Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2614
  -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 {#2461 …}
}

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

App\Twig\Components\ListePanier {#2691
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2694 …}
  -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 {#2693 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
  -formView: Symfony\Component\Form\FormView {#2730 …}
  -form: Symfony\Component\Form\Form {#2880 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1874
    -id: 1121
    -nom: "In Step"
    -informationComplementaire: null
    -description: """
      - Mastered from the original analog tape  now available cut at 45 RPM by Ryan Smith at Sterling Sound !\r\n
      -Plated and pressed on 200 gram vinyl by Quality Record Pressings !\r\n
      \r\n
      With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.\r\n
      \r\n
      On 1989's In Step, Vaughan found his own songwriting voice, blending blues, soul, and rock in unique ways, and writing with startling emotional honesty. Yes, there are a few covers, all well chosen, but the heart of the album rests in the songs he co-wrote with Doyle Bramhall, the man who penned the Soul to Soul highlight "Change It". Fueled by a desire to make up for lost time and delight in his reawakened commitment to life and sobriety, Vaughan turned in what many consider his greatest artistic statement, an album ensconced in sweat, soul, determination, and not an ounce of filler.\r\n
      \r\n
      "Travis Walk" offers a heady rush of flat-picking, "The House is Rockin'" is full-tilt roots-boogie, "Let Me Love You Baby" and "Leave My Girl Alone" are sweet blues epiphanies, and the nine-minute instrumental "Riviera Paradise" is a truly soulful mix of blues and jazz. By now, just a year before his untimely death, Vaughan had also tamed his bawling voice into a rich instrument. In short, this 1989 session is Vaughan at his artistic peak.\r\n
      \r\n
      As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 180 gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings. \r\n
      \r\n
      In Step remains one of the five greatest blues records of the past quarter century. There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Stevie Ray Vaughan (guitar, vocals), Tommy Shannon (bass guitar), Reese Wynans (keyboards), Chris Layton (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=AllKO87nJco"
    -referenceProduit: "Analogue Productions AAPP 099-45"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. The House Is Rockin'"
        "ordre" => 1
      ]
      [
        "nom" => "2. Crossfire"
        "ordre" => 2
      ]
      [
        "nom" => "3. Tightrope"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. Let Me Love You Baby"
        "ordre" => 5
      ]
      [
        "nom" => "2. Leave My Girl Alone"
        "ordre" => 6
      ]
      [
        "nom" => "3. Travis Walk"
        "ordre" => 7
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "1. Wall of Denial"
        "ordre" => 9
      ]
      [
        "nom" => "2. Scratch N Sniff"
        "ordre" => 10
      ]
      [
        "nom" => "Side D :"
        "ordre" => 11
      ]
      [
        "nom" => "1. Love Me Darlin'"
        "ordre" => 12
      ]
      [
        "nom" => "2. Riviera Paradise"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1950 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1505 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2081 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1955 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2069 …}
    -enregistreLe: DateTime @1485674979 {#1929
      date: 2017-01-29 07:29:39.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763477156 {#1922
      date: 2025-11-18 14:45:56.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-in-step-analogue-productions-aapp-099-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3151
  -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 {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#1874
    -id: 1121
    -nom: "In Step"
    -informationComplementaire: null
    -description: """
      - Mastered from the original analog tape  now available cut at 45 RPM by Ryan Smith at Sterling Sound !\r\n
      -Plated and pressed on 200 gram vinyl by Quality Record Pressings !\r\n
      \r\n
      With his astonishingly accomplished guitar playing, Stevie Ray Vaughan ignited the blues revival of the '80s. Vaughan drew equally from bluesmen like Albert King, Otis Rush and Hubert Sumlin and rock 'n' roll players like Jimi Hendrix and Lonnie Mack, as well as the stray jazz guitarist like Kenny Burrell, developing a uniquely eclectic and fiery style that sounded like no other guitarist, regardless of genre.\r\n
      \r\n
      On 1989's In Step, Vaughan found his own songwriting voice, blending blues, soul, and rock in unique ways, and writing with startling emotional honesty. Yes, there are a few covers, all well chosen, but the heart of the album rests in the songs he co-wrote with Doyle Bramhall, the man who penned the Soul to Soul highlight "Change It". Fueled by a desire to make up for lost time and delight in his reawakened commitment to life and sobriety, Vaughan turned in what many consider his greatest artistic statement, an album ensconced in sweat, soul, determination, and not an ounce of filler.\r\n
      \r\n
      "Travis Walk" offers a heady rush of flat-picking, "The House is Rockin'" is full-tilt roots-boogie, "Let Me Love You Baby" and "Leave My Girl Alone" are sweet blues epiphanies, and the nine-minute instrumental "Riviera Paradise" is a truly soulful mix of blues and jazz. By now, just a year before his untimely death, Vaughan had also tamed his bawling voice into a rich instrument. In short, this 1989 session is Vaughan at his artistic peak.\r\n
      \r\n
      As we did with our vaunted box set reissues, Texas Hurricane, again Analogue Productions is bringing you the finest-sounding Stevie Ray Vaughan collections ever preserved on 180 gram vinyl. Ryan Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at Quality Record Pressings. \r\n
      \r\n
      In Step remains one of the five greatest blues records of the past quarter century. There's not a link in this chain that wasn't absolute first-rate. The absolute best that money can buy. We're passionