as anybody in the mainstream and did so without losing sight of the melodies that put it at the top of the charts. And with Head Games, there Foreigner would stay.\r\n
      \r\n
      Half-speed mastered from the original master tapes, Our collectible audiophile edition of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, punchy dynamics, and newfound instrumental separation. With more emphasis placed on Mick Jones' guitar riffs and meatier grooves, you may just find yourself investing in a new power amp to get every last degree of detail that's been uncovered! Longtime fans will be thrilled to hear the subtle nuances now fully discernible amidst a gargantuan soundstage.\r\n
      \r\n
      Joined by new bassist Rick Wills, and guided by Queen producer Roy Thomas Baker, Foreigner goes for broke, ratcheting up the muscularity on hard-hitting fare such as the hit single "Dirty White Boy", "Seventeen", and the aptly titled "Rev on the Red Line". However, the group maintains its trademark equilibrium, pushing the limits on toughness yet retaining a diamond-in-the-rough smoothness that allows the band's hummable choruses and winding hooks to take hold.\r\n
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      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Mick Jones (lead guitar, piano, vocals), Ian McDonald (guitar, keyboards, vocals), Lou Gramm (lead vocals), Al Greenwood (keyboards, synthesizer), Rick Wills (bass, vocals), Dennis Elliott (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=8TDRZrhY9XA"
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        "nom" => "5. Rev on the Red Line"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3239
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2613 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 1503
    -nom: "Head Games"
    -informationComplementaire: null
    -description: """
      - FOREIGNER'S EDGIEST, HEAVIEST, HARDEST-HITTING ALBUM !\r\n
      - 1/4" / 15 IPS analog master to analog console to lathe !\r\n
      \r\n
      The moment Head Games begins, a nastier, grittier tone is established, and it becomes apparent that Foreigner is bringing something new to the table. Namely, an edgier, leaner sound built around stronger guitars and harder rhythms. The heaviest record of the band's career, the 1979 effort functions as irrefutable proof that the quintet rocked as hard as anybody in the mainstream and did so without losing sight of the melodies that put it at the top of the charts. And with Head Games, there Foreigner would stay.\r\n
      \r\n
      Half-speed mastered from the original master tapes, Our collectible audiophile edition of this longtime favorite classic-rock staple bursts with tremendous dynamics, soaring vocal timbres, punchy dynamics, and newfound instrumental separation. With more emphasis placed on Mick Jones' guitar riffs and meatier grooves, you may just find yourself investing in a new power amp to get every last degree of detail that's been uncovered! Longtime fans will be thrilled to hear the subtle nuances now fully discernible amidst a gargantuan soundstage.\r\n
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      Joined by new bassist Rick Wills, and guided by Queen producer Roy Thomas Baker, Foreigner goes for broke, ratcheting up the muscularity on hard-hitting fare such as the hit single "Dirty White Boy", "Seventeen", and the aptly titled "Rev on the Red Line". However, the group maintains its trademark equilibrium, pushing the limits on toughness yet retaining a diamond-in-the-rough smoothness that allows the band's hummable choruses and winding hooks to take hold.\r\n
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    -prixVente: "60.00"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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[
  "produit" => App\Entity\Produit {#2061
    -id: 1700
    -nom: "Foreigner 4"
    -informationComplementaire: "Re-edition"
    -description: """
      - #1 ALBUM TEEMS WITH HITS : "URGENT", "WAITING FOR A GIRL LIKE YOU", "JUKE BOX HERO" !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Want to be a juke box hero ? Here's your chance. Featuring Mutt Lange's spotless production, contributions from Motown legend Junior Walker and new-wave icon Thomas Dolby, no less than three huge singles, and Foreigner's most economical performances, 4 is classic-rock nirvana, a model of crystalline pop-rock melodies and lighter-flicking balladry. More than six million copies later, the 1981 record is still rightly discussed as a front-to-back masterpiece of precision, power, and economy. It's an album that demands to be experienced in the highest-possible fidelity.\r\n
      \r\n
      Half-speed mastered from the original master tapes, our 180 gram LP presents 4 in a room-filling, stadium-big sound. Replete with energetic rockers such as "Urgent", "Night Life", and "Woman In Black", the record benefits from a sonic facelift that opens up the previously compressed dynamics, expands the dimensions of the soundstage, dials in a clear path to the instrumental images, and erases the ceiling that pressed down on Lou Gramm's superhuman vocals. For the first time, Lange's obsessive, detail-oriented production can be enjoyed in all its splendid glory.\r\n
      \r\n
      Fresh off blockbuster success with AC/DC's "Back In Black", Lange uses his magic touch on 4, pairing with guitarist Mick Jones who, armed with the best batch of riffs of his career, shared a the producer's sentiment for discipline, efficiency, and cleanliness. And so, on crisp tunes like "Break It Up", pianos and hard-hitting guitars share the same space without ever impinging on one another or overstepping boundaries. The winning formula also propels Top 5 hits like the wildly funky "Urgent", sent to new heights by Walker's dazzling saxophone solo, and the touching "Waiting for a Girl Like You", a crossover smash that introduced Foreigner to soft-rock and adult-pop audiences.\r\n
      \r\n
      Simply stated, 4 has everything: Rowdy frustration-releasing cuts, fiery rock n' roll tunes, heartfelt torch songs, and synth-drenched pop numbers. The playing throughout positively smokes, as the one-two punch of Gramm and Jones lands with both emotional and musical impact every time. There's not a single wasted note. And, reduced to a quartet, Foreigner seems bent on making more with less, just as Lange does with the polished production. This is 42 minutes of hard-rocking bliss.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Mick Jones (lead guitar, keyboards, background vocals), Rick Wills (bass guitar, background vocals), Lou Gramm (percussion, lead vocals), Dennis Elliott (drums, background 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=AwPh5i6Z9rA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-343"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A : "
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        "ordre" => 4
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        "nom" => "4. Girl on the Moon"
      ]
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        "ordre" => 11
        "nom" => "5. Don't Let Go"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3287
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2613 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2061
    -id: 1700
    -nom: "Foreigner 4"
    -informationComplementaire: "Re-edition"
    -description: """
      - #1 ALBUM TEEMS WITH HITS : "URGENT", "WAITING FOR A GIRL LIKE YOU", "JUKE BOX HERO" !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
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      \r\n
      Half-speed mastered from the original master tapes, our 180 gram LP presents 4 in a room-filling, stadium-big sound. Replete with energetic rockers such as "Urgent", "Night Life", and "Woman In Black", the record benefits from a sonic facelift that opens up the previously compressed dynamics, expands the dimensions of the soundstage, dials in a clear path to the instrumental images, and erases the ceiling that pressed down on Lou Gramm's superhuman vocals. For the first time, Lange's obsessive, detail-oriented production can be enjoyed in all its splendid glory.\r\n
      \r\n
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      """
    -prixVente: "60.00"
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    -musicienOrchestre: "Mick Jones (lead guitar, keyboards, background vocals), Rick Wills (bass guitar, background vocals), Lou Gramm (percussion, lead vocals), Dennis Elliott (drums, background vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=AwPh5i6Z9rA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-343"
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        "nom" => "Side A : "
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        "nom" => "1. Night Life"
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        "ordre" => 11
        "nom" => "5. Don't Let Go"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
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      date: 2026-01-13 10:24:24.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2074
    -id: 2652
    -nom: "Mirage"
    -informationComplementaire: null
    -description: """
      - Fleetwood Mac Delivers Soft-Rock Bliss Amid Thematic Longing on Mirage: 1982 Album Distills Band’s Trademark Strengths, Features Addictive Pop Hooks and Three Top 25 Hits !\r\n
      - Experience the Well-Recorded and Well-Crafted Set in Reference Sound: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Is Sourced from the Original Master Tapes and Pressed at Fidelity Record Pressing !\r\n
      - 1/2” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      If every significant artist has an underrated gem in its catalog, then Mirage is that album for Fleetwood Mac. An obvious return to relative simplicity after the dramatic tension of Rumours and experimental ambitions of Tusk, the 1982 album finds the band re-grouping after a brief hiatus and again climbing to the top of the charts. Extremely well-crafted, well-produced, and well-performed, the double-platinum effort distills the group’s hallmark strengths into a filler-free set that never runs short of addictive pop hooks or daft accents. \r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set presents Mirage in reference sound for the first time. The efforts co-producers/engineers Ken Caillat and Richard Dashut went to capture the splintered albeit formidable band can be heard with stunning accuracy, range, depth, and detail. \r\n
      \r\n
      Though Rumours understandably gets a permanent spot in the audiophile hall of fame, the smooth, clear, and dynamic sonics on Mirage confirm that the record that stood as Fleetwood Mac’s last effort for five years deserves a place in the same vaunted arena. The presence and imaging of Mick Fleetwood’s percussion alone on this reissue might have you wondering how this slice of soft-rock bliss has gone under-noticed for decades. Other prized aural aspects separation, definition, impact, tonal balance are also here in spades. \r\n
      \r\n
      Like much surrounding Fleetwood Mac in the 1980s, arriving at Mirage was not easy. Caillat searched for studios located outside of Los Angeles on a mission to change up the vibe of the band’s prior recording sessions. Everyone settled on Le Chateau in France, where relations between some members remained icy  and cooperation with the producers strained. Battles with exhaustion, bitterness, and addiction further informed the proceedings at the 18th century complex in the French countryside, where even communal meals were allegedly eaten in silence. \r\n
      \r\n
      Inevitably, the feelings that co-producer Lindsey Buckingham, Stevie Nicks, Christine McVie, and company harbored as well as the situations in which they found themselves drifted into the songwriting. In its rapid ascent to rock-star royalty status, Fleetwood Mac drifted apart, embarked on solo pursuits, and found it was lonely at the top. Emptiness, the illusion of dreams, the longing for love, the want to escape to bygone times of innocence and happiness: Such themes inform a majority of the narratives. Even if the lyrics regularly take a back seat to easygoing arrangements that allow Mirage to come on like a refreshing breeze on a sunny summer afternoon.\r\n
      \r\n
      Home to three Top 25 singles in the U.S. and having occupied the pole position of the Top 200 album charts for five weeks, Mirage rightfully resonated with the mainstream and attracted listeners on both sides of the pond. And how, via a smart blend of sugary melodies, warm harmonies, interlaced notes, nimble rhythms, taut structures, and passionate vocals. Not to mention the presence of what arguably remains Nicks’ signature song, the biographical “Gypsy”, a meditation on the loss of her close friend Robin Anderson that teems with majesty, mystery, and mysticism and which gets an assist from Buckinham’s shaded tack piano and richly strummed guitar chords. \r\n
      \r\n
      Its ranking as an all-time classic aside, that N° 12 hit has plenty of company when it comes to brilliant pop turns on Mirage. On the subject of Nicks, the raspy singer gets a little bit country on “That’s Alright”. Its clip-clopping pace and two-stepping progression complement subtle vocal swells that emerge during the final verse of a tune that is ostensibly about leaving but still conveys forgiveness and grace. And what would a Fleetwood Mac record be without Nicks drawing on the tools of the supernatural cards, dreams, wolves, and the like on the twirling “Straight Back”.\r\n
      \r\n
      Despite the potency of Nicks’ primary contributions, Mirage seemingly unfolds as a tight competition between Buckingham and McVie and one that ultimately ends in a draw. Buckingham’s salvos include the contagious “Can’t Go Back”, a yearning to time-travel back to the past that’s complete with hall-of-mirrors backing vocals; “Oh Diane”, out-of- left-field ear candy sweetened with hiccupped vocals and salt-and-pepper-shaken grooves; the chiming “Eyes of the World”; and “Empire State”, a delightfully fluttering track whose high-range vocals, lap harp notes, and ringing xylophones hint at the galaxies of sound that would erupt on Tango in the Night. \r\n
      \r\n
      Then there’s McVie. As elegant, understated, and coolheaded as she’s ever been on record, she pours her heart out on cuts that revolve around her inevitable split with Beach Boy Dennis Wilson. In the process, she punctuates Mirage with a characteristic not always associated with catchy pop music: emotional weight, and the sense of dreaded acceptance in the face of dreams deferred.\r\n
      \r\n
      “I wish you were here/Holding me tight”, McVie sings over a delicate melody on the album-closing piano ballad “Wish You Were Here.” Though they hoped otherwise, for the members Fleetwood Mac, distance and separation were always close at hand. Believing otherwise, inviting nostalgia, and pretending everything was fine only amounts to a mirage.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "John McVie (bass guitar), Christine McVie (keyboards, vocals), Stevie Nicks (vocals), Lindsey Buckingham (guitars, keyboards, lap harp, vocals), Mick Fleetwood (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=mwgg1Pu6cNg"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-570"
    -titreMorceau: [
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        "nom" => "12. Wish You Were Here"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2076 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3333
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  +produit: App\Entity\Produit {#2074
    -id: 2652
    -nom: "Mirage"
    -informationComplementaire: null
    -description: """
      - Fleetwood Mac Delivers Soft-Rock Bliss Amid Thematic Longing on Mirage: 1982 Album Distills Band’s Trademark Strengths, Features Addictive Pop Hooks and Three Top 25 Hits !\r\n
      - Experience the Well-Recorded and Well-Crafted Set in Reference Sound: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Is Sourced from the Original Master Tapes and Pressed at Fidelity Record Pressing !\r\n
      - 1/2” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      If every significant artist has an underrated gem in its catalog, then Mirage is that album for Fleetwood Mac. An obvious return to relative simplicity after the dramatic tension of Rumours and experimental ambitions of Tusk, the 1982 album finds the band re-grouping after a brief hiatus and again climbing to the top of the charts. Extremely well-crafted, well-produced, and well-performed, the double-platinum effort distills the group’s hallmark strengths into a filler-free set that never runs short of addictive pop hooks or daft accents. \r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set presents Mirage in reference sound for the first time. The efforts co-producers/engineers Ken Caillat and Richard Dashut went to capture the splintered albeit formidable band can be heard with stunning accuracy, range, depth, and detail. \r\n
      \r\n
      Though Rumours understandably gets a permanent spot in the audiophile hall of fame, the smooth, clear, and dynamic sonics on Mirage confirm that the record that stood as Fleetwood Mac’s last effort for five years deserves a place in the same vaunted arena. The presence and imaging of Mick Fleetwood’s percussion alone on this reissue might have you wondering how this slice of soft-rock bliss has gone under-noticed for decades. Other prized aural aspects separation, definition, impact, tonal balance are also here in spades. \r\n
      \r\n
      Like much surrounding Fleetwood Mac in the 1980s, arriving at Mirage was not easy. Caillat searched for studios located outside of Los Angeles on a mission to change up the vibe of the band’s prior recording sessions. Everyone settled on Le Chateau in France, where relations between some members remained icy  and cooperation with the producers strained. Battles with exhaustion, bitterness, and addiction further informed the proceedings at the 18th century complex in the French countryside, where even communal meals were allegedly eaten in silence. \r\n
      \r\n
      Inevitably, the feelings that co-producer Lindsey Buckingham, Stevie Nicks, Christine McVie, and company harbored as well as the situations in which they found themselves drifted into the songwriting. In its rapid ascent to rock-star royalty status, Fleetwood Mac drifted apart, embarked on solo pursuits, and found it was lonely at the top. Emptiness, the illusion of dreams, the longing for love, the want to escape to bygone times of innocence and happiness: Such themes inform a majority of the narratives. Even if the lyrics regularly take a back seat to easygoing arrangements that allow Mirage to come on like a refreshing breeze on a sunny summer afternoon.\r\n
      \r\n
      Home to three Top 25 singles in the U.S. and having occupied the pole position of the Top 200 album charts for five weeks, Mirage rightfully resonated with the mainstream and attracted listeners on both sides of the pond. And how, via a smart blend of sugary melodies, warm harmonies, interlaced notes, nimble rhythms, taut structures, and passionate vocals. Not to mention the presence of what arguably remains Nicks’ signature song, the biographical “Gypsy”, a meditation on the loss of her close friend Robin Anderson that teems with majesty, mystery, and mysticism and which gets an assist from Buckinham’s shaded tack piano and richly strummed guitar chords. \r\n
      \r\n
      Its ranking as an all-time classic aside, that N° 12 hit has plenty of company when it comes to brilliant pop turns on Mirage. On the subject of Nicks, the raspy singer gets a little bit country on “That’s Alright”. Its clip-clopping pace and two-stepping progression complement subtle vocal swells that emerge during the final verse of a tune that is ostensibly about leaving but still conveys forgiveness and grace. And what would a Fleetwood Mac record be without Nicks drawing on the tools of the supernatural cards, dreams, wolves, and the like on the twirling “Straight Back”.\r\n
      \r\n
      Despite the potency of Nicks’ primary contributions, Mirage seemingly unfolds as a tight competition between Buckingham and McVie and one that ultimately ends in a draw. Buckingham’s salvos include the contagious “Can’t Go Back”, a yearning to time-travel back to the past that’s complete with hall-of-mirrors backing vocals; “Oh Diane”, out-of- left-field ear candy sweetened with hiccupped vocals and salt-and-pepper-shaken grooves; the chiming “Eyes of the World”; and “Empire State”, a delightfully fluttering track whose high-range vocals, lap harp notes, and ringing xylophones hint at the galaxies of sound that would erupt on Tango in the Night. \r\n
      \r\n
      Then there’s McVie. As elegant, understated, and coolheaded as she’s ever been on record, she pours her heart out on cuts that revolve around her inevitable split with Beach Boy Dennis Wilson. In the process, she punctuates Mirage with a characteristic not always associated with catchy pop music: emotional weight, and the sense of dreaded acceptance in the face of dreams deferred.\r\n
      \r\n
      “I wish you were here/Holding me tight”, McVie sings over a delicate melody on the album-closing piano ballad “Wish You Were Here.” Though they hoped otherwise, for the members Fleetwood Mac, distance and separation were always close at hand. Believing otherwise, inviting nostalgia, and pretending everything was fine only amounts to a mirage.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "John McVie (bass guitar), Christine McVie (keyboards, vocals), Stevie Nicks (vocals), Lindsey Buckingham (guitars, keyboards, lap harp, vocals), Mick Fleetwood (drums, percussion)"
    -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=mwgg1Pu6cNg"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-570"
    -titreMorceau: [
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        "nom" => "Side A : "
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      ]
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      ]
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      ]
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      ]
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        "nom" => "11. Eyes of the World"
      ]
      [
        "ordre" => 15
        "nom" => "12. Wish You Were Here"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2076 …}
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    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2381 …}
}

[
  "produit" => App\Entity\Produit {#2090
    -id: 2574
    -nom: "Tango in the Night"
    -informationComplementaire: null
    -description: """
      - A Universe of Pop : Fleetwood Mac’s Tango in the Night Features Meticulous Production, Includes the Ageless Hits “Big Love”, “Everywhere”, “Seven Wonders”, and “Little Lies”.\r\n
      - Experience the 1987 Album in Audiophile Sound for the First Time: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set Captures the Perfectionist Details, Plays with Extraordinary Openness !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      The perfectionism involved in crafting Fleetwood Mac’s Tango in the Night reached a level of intensity experienced by few artists before or since. Commercially and creatively, the painstaking efforts paid off. Recorded over the span of 18 months, the triple-platinum album spawned four hit singles and put Fleetwood Mac back at the center of mainstream conversation. Its demands also ultimately forced its primary architect, guitarist-singer Lindsey Buckingham, to leave the group shortly after its completion. Was it all worth it? A thousand times “yes”.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set of Tango in the Night presents the 1987 record in audiophile sound for the first time. Everything co-producers Buckingham and Richard Dashut sought to instill in the music the exacting tones, gauzy textures, plush atmospherics, shifted harmonics, unique pitches, pristine acoustics, biting rhythms can now be heard with elevated accuracy, range, depth, and detail. \r\n
      \r\n
      Made under challenging circumstances, Tango in the Night is as much a universe of sound as it is an album. This reissue conveys that sonic spectrum in exhaustive manners that go beyond prior editions by playing with a combination of transparency, imaging, openness, and dynamics that provides uncanny insight into the meticulously layered vocal and instrumental tracks. Equally important, it also amplifies your connection to the elaborate melodies, contagious hooks, and airy highs that account for the album’s ageless pop brilliance. \r\n
      \r\n
      As for the wondrous array of percussive accents, synthesizer elements, interlaced guitars, and lush chrouses all seemingly occupying the exact right place amid the soundstages and taking on shapes and forms that lend them a living, breathing quality ? If your audio system is up to the task, the realism, presence, and warmth of Mobile Fidelity’s collectible edition will have you considering Tango in the Night from a new perspective one that puts its lavish, gorgeous creations on a par with those from Rumours and Tusk.\r\n
      \r\n
      Unlike those records, Tango in the Night began from a more individualistic perspective in that it sprang from what originally was intended to become a Buckingham solo effort. Instead, it remains the final album credited to the peak Fleetwood Mac lineup involving Buckingham, Stevie Nicks, Chrstine McVie, Mick Fleetwood, and John McVie. Though the participation of all the members varies from track to track, the cohesive arrangements and alchemic production  Tango in the Night suggest a unity that remains on a par with the band’s other landmark works. \r\n
      \r\n
      Largely constructed from laborious methods that involved recording at half speed to achieve the desired sonics and tonal nuances, piecing together verses and choruses to attain seamless synchronicity, and Buckingham using a Fairlight CMI synthesizer/workstation in visionary ways, the songs pair electronic and acoustic elements to radiant effect. Tango in the Night also possesses light dance structures that resulted in several tunes being recast as dance mixes on extended-play singles. Above all, however, this is music that appears to float and cast dreamy spells. \r\n
      \r\n
      Surrender to the frisky interplay of the opening “Big Love”, big pop punctuated with Buckingham’s back-and-forth “oh-ah” sighs that ping the Top 5 smash with innocuous sensuality and toe-tapping momentum. Delight amid the shimmering lights of “Seven Wonders”, whose shades and shadows shift amid Nicks’ raspy vocals and a large group chorus. Wrap yourself in the warmth of the weightless “Everywhere”, a flawless slice of hummable pop that topped with Adult Contemporary charts for three weeks and towers as an ode to the love everyone desires. Stare into the mysterious landscape of the title track (and dig the synthesized harp) just before it explodes, briefly ceding to a terse riff and locked-in grooves. \r\n
      \r\n
      Tango in the Night teems with delightful surprises and well-honed specifics, especially when Buckinham and Christine McVie team together. In addition to the aforementioned “Everywhere”, the singer born Christine Anne Perfect plays a major role on four more cuts all highlights from the breathy, head-over-heels emotionalism of “Mystified” to the sweet, sweeping escapism of “Little Lies”, a cover-up of romantic despair aided by Nicks’ irreplaceable background vocals. \r\n
      \r\n
      “If I see you again/Will it be the same”, asks Buckingham on “When I See You Again”, finishing up a song a longing-sounding Nicks had started while voicing words that many likely knew would resonate far beyond the confines of the heartfelt song a goodbye wearing a faint disguise. Though Fleetwood Mac would never again reach the heights maintained throughout Tango in the Night, and members would go their own way, the album towers as a paean to what’s possible in the fields of pop, rock, and studio wizardry.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Lindsey Buckingham (guitars, keyboards, Fairlight CMI, bass, percussion, drum programming, vocals), Stevie Nicks (vocals), Christine McVie (keyboards, synthesizers, vocals), John McVie (bass guitar), Mick Fleetwood (drums, percussion)"
    -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=KNZIwD1I0gY&list=OLAK5uy_ltA3wQe8DfNCg5SYYAl9EEBAkuSAcWtyI"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-569"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Big Love"
      ]
      [
        "ordre" => 2
        "nom" => "2. Seven Wonders"
      ]
      [
        "ordre" => 3
        "nom" => "3. Everywhere"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "4. Caroline"
      ]
      [
        "ordre" => 6
        "nom" => "5. Tango in the Night"
      ]
      [
        "ordre" => 7
        "nom" => "6. Mystified"
      ]
      [
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        "nom" => "Side C : "
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        "nom" => "7. Little Lies"
      ]
      [
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        "nom" => "8. Family Man"
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        "nom" => "9. Welcome to the Room…Sara"
      ]
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      [
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        "nom" => "10. Isn’t It Midnight"
      ]
      [
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        "nom" => "11. When I See You Again"
      ]
      [
        "ordre" => 15
        "nom" => "12. You and I, Part II"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2076 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2613 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2090
    -id: 2574
    -nom: "Tango in the Night"
    -informationComplementaire: null
    -description: """
      - A Universe of Pop : Fleetwood Mac’s Tango in the Night Features Meticulous Production, Includes the Ageless Hits “Big Love”, “Everywhere”, “Seven Wonders”, and “Little Lies”.\r\n
      - Experience the 1987 Album in Audiophile Sound for the First Time: Mobile Fidelity’s Numbered-Edition 180 gram 45 RPM (2 LP) Set Captures the Perfectionist Details, Plays with Extraordinary Openness !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      The perfectionism involved in crafting Fleetwood Mac’s Tango in the Night reached a level of intensity experienced by few artists before or since. Commercially and creatively, the painstaking efforts paid off. Recorded over the span of 18 months, the triple-platinum album spawned four hit singles and put Fleetwood Mac back at the center of mainstream conversation. Its demands also ultimately forced its primary architect, guitarist-singer Lindsey Buckingham, to leave the group shortly after its completion. Was it all worth it? A thousand times “yes”.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180 gram 45 RPM (2 LP) set of Tango in the Night presents the 1987 record in audiophile sound for the first time. Everything co-producers Buckingham and Richard Dashut sought to instill in the music the exacting tones, gauzy textures, plush atmospherics, shifted harmonics, unique pitches, pristine acoustics, biting rhythms can now be heard with elevated accuracy, range, depth, and detail. \r\n
      \r\n
      Made under challenging circumstances, Tango in the Night is as much a universe of sound as it is an album. This reissue conveys that sonic spectrum in exhaustive manners that go beyond prior editions by playing with a combination of transparency, imaging, openness, and dynamics that provides uncanny insight into the meticulously layered vocal and instrumental tracks. Equally important, it also amplifies your connection to the elaborate melodies, contagious hooks, and airy highs that account for the album’s ageless pop brilliance. \r\n
      \r\n
      As for the wondrous array of percussive accents, synthesizer elements, interlaced guitars, and lush chrouses all seemingly occupying the exact right place amid the soundstages and taking on shapes and forms that lend them a living, breathing quality ? If your audio system is up to the task, the realism, presence, and warmth of Mobile Fidelity’s collectible edition will have you considering Tango in the Night from a new perspective one that puts its lavish, gorgeous creations on a par with those from Rumours and Tusk.\r\n
      \r\n
      Unlike those records, Tango in the Night began from a more individualistic perspective in that it sprang from what originally was intended to become a Buckingham solo effort. Instead, it remains the final album credited to the peak Fleetwood Mac lineup involving Buckingham, Stevie Nicks, Chrstine McVie, Mick Fleetwood, and John McVie. Though the participation of all the members varies from track to track, the cohesive arrangements and alchemic production  Tango in the Night suggest a unity that remains on a par with the band’s other landmark works. \r\n
      \r\n
      Largely constructed from laborious methods that involved recording at half speed to achieve the desired sonics and tonal nuances, piecing together verses and choruses to attain seamless synchronicity, and Buckingham using a Fairlight CMI synthesizer/workstation in visionary ways, the songs pair electronic and acoustic elements to radiant effect. Tango in the Night also possesses light dance structures that resulted in several tunes being recast as dance mixes on extended-play singles. Above all, however, this is music that appears to float and cast dreamy spells. \r\n
      \r\n
      Surrender to the frisky interplay of the opening “Big Love”, big pop punctuated with Buckingham’s back-and-forth “oh-ah” sighs that ping the Top 5 smash with innocuous sensuality and toe-tapping momentum. Delight amid the shimmering lights of “Seven Wonders”, whose shades and shadows shift amid Nicks’ raspy vocals and a large group chorus. Wrap yourself in the warmth of the weightless “Everywhere”, a flawless slice of hummable pop that topped with Adult Contemporary charts for three weeks and towers as an ode to the love everyone desires. Stare into the mysterious landscape of the title track (and dig the synthesized harp) just before it explodes, briefly ceding to a terse riff and locked-in grooves. \r\n
      \r\n
      Tango in the Night teems with delightful surprises and well-honed specifics, especially when Buckinham and Christine McVie team together. In addition to the aforementioned “Everywhere”, the singer born Christine Anne Perfect plays a major role on four more cuts all highlights from the breathy, head-over-heels emotionalism of “Mystified” to the sweet, sweeping escapism of “Little Lies”, a cover-up of romantic despair aided by Nicks’ irreplaceable background vocals. \r\n
      \r\n
      “If I see you again/Will it be the same”, asks Buckingham on “When I See You Again”, finishing up a song a longing-sounding Nicks had started while voicing words that many likely knew would resonate far beyond the confines of the heartfelt song a goodbye wearing a faint disguise. Though Fleetwood Mac would never again reach the heights maintained throughout Tango in the Night, and members would go their own way, the album towers as a paean to what’s possible in the fields of pop, rock, and studio wizardry.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Lindsey Buckingham (guitars, keyboards, Fairlight CMI, bass, percussion, drum programming, vocals), Stevie Nicks (vocals), Christine McVie (keyboards, synthesizers, vocals), John McVie (bass guitar), Mick Fleetwood (drums, percussion)"
    -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=KNZIwD1I0gY&list=OLAK5uy_ltA3wQe8DfNCg5SYYAl9EEBAkuSAcWtyI"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-569"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Big Love"
      ]
      [
        "ordre" => 2
        "nom" => "2. Seven Wonders"
      ]
      [
        "ordre" => 3
        "nom" => "3. Everywhere"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "4. Caroline"
      ]
      [
        "ordre" => 6
        "nom" => "5. Tango in the Night"
      ]
      [
        "ordre" => 7
        "nom" => "6. Mystified"
      ]
      [
        "ordre" => 8
        "nom" => "Side C : "
      ]
      [
        "ordre" => 9
        "nom" => "7. Little Lies"
      ]
      [
        "ordre" => 10
        "nom" => "8. Family Man"
      ]
      [
        "ordre" => 11
        "nom" => "9. Welcome to the Room…Sara"
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "10. Isn’t It Midnight"
      ]
      [
        "ordre" => 14
        "nom" => "11. When I See You Again"
      ]
      [
        "ordre" => 15
        "nom" => "12. You and I, Part II"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2076 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2098 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2091 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2093 …}
    -enregistreLe: DateTime @1728546753 {#2087
      date: 2024-10-10 07:52:33.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1768298598 {#2088
      date: 2026-01-13 10:03:18.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2095 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-tango-in-the-night-mobile-fidelity-sound-lab-mfsl-2-569"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2381 …}
}

[
  "produit" => App\Entity\Produit {#2103
    -id: 2184
    -nom: "Sketches of spain - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba), James Buffington (fender Rhodes, french Horn), Eddie Caine (flugelhorn, flute), Paul Chambers (bass), Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet), Harold Feldman (clarinet, flute, oboe), Dick Hixon, Frank Rehak (trombone), Elvin Jones, Jose Mangual (percussion), Jack Knitzer (bassoon), Romeo Penque (oboe), Janet Putnam (harp), Jimmy cobb (drums).\r\n
      \r\n
      DEFINITIVE MOBILE FIDELITY ULTRADISC ONE-STEP SET INCLUDES OPULENT BOX, FOIL-STAMPED JACKETS, AND MOFI SUPERVINYL LPS PRESSED AT RTI !\r\n
      \r\n
      Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that resonates more than six decades after its original release.\r\n
      \r\n
      A crucial part of the next phase of Mobile Fidelity's Miles Davis restoration series, the 1960 landmark has been afforded the ultimate white-gloves treatment. Mastered from the original master tapes and pressed on dead-quiet MoFi SuperVinyl at RTI, the label's exquisite UltraDisc One-Step 45 RPM 180 gram 2 LP box set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. Listeners can now hear the full perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with unprecedented definition and detail.\r\n
      \r\n
      The premium packaging and beautiful presentation of the numbered, limited-edition UD1S Sketches of Spain pressing befit the record's historical importance. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. Aurally and visually, this UD1S set exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain ?\r\n
      \r\n
      Whether it is the somber mood piece "Concierto de Aranjuez (Adagio)", renowned for Davis' flugelhorn performance, or the folktale-based "Solea", Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took every available measure to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18 piece orchestra. The results are as breathtaking as the music.\r\n
      \r\n
      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain : color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues in the 21st century to draw praise from the entire music community.\r\n
      \r\n
      Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken" jazz in a new direction, the Grammy Award-winning effort has never sounded or looked better.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=qljvoFTcNrg"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-038"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Concierto de Aranjuez (Adagio)"
      ]
      [
        "ordre" => 1
        "nom" => "2. Will O' the Wisp"
      ]
      [
        "ordre" => 2
        "nom" => "3. The Pan Piper"
      ]
      [
        "ordre" => 3
        "nom" => "4. Saeta"
      ]
      [
        "ordre" => 4
        "nom" => "5. Solea"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2105 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2114 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2107 …}
    -typeMasterTape: null
    -marque: null
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    -adresseInternetTest: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2109 …}
    -enregistreLe: DateTime @1640898569 {#2100
      date: 2021-12-30 21:09:29.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767219175 {#2101
      date: 2025-12-31 22:12:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2111 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-sketches-of-spain-ultradisc-one-step-box-set-2-lp-45-rpm-mobile-fidelity-sound-lab-ud1s-038"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3432
  -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 {#2613 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2103
    -id: 2184
    -nom: "Sketches of spain - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba), James Buffington (fender Rhodes, french Horn), Eddie Caine (flugelhorn, flute), Paul Chambers (bass), Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet), Harold Feldman (clarinet, flute, oboe), Dick Hixon, Frank Rehak (trombone), Elvin Jones, Jose Mangual (percussion), Jack Knitzer (bassoon), Romeo Penque (oboe), Janet Putnam (harp), Jimmy cobb (drums).\r\n
      \r\n
      DEFINITIVE MOBILE FIDELITY ULTRADISC ONE-STEP SET INCLUDES OPULENT BOX, FOIL-STAMPED JACKETS, AND MOFI SUPERVINYL LPS PRESSED AT RTI !\r\n
      \r\n
      Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that resonates more than six decades after its original release.\r\n
      \r\n
      A crucial part of the next phase of Mobile Fidelity's Miles Davis restoration series, the 1960 landmark has been afforded the ultimate white-gloves treatment. Mastered from the original master tapes and pressed on dead-quiet MoFi SuperVinyl at RTI, the label's exquisite UltraDisc One-Step 45 RPM 180 gram 2 LP box set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. Listeners can now hear the full perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with unprecedented definition and detail.\r\n
      \r\n
      The premium packaging and beautiful presentation of the numbered, limited-edition UD1S Sketches of Spain pressing befit the record's historical importance. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. Aurally and visually, this UD1S set exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain ?\r\n
      \r\n
      Whether it is the somber mood piece "Concierto de Aranjuez (Adagio)", renowned for Davis' flugelhorn performance, or the folktale-based "Solea", Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took every available measure to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18 piece orchestra. The results are as breathtaking as the music.\r\n
      \r\n
      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain : color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues in the 21st century to draw praise from the entire music community.\r\n
      \r\n
      Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken" jazz in a new direction, the Grammy Award-winning effort has never sounded or looked better.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=qljvoFTcNrg"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-038"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Concierto de Aranjuez (Adagio)"
      ]
      [
        "ordre" => 1
        "nom" => "2. Will O' the Wisp"
      ]
      [
        "ordre" => 2
        "nom" => "3. The Pan Piper"
      ]
      [
        "ordre" => 3
        "nom" => "4. Saeta"
      ]
      [
        "ordre" => 4
        "nom" => "5. Solea"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2105 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2114 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2107 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2109 …}
    -enregistreLe: DateTime @1640898569 {#2100
      date: 2021-12-30 21:09:29.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767219175 {#2101
      date: 2025-12-31 22:12:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2111 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-sketches-of-spain-ultradisc-one-step-box-set-2-lp-45-rpm-mobile-fidelity-sound-lab-ud1s-038"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2381 …}
}

[
  "produit" => App\Entity\Produit {#2119
    -id: 2645
    -nom: "Good As I Been To You - (Edition SuperVinyl)"
    -informationComplementaire: null
    -description: """
      - Dylan's 1992 solo acoustic album remains an overlooked gem !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      - Pressed at RTI on Supervinyl compound !\r\n
      - Housed in a Stoughton Printing jacket !\r\n
      \r\n
      Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s 180 gram SuperVinyl 33 RPM LP Plays with Riveting Detail, Strictly Limited to 5000 Numbered Copies\r\n
      \r\n
      Three decades before he released The Philosophy of Modern Song an insightful book devoted to 66 tunes that both impacted his career and the music world at large Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan's first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate's celebrated late-career arc. It's also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.\r\n
      \r\n
      Good As I Been to You ? Dylan has seldom been better.\r\n
      \r\n
      Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180 gram SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan's garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl's extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.\r\n
      \r\n
      Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan's home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works in this case, traditional folk music and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).\r\n
      \r\n
      Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy followed him for years. As author Clinton Heylin reported Dylan admitting in 1997 : "My influences have not changed and any time they have done, the music goes off to a wrong place. That's why I recorded two LPs of old songs, so I could personally get back to the music that's true for me".\r\n
      \r\n
      Truth : Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan's imagination as a kid in small-town Minnesota and, later, per Greil Marcus' That Old Weird America book, informed Dylan and the Band's Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record's release, Dylan would play half the album's songs live.\r\n
      \r\n
      As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes jealousy, temptation, sacrifice, love, revenge, identity, opportunity operate on a fundamentally human level immune to trends, generations, or eras. They're ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice "Frankie & Albert"; "Jim Jones", romance and tenderness "Tomorrow Night," "Froggie Went a Courtin'", the troubled and trouble-free "Hard Times", "Sittin' on Top of the World". They lend voice to lovers scorned and freed "Blackjack Davey", the used and users "Diamond Joe", the powerful and powerless "Arthur McBride", "Canadee-I-O", the followed and followers "Little Maggie". And akin to much of Dylan's finest output, things are not always what they appear to be.\r\n
      \r\n
      Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan's position as an elite interpreter and sculptor not of just structure but emotion. Dylan delivers the tunes as if he's known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanor; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.\r\n
      \r\n
      Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing from the clever ways he stretches syllables to underline meanings on the surprise twists of "Canadee-I-O" to the sheer delight he gets from singing "rowdy-dow-dow" on the protest song "Arthur McBride" outstanding.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Bob Dylan (guitar, harmonica, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=7WM4lnTRi8o"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV1-532"
    -titreMorceau: [
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        "ordre" => 0
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        "nom" => "6. Froggie Went a Courtin'"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
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    -nom: "Good As I Been To You - (Edition SuperVinyl)"
    -informationComplementaire: null
    -description: """
      - Dylan's 1992 solo acoustic album remains an overlooked gem !\r\n
      - 1/2" / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      - Pressed at RTI on Supervinyl compound !\r\n
      - Housed in a Stoughton Printing jacket !\r\n
      \r\n
      Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s 180 gram SuperVinyl 33 RPM LP Plays with Riveting Detail, Strictly Limited to 5000 Numbered Copies\r\n
      \r\n
      Three decades before he released The Philosophy of Modern Song an insightful book devoted to 66 tunes that both impacted his career and the music world at large Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan's first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate's celebrated late-career arc. It's also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.\r\n
      \r\n
      Good As I Been to You ? Dylan has seldom been better.\r\n
      \r\n
      Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180 gram SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan's garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl's extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.\r\n
      \r\n
      Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan's home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works in this case, traditional folk music and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).\r\n
      \r\n
      Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy followed him for years. As author Clinton Heylin reported Dylan admitting in 1997 : "My influences have not changed and any time they have done, the music goes off to a wrong place. That's why I recorded two LPs of old songs, so I could personally get back to the music that's true for me".\r\n
      \r\n
      Truth : Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan's imagination as a kid in small-town Minnesota and, later, per Greil Marcus' That Old Weird America book, informed Dylan and the Band's Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record's release, Dylan would play half the album's songs live.\r\n
      \r\n
      As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes jealousy, temptation, sacrifice, love, revenge, identity, opportunity operate on a fundamentally human level immune to trends, generations, or eras. They're ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice "Frankie & Albert"; "Jim Jones", romance and tenderness "Tomorrow Night," "Froggie Went a Courtin'", the troubled and trouble-free "Hard Times", "Sittin' on Top of the World". They lend voice to lovers scorned and freed "Blackjack Davey", the used and users "Diamond Joe", the powerful and powerless "Arthur McBride", "Canadee-I-O", the followed and followers "Little Maggie". And akin to much of Dylan's finest output, things are not always what they appear to be.\r\n
      \r\n
      Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan's position as an elite interpreter and sculptor not of just structure but emotion. Dylan delivers the tunes as if he's known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanor; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.\r\n
      \r\n
      Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing from the clever ways he stretches syllables to underline meanings on the surprise twists of "Canadee-I-O" to the sheer delight he gets from singing "rowdy-dow-dow" on the protest song "Arthur McBride" outstanding.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Bob Dylan (guitar, harmonica, vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=7WM4lnTRi8o"
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        "nom" => "6. Froggie Went a Courtin'"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2121 …}
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2381 …}
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[
  "produit" => App\Entity\Produit {#2135
    -id: 893
    -nom: "A Tribute To Jack Johnson"
    -informationComplementaire: null
    -description: """
      - The “Greatest Rock and Roll Band You Have Ever Heard”, Miles Davis, John McLaughlin, and Co. Merge Electric Fusion and Defiant Rock on the Funky, Freeing A Tribute to Jack Johnson.\r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM (1 LP) Plays with Lean, Stripped-Back Sound and Startling Immediacy !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
      \r\n
      Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. \r\n
      \r\n
      Sourced from the original analog master tapes and pressed at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180 gram 33 RPM (1 LP) reissue brings it all to fore. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences longtime fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires. \r\n
      \r\n
      Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimensional bass lines emerge amidst an ink-black background.\r\n
      \r\n
      The least-well known true masterpiece of Davis' career, the 1971 record – like Bitches Brew, seamlessly assembled from sessions by producer Ted Macero was a victim of scant promotion. But to those that heard it, among them critic/musician Robert Quine and renowned writer Robert Christgau, A Tribute to Jack Johnson surpasses everything that came before. Davis treated it as a personal manifesto: An opportunity to salute the championship boxer admired for his threatening image to the establishment and taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson a stance revealed in the music, which simultaneously hits with a prize fighter's brutal force and reflects the graceful elegance with which a pugilist navigates the ring.\r\n
      \r\n
      Producer and journalist Michael Cuscuna may have summed up the record's significance in 2003 : "The dense textures introduced and developed the prior fall on the Bitches Brew recording sessions gave way to a lean, stripped-down, guitar-heavy sound. There was now only one drummer, and that kept the groove more pronounced and defined. The three-keyboard configuration appears only on the last session; the rest have none, one, or two, and they are used sparingly".\r\n
      \r\n
      By any measure, A Tribute to Jack Johnson is a monster album. Experience it the way Davis would've wanted you to hear it.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), John McLaughlin (guitar), Herbie Hancock (keyboards), Michael Henderson (bass Fender), Steve Grossman (saxophone), Brock Peters (voice), Billy Cobham (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=DEBKksupBVA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-440"
    -titreMorceau: [
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      [
        "ordre" => 3
        "nom" => "2. Yesternow"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2105 …}
    -label: App\Entity\Label {#1063 …}
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    -slug: "vinyles-a-tribute-to-jack-johnson-mobile-fidelity-sound-lab-mfsl-1-440"
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App\Twig\Components\GestionPanierFavoriComponents {#3536
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2613 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 893
    -nom: "A Tribute To Jack Johnson"
    -informationComplementaire: null
    -description: """
      - The “Greatest Rock and Roll Band You Have Ever Heard”, Miles Davis, John McLaughlin, and Co. Merge Electric Fusion and Defiant Rock on the Funky, Freeing A Tribute to Jack Johnson.\r\n
      - Mobile Fidelity's Numbered-Edition 180 gram 33 RPM (1 LP) Plays with Lean, Stripped-Back Sound and Startling Immediacy !\r\n
      - 1/4" / 15 IPS analog master to DSD 64 to analog console to lathe !\r\n
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      Miles Davis' A Tribute to Jack Johnson is the best jazz-rock record ever made. Equally inspired by the leader's desire to assemble the "greatest rock and roll band you have ever heard" as well as his adoration of Johnson, Davis created a hard-hitting set that spills over with excitement, intensity, majesty, and power. Bridging the electric fusion he'd pursued on earlier efforts with a funkier, dirtier rhythmic approach, Davis zeroes in on concepts of spontaneity, freedom, and identity seldom achieved in the studio. \r\n
      \r\n
      Sourced from the original analog master tapes and pressed at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180 gram 33 RPM (1 LP) reissue brings it all to fore. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and supple bass lines emerge amidst black backgrounds. One of the most prominent differences longtime fans will notice is how much more aggressive, immediate, and vibrant the music sounds, with those aspects central to the composer's original desires. \r\n
      \r\n
      Indeed, utilizing wah-wah and distortion, guitarist John McLaughlin comes on here with a nasty edge, slashing style, and vicious streak that allows A Tribute to Jack Johnson finally cross the divide between rock and jazz. Davis puts both feet in the former camp and permanently erasing any gap. In addition to highlighting McLaughlin's ripping performances, Mobile Fidelity's 180g LP showcases the headliner's white-hot trumpet solos like never before. Bristling with exuberance, Davis' high-register passages explode with authority and commanding presence. Around him, a barrage of urgent backbeats, knifing riffs, and three-dimensional bass lines emerge amidst an ink-black background.\r\n
      \r\n
      The least-well known true masterpiece of Davis' career, the 1971 record – like Bitches Brew, seamlessly assembled from sessions by producer Ted Macero was a victim of scant promotion. But to those that heard it, among them critic/musician Robert Quine and renowned writer Robert Christgau, A Tribute to Jack Johnson surpasses everything that came before. Davis treated it as a personal manifesto: An opportunity to salute the championship boxer admired for his threatening image to the establishment and taste in clothes, cars, women and music. Davis explains in the liner notes his affinity for Johnson a stance revealed in the music, which simultaneously hits with a prize fighter's brutal force and reflects the graceful elegance with which a pugilist navigates the ring.\r\n
      \r\n
      Producer and journalist Michael Cuscuna may have summed up the record's significance in 2003 : "The dense textures introduced and developed the prior fall on the Bitches Brew recording sessions gave way to a lean, stripped-down, guitar-heavy sound. There was now only one drummer, and that kept the groove more pronounced and defined. The three-keyboard configuration appears only on the last session; the rest have none, one, or two, and they are used sparingly".\r\n
      \r\n
      By any measure, A Tribute to Jack Johnson is a monster album. Experience it the way Davis would've wanted you to hear it.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), John McLaughlin (guitar), Herbie Hancock (keyboards), Michael Henderson (bass Fender), Steve Grossman (saxophone), Brock Peters (voice), Billy Cobham (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: true
    -extraitYoutube: "https://www.youtube.com/watch?v=DEBKksupBVA"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-440"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Right Off"
      ]
      [
        "ordre" => 2
        "nom" => "Side B :"
      ]
      [
        "ordre" => 3
        "nom" => "2. Yesternow"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2105 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2143 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2136 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2138 …}
    -enregistreLe: DateTime @1458305108 {#2132
      date: 2016-03-18 12:45:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767215520 {#2133
      date: 2025-12-31 21:12:00.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2140 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-a-tribute-to-jack-johnson-mobile-fidelity-sound-lab-mfsl-1-440"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2381 …}
}

[
  "produit" => App\Entity\Produit {#2148
    -id: 2185
    -nom: "Bitches Brew - UltraDisc One-Step (Box Set 2 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
      THE AURAL MOUNT RUSHMORE OF JAZZ FUSION: MASTERED FROM THE ORIGINAL MASTER TAPES, PRESSED AT RTI ON MOFI SUPERVINYL, AND HOUSED IN A LAVISH BOX !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than 50 years later, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's UltraDisc One-Step 180 gram 2 LP vinyl box set.\r\n
      \r\n
      Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly numbered and limited, this definitive reissue enhances every element of a double album that established new possibilities for studio recording techniques. You'll hear wider and deeper soundstages, more separation between instruments, and a drastically broadened dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint abstract canvases on par with those of Axis : Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew pressing befit such 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 is spared. Aurally and visually, it 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 everything surrounding the album, from the images to the finishes. And this is one effort where every last detail matters.\r\n
      Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remains Bitches Brew.\r\n
      Don't miss the rare opportunity to experience the album at its full potential, a dream fully realized by Mobile Fidelity.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-039"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Pharaoh's Dance"
      ]
      [
        "ordre" => 1
        "nom" => "2. Bitches Brew"
      ]
      [
        "ordre" => 2
        "nom" => "3. Spanish Key"
      ]
      [
        "ordre" => 3
        "nom" => "4. John McLaughlin"
      ]
      [
        "ordre" => 4
        "nom" => "5. Miles Runs the Voodoo Down"
      ]
      [
        "ordre" => 5
        "nom" => "6. Sanctuary"
      ]
      [
        "ordre" => 6
        "nom" => "Side A :"
      ]
      [
        "ordre" => 7
        "nom" => "Side B :"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2105 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2156 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2149 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2151 …}
    -enregistreLe: DateTime @1640935072 {#2145
      date: 2021-12-31 07:17:52.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767215067 {#2146
      date: 2025-12-31 21:04:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2153 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-bitches-brew-ultradisc-one-step-box-set-2-lp-33-rpm-mobile-fidelity-sound-lab-ud1s-039"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3584
  -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 {#2613 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2148
    -id: 2185
    -nom: "Bitches Brew - UltraDisc One-Step (Box Set 2 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
      THE AURAL MOUNT RUSHMORE OF JAZZ FUSION: MASTERED FROM THE ORIGINAL MASTER TAPES, PRESSED AT RTI ON MOFI SUPERVINYL, AND HOUSED IN A LAVISH BOX !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than 50 years later, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's UltraDisc One-Step 180 gram 2 LP vinyl box set.\r\n
      \r\n
      Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly numbered and limited, this definitive reissue enhances every element of a double album that established new possibilities for studio recording techniques. You'll hear wider and deeper soundstages, more separation between instruments, and a drastically broadened dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint abstract canvases on par with those of Axis : Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew pressing befit such 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 is spared. Aurally and visually, it 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 everything surrounding the album, from the images to the finishes. And this is one effort where every last detail matters.\r\n
      Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remains Bitches Brew.\r\n
      Don't miss the rare opportunity to experience the album at its full potential, a dream fully realized by Mobile Fidelity.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-039"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Pharaoh's Dance"
      ]
      [
        "ordre" => 1
        "nom" => "2. Bitches Brew"
      ]
      [
        "ordre" => 2
        "nom" => "3. Spanish Key"
      ]
      [
        "ordre" => 3
        "nom" => "4. John McLaughlin"
      ]
      [
        "ordre" => 4
        "nom" => "5. Miles Runs the Voodoo Down"
      ]
      [
        "ordre" => 5
        "nom" => "6. Sanctuary"
      ]
      [
        "ordre" => 6
        "nom" => "Side A :"
      ]
      [
        "ordre" => 7
        "nom" => "Side B :"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2105 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2156 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2149 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2151 …}
    -enregistreLe: DateTime @1640935072 {#2145
      date: 2021-12-31 07:17:52.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767215067 {#2146
      date: 2025-12-31 21:04:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2153 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-bitches-brew-ultradisc-one-step-box-set-2-lp-33-rpm-mobile-fidelity-sound-lab-ud1s-039"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2381 …}
}

[
  "produit" => App\Entity\Produit {#2161
    -id: 2744
    -nom: "Bella Donna - UltraDisc One-Step (Box Set 2 LP) 180 Gram 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Stevie Nicks (lead & backing vocals), Sharon Celani & Lori Perry (backing vocals), Waddy Wachtel (guitar), Davey Johnstone (acoustic guitar), Bob Glaub (bass guitar), Benmont Tench (organ, piano), Roy Bittan (piano), Bobbye Hall (percussion), Russ Kunkel (drums), \r\n
      Bill Elliott (piano), David Adelstein (synthesizer), Tom Petty (lead vocals, guitar), Mike Campbell, Don Felder (guitar), Duck (Donald) Dunn, Tom Moncrieff, Richard Bowen (bass guitar), Billy Payne (piano), Dan Dugmore (pedal steel guitar), Don Henley (lead & backing vocals, drums), Phil Jones (percussion), Stan Lynch (drums).\r\n
      \r\n
      - Stevie Nicks Breaks Out as a Solo Force on Bella Donna: 1981 Album Features Extraordinary Vocal Performances and Four Hits, Including “Edge of Seventeen” and “Stop Draggin’ My Heart Around” !\r\n
      \r\n
      - Experience the Record’s Spontaneous Feel and Raw Emotions in Definitive Sound on Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set : Strictly Limited to 4000 Numbered Copies !\r\n
      \r\n
      - 1/4” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Stevie Nicks had much to prove when she stepped out on her own for the first time and crafted Bella Donna. Despite attaining superstar success with Fleetwood Mac, the singer often took a back seat to the band’s other members and, due to the group’s approach, faced limitations in getting her songs on an album. Along with Nicks’ status as a significant artistic force in her own right, that all changed with the timeless Bella Donna. \r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and strictly limited to 4000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of the 1981 benchmark plays with superb transparency, dynamics, and detail. Benefitting from extraordinary groove definition, an ultra-low noise floor, and extremely quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and presence.\r\n
      \r\n
      Spotlighting the striking visual elements that further make Bella Donna immediately identifiable, the gorgeous presentation of this UD1S version confirms the reissue's definitive standing. Housed in a deluxe slipcase, it features premium foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. This keepsake is for listeners who want to immerse themselves in everything involved with the album, including the celebrated cover art depicting a gowned Nicks staring at the camera, holding a perched cockatoo, and standing beside a tambourine adorned with roses. The hypnotic color scheme dark blues, deep violets, creamy whites, golden yellows mirrors the spirit, mysticism, strength, and contrasts of the music within. \r\n
      \r\n
      Teaming with simpatico producer Jimmy Iovine and fellow rock ’n’ roll icon Tom Petty, Nicks asserted control over the creative process for the first time in her career. She allowed the material to develop spontaneously a characteristic you readily experience via the natural, balanced sonics and raw emotionalism. Nicks’ organic methods owed to both her desire to collaborate with the studio musicians as well as necessity. \r\n
      \r\n
      Because the personnel who played on the record had demanding schedules, no one had time to sit around and get take after take in pursuit of perfectionist goals or technical aims. The warm, extended, tonally rich soundscapes you hear instrumentation that feels live, vocals that float and yet sound altogether innate, synergy between the players that places them in the same room together remain as integral to Bella Donna as its personalized songs.  \r\n
      \r\n
      About those songs. Nicks recorded 16 tracks and picked from material she wrote as far back as a decade prior. Though she deemed Bella Donna a “sort of chronology of [her] life”, she felt proudest about its songs’ ability to speak to issues to which everyone could relate. Her intuition proved prophetic. The public embraced her solo debut en masse, sending the album to No. 1 on its way to selling more than four million copies numbers that make Bella Donna more successful in the U.S. than any Fleetwood Mac effort apart from Rumours. \r\n
      \r\n
      The enthusiastic commercial and critical reception was well deserved. From a musical perspective, the playing on Bella Donna alone warrants the highest praise. The makeshift band on a majority of the fare consists of guitarist Waddy Watchel, drummer Russ Kunkel, organist Benmont Tench, bassist Bob Glaub, percussionist Bobbye Hall, and guitarist Davey Johnstone all of whom claim sterling resumes and tackle their parts with utmost professionalism, restraint, and chemistry. Nicks also wrangled E Street Band pianist Roy Bittan to sit in on five songs, and started the beginning of a long relationship with backing vocalists Sharon Celani and Lori Perry.\r\n
      \r\n
      For the first single, “Stop Draggin’ My Heart Around”, Nicks duetted with its author, Tom Petty, and nearly all the Heartbreakers, with legendary bassist Donald “Duck” Dunn filling in for Ron Blair. The sweeping, sassy tune reached N° 3 on the Billboard charts and captures the fiercely independent mood Nicks embraces throughout the record. She, Petty, and the Heartbreakers hit upon similar aural gold on the shivering “Outside the Rain”, which echoes toughness, sinew, and determination. \r\n
      \r\n
      On the follow-up single, “Leather and Lace”, Nicks turns to another famous luminary in the form of Eagles vocalist-drummer and former romantic interest, Don Henley. Filled with disparate images, the acoustic-based ballad climbed to N° 6 and remains notable for its lack of embellishment. Reflective, conversational, and pure, the song blooms with heartfelt emotion and honesty. When Nicks sings, “I am stronger than you know”, it doubles as the mantra for Bella Donna. \r\n
      \r\n
      Indeed, Nicks’ gritty and glam-kissed vocals on this set rank among the finest performances of her career. She invests in every word, summons her trademark rasp on cue, and explores a wide range with seeming effortlessness. Nicks weaves magical spells and haunting breathiness amid ghostly webs of notes on “Kind of Woman”; conveys heavy caution, contemplation, and consequence on the slow-building title track; and throws herself with abandon into “After the Glitter Fades”, a Top 40 lamentation framed by piano motifs, pedal-steel fills, and country accents. \r\n
      \r\n
      As for the record’s signature moment, the contagious favorite Rolling Stone ranks the 217th Greatest Song of All Time ? Nicks finds rare air on “Edge of Seventeen”, its helicopter-chop riffs and chugging rhythms corresponding with her ascending and descending vocal flights, call-and-response harmonies, and throaty timbre. The definition of cool, she remains poised throughout, probing grief in an inimitable fashion that sounds more pertinent now than four decades ago. \r\n
      \r\n
      Long may that white dove soar.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior \r\n
      \r\n
      Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers also called “converts” are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.\r\n
      \r\n
      Why Isn’t This UD1S Pressed on MoFi SuperVinyl ?\r\n
      \r\n
      Bella Donna is among the Mobile Fidelity Sound Lab UltraDisc One-Step sets released since the advent of MoFi SuperVinyl that is pressed on 180 gram black vinyl rather than MoFi SuperVinyl. Why ? Quite simply, it sounds better on 180 gram black vinyl. After closely auditioning Bella Donna on several different vinyl profiles a time-consuming and expensive endeavor no other label pursues MoFi’s expert engineers determined the music on this 1981 album translates with superior definition, clarity, presence, dynamics, and balance on this format. The opening of MoFi’s sister plant, Fidelity Record Pressing and its peerless ability to press dead-quiet 180 gram black vinyl means the label’s engineers now have more options when it comes to high-quality vinyl. All of which benefits the original artists and their intent, and you, the listener.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Stevie Nicks (lead & backing vocals), Sharon Celani & Lori Perry (backing vocals), Waddy Wachtel (guitar), Davey Johnstone (acoustic guitar), Bob Glaub (bass guitar)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
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    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S2-063"
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        "ordre" => 1
        "nom" => "1. Bella Donna"
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        "ordre" => 2
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        "nom" => "1. Stop Draggin’ My Heart Around"
      ]
      [
        "ordre" => 5
        "nom" => "2. Think About It"
      ]
      [
        "ordre" => 6
        "nom" => "3. After the Glitter Fades"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
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        "nom" => "1. Edge of Seventeen"
      ]
      [
        "ordre" => 9
        "nom" => "2. How Still My Love"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Leather and Lace"
      ]
      [
        "ordre" => 12
        "nom" => "2. Outside the Rain"
      ]
      [
        "ordre" => 13
        "nom" => "3. The Highwayman"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2163 …}
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  +produit: App\Entity\Produit {#2161
    -id: 2744
    -nom: "Bella Donna - UltraDisc One-Step (Box Set 2 LP) 180 Gram 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Stevie Nicks (lead & backing vocals), Sharon Celani & Lori Perry (backing vocals), Waddy Wachtel (guitar), Davey Johnstone (acoustic guitar), Bob Glaub (bass guitar), Benmont Tench (organ, piano), Roy Bittan (piano), Bobbye Hall (percussion), Russ Kunkel (drums), \r\n
      Bill Elliott (piano), David Adelstein (synthesizer), Tom Petty (lead vocals, guitar), Mike Campbell, Don Felder (guitar), Duck (Donald) Dunn, Tom Moncrieff, Richard Bowen (bass guitar), Billy Payne (piano), Dan Dugmore (pedal steel guitar), Don Henley (lead & backing vocals, drums), Phil Jones (percussion), Stan Lynch (drums).\r\n
      \r\n
      - Stevie Nicks Breaks Out as a Solo Force on Bella Donna: 1981 Album Features Extraordinary Vocal Performances and Four Hits, Including “Edge of Seventeen” and “Stop Draggin’ My Heart Around” !\r\n
      \r\n
      - Experience the Record’s Spontaneous Feel and Raw Emotions in Definitive Sound on Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set : Strictly Limited to 4000 Numbered Copies !\r\n
      \r\n
      - 1/4” / 30 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      Stevie Nicks had much to prove when she stepped out on her own for the first time and crafted Bella Donna. Despite attaining superstar success with Fleetwood Mac, the singer often took a back seat to the band’s other members and, due to the group’s approach, faced limitations in getting her songs on an album. Along with Nicks’ status as a significant artistic force in her own right, that all changed with the timeless Bella Donna. \r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and strictly limited to 4000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of the 1981 benchmark plays with superb transparency, dynamics, and detail. Benefitting from extraordinary groove definition, an ultra-low noise floor, and extremely quiet surfaces, this vinyl edition captures what went down in the studio with tremendous realism and presence.\r\n
      \r\n
      Spotlighting the striking visual elements that further make Bella Donna immediately identifiable, the gorgeous presentation of this UD1S version confirms the reissue's definitive standing. Housed in a deluxe slipcase, it features premium foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. This keepsake is for listeners who want to immerse themselves in everything involved with the album, including the celebrated cover art depicting a gowned Nicks staring at the camera, holding a perched cockatoo, and standing beside a tambourine adorned with roses. The hypnotic color scheme dark blues, deep violets, creamy whites, golden yellows mirrors the spirit, mysticism, strength, and contrasts of the music within. \r\n
      \r\n
      Teaming with simpatico producer Jimmy Iovine and fellow rock ’n’ roll icon Tom Petty, Nicks asserted control over the creative process for the first time in her career. She allowed the material to develop spontaneously a characteristic you readily experience via the natural, balanced sonics and raw emotionalism. Nicks’ organic methods owed to both her desire to collaborate with the studio musicians as well as necessity. \r\n
      \r\n
      Because the personnel who played on the record had demanding schedules, no one had time to sit around and get take after take in pursuit of perfectionist goals or technical aims. The warm, extended, tonally rich soundscapes you hear instrumentation that feels live, vocals that float and yet sound altogether innate, synergy between the players that places them in the same room together remain as integral to Bella Donna as its personalized songs.  \r\n
      \r\n
      About those songs. Nicks recorded 16 tracks and picked from material she wrote as far back as a decade prior. Though she deemed Bella Donna a “sort of chronology of [her] life”, she felt proudest about its songs’ ability to speak to issues to which everyone could relate. Her intuition proved prophetic. The public embraced her solo debut en masse, sending the album to No. 1 on its way to selling more than four million copies numbers that make Bella Donna more successful in the U.S. than any Fleetwood Mac effort apart from Rumours. \r\n
      \r\n
      The enthusiastic commercial and critical reception was well deserved. From a musical perspective, the playing on Bella Donna alone warrants the highest praise. The makeshift band on a majority of the fare consists of guitarist Waddy Watchel, drummer Russ Kunkel, organist Benmont Tench, bassist Bob Glaub, percussionist Bobbye Hall, and guitarist Davey Johnstone all of whom claim sterling resumes and tackle their parts with utmost professionalism, restraint, and chemistry. Nicks also wrangled E Street Band pianist Roy Bittan to sit in on five songs, and started the beginning of a long relationship with backing vocalists Sharon Celani and Lori Perry.\r\n
      \r\n
      For the first single, “Stop Draggin’ My Heart Around”, Nicks duetted with its author, Tom Petty, and nearly all the Heartbreakers, with legendary bassist Donald “Duck” Dunn filling in for Ron Blair. The sweeping, sassy tune reached N° 3 on the Billboard charts and captures the fiercely independent mood Nicks embraces throughout the record. She, Petty, and the Heartbreakers hit upon similar aural gold on the shivering “Outside the Rain”, which echoes toughness, sinew, and determination. \r\n
      \r\n
      On the follow-up single, “Leather and Lace”, Nicks turns to another famous luminary in the form of Eagles vocalist-drummer and former romantic interest, Don Henley. Filled with disparate images, the acoustic-based ballad climbed to N° 6 and remains notable for its lack of embellishment. Reflective, conversational, and pure, the song blooms with heartfelt emotion and honesty. When Nicks sings, “I am stronger than you know”, it doubles as the mantra for Bella Donna. \r\n
      \r\n
      Indeed, Nicks’ gritty and glam-kissed vocals on this set rank among the finest performances of her career. She invests in every word, summons her trademark rasp on cue, and explores a wide range with seeming effortlessness. Nicks weaves magical spells and haunting breathiness amid ghostly webs of notes on “Kind of Woman”; conveys heavy caution, contemplation, and consequence on the slow-building title track; and throws herself with abandon into “After the Glitter Fades”, a Top 40 lamentation framed by piano motifs, pedal-steel fills, and country accents. \r\n
      \r\n
      As for the record’s signature moment, the contagious favorite Rolling Stone ranks the 217th Greatest Song of All Time ? Nicks finds rare air on “Edge of Seventeen”, its helicopter-chop riffs and chugging rhythms corresponding with her ascending and descending vocal flights, call-and-response harmonies, and throaty timbre. The definition of cool, she remains poised throughout, probing grief in an inimitable fashion that sounds more pertinent now than four decades ago. \r\n
      \r\n
      Long may that white dove soar.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior \r\n
      \r\n
      Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers also called “converts” are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.\r\n
      \r\n
      Why Isn’t This UD1S Pressed on MoFi SuperVinyl ?\r\n
      \r\n
      Bella Donna is among the Mobile Fidelity Sound Lab UltraDisc One-Step sets released since the advent of MoFi SuperVinyl that is pressed on 180 gram black vinyl rather than MoFi SuperVinyl. Why ? Quite simply, it sounds better on 180 gram black vinyl. After closely auditioning Bella Donna on several different vinyl profiles a time-consuming and expensive endeavor no other label pursues MoFi’s expert engineers determined the music on this 1981 album translates with superior definition, clarity, presence, dynamics, and balance on this format. The opening of MoFi’s sister plant, Fidelity Record Pressing and its peerless ability to press dead-quiet 180 gram black vinyl means the label’s engineers now have more options when it comes to high-quality vinyl. All of which benefits the original artists and their intent, and you, the listener.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Stevie Nicks (lead & backing vocals), Sharon Celani & Lori Perry (backing vocals), Waddy Wachtel (guitar), Davey Johnstone (acoustic guitar), Bob Glaub (bass guitar)..."
    -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=TkLrGlhshMw&list=PLVMgMdYqIEkbTXxhAHnSv1PcWKQYviKPd"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S2-063"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Bella Donna"
      ]
      [
        "ordre" => 2
        "nom" => "2. Kind of Woman"
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      [
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        "nom" => "Side B : "
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      [
        "ordre" => 4
        "nom" => "1. Stop Draggin’ My Heart Around"
      ]
      [
        "ordre" => 5
        "nom" => "2. Think About It"
      ]
      [
        "ordre" => 6
        "nom" => "3. After the Glitter Fades"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. Edge of Seventeen"
      ]
      [
        "ordre" => 9
        "nom" => "2. How Still My Love"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Leather and Lace"
      ]
      [
        "ordre" => 12
        "nom" => "2. Outside the Rain"
      ]
      [
        "ordre" => 13
        "nom" => "3. The Highwayman"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2163 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
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    -modifierLe: DateTime @1766944028 {#2159
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2177
    -id: 2108
    -nom: "Eldorado - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: null
    -description: """
      - Numbered, Limited Edition 45 RPM 180 gram Vinyl (2 LP) Box Set !\r\n
      - Limited to 10000 Numbered Copies !\r\n
      - MoFi SuperVinyl Pressed At RTI !\r\n
      \r\n
      A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra's Eldorado Marries Rock and Symphonic Elements, Includes the Aptly Titled Hit "Can't Get It Out of My Head".\r\n
      \r\n
      1974 Prog-Rock Landmark Mastered from the 1/4" / 15 IPS / Dolby A Analog Master to DSD 256 to Analog Console to Lathe: Reference-Grade Mobile Fidelity UD1S 180 gram 45 RPM Vinyl (2 LP) Box Set Plays with Breathtaking Dynamics, Tones, and Colors.\r\n
      \r\n
      Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section : Arrangements and Lyrics Transport the Listener to Faraway Horizons.\r\n
      \r\n
      Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.\r\n
      \r\n
      Mastered from the 1/4" / 15 IPS / Dolby A analog master to DSD 256, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set of Eldorado allows the longtime audiophile staple to resonate with reference-setting dynamics, tones, and colors. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.\r\n
      \r\n
      Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale soundstaging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process - as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.\r\n
      \r\n
      The premium packaging and gorgeous presentation of the UD1S Eldorado 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, the 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 artwork to the meticulous finishes.\r\n
      \r\n
      An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.\r\n
      \r\n
      Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool".\r\n
      \r\n
      Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue", power-pop packed "Illusions In G Major" and, of course, the aptly titled hit, "Can't Get It Out Of My Head".\r\n
      \r\n
      Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.\r\n
      \r\n
      MoFi SuperVinyl \r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers also called "converts" are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jeff Lynne (guitar, synthesizer, vocals), Richard Tandy (piano, synthesizer, guitar, backing vocals), Michael de Albuquerque (bass), Hugh McDowell, Michael Edwards (cello), Mik Kaminski (violin), Bev Bevan (drums, percussion)"
    -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=boeZOAX_dwY"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-015"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Eldorado Overture"
      ]
      [
        "ordre" => 1
        "nom" => "2. Can't Get It Out of My Head"
      ]
      [
        "ordre" => 2
        "nom" => "3. Boy Blue"
      ]
      [
        "ordre" => 3
        "nom" => "4. Laredo Tornado"
      ]
      [
        "ordre" => 4
        "nom" => "5. Poor Boy (The Greenwood)"
      ]
      [
        "ordre" => 5
        "nom" => "6. Mister Kingdom"
      ]
      [
        "ordre" => 6
        "nom" => "7. Nobody's Child"
      ]
      [
        "ordre" => 7
        "nom" => "8. Illusions in G Major"
      ]
      [
        "ordre" => 8
        "nom" => "9. Eldorado"
      ]
      [
        "ordre" => 9
        "nom" => "10. Eldorado Finale"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2179 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2188 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2181 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2183 …}
    -enregistreLe: DateTime @1629442052 {#2174
      date: 2021-08-20 06:47:32.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765713680 {#2175
      date: 2025-12-14 12:01:20.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2185 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-eldorado-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-ud1s-015"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3681
  -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 {#2613 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2177
    -id: 2108
    -nom: "Eldorado - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: null
    -description: """
      - Numbered, Limited Edition 45 RPM 180 gram Vinyl (2 LP) Box Set !\r\n
      - Limited to 10000 Numbered Copies !\r\n
      - MoFi SuperVinyl Pressed At RTI !\r\n
      \r\n
      A Bold Celebration of Romantics, Escapists, and Dreamers: Electric Light Orchestra's Eldorado Marries Rock and Symphonic Elements, Includes the Aptly Titled Hit "Can't Get It Out of My Head".\r\n
      \r\n
      1974 Prog-Rock Landmark Mastered from the 1/4" / 15 IPS / Dolby A Analog Master to DSD 256 to Analog Console to Lathe: Reference-Grade Mobile Fidelity UD1S 180 gram 45 RPM Vinyl (2 LP) Box Set Plays with Breathtaking Dynamics, Tones, and Colors.\r\n
      \r\n
      Beatles-Inspired Tour de Force Features Full Orchestra and Choral Section : Arrangements and Lyrics Transport the Listener to Faraway Horizons.\r\n
      \r\n
      Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.\r\n
      \r\n
      Mastered from the 1/4" / 15 IPS / Dolby A analog master to DSD 256, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) set of Eldorado allows the longtime audiophile staple to resonate with reference-setting dynamics, tones, and colors. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.\r\n
      \r\n
      Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale soundstaging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process - as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.\r\n
      \r\n
      The premium packaging and gorgeous presentation of the UD1S Eldorado 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, the 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 artwork to the meticulous finishes.\r\n
      \r\n
      An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practicing Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.\r\n
      \r\n
      Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the unwoken fool".\r\n
      \r\n
      Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolor escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue", power-pop packed "Illusions In G Major" and, of course, the aptly titled hit, "Can't Get It Out Of My Head".\r\n
      \r\n
      Decades later, Eldorado doubles as the equivalent of an out of body experience, an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.\r\n
      \r\n
      MoFi SuperVinyl \r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers also called "converts" are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jeff Lynne (guitar, synthesizer, vocals), Richard Tandy (piano, synthesizer, guitar, backing vocals), Michael de Albuquerque (bass), Hugh McDowell, Michael Edwards (cello), Mik Kaminski (violin), Bev Bevan (drums, percussion)"
    -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=boeZOAX_dwY"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-015"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Eldorado Overture"
      ]
      [
        "ordre" => 1
        "nom" => "2. Can't Get It Out of My Head"
      ]
      [
        "ordre" => 2
        "nom" => "3. Boy Blue"
      ]
      [
        "ordre" => 3
        "nom" => "4. Laredo Tornado"
      ]
      [
        "ordre" => 4
        "nom" => "5. Poor Boy (The Greenwood)"
      ]
      [
        "ordre" => 5
        "nom" => "6. Mister Kingdom"
      ]
      [
        "ordre" => 6
        "nom" => "7. Nobody's Child"
      ]
      [
        "ordre" => 7
        "nom" => "8. Illusions in G Major"
      ]
      [
        "ordre" => 8
        "nom" => "9. Eldorado"
      ]
      [
        "ordre" => 9
        "nom" => "10. Eldorado Finale"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2179 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2188 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2181 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2183 …}
    -enregistreLe: DateTime @1629442052 {#2174
      date: 2021-08-20 06:47:32.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765713680 {#2175
      date: 2025-12-14 12:01:20.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2185 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-eldorado-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-ud1s-015"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2381 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3882
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2381 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3883 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3931 …}
  +isValidated: false
  +validatedFields: []
}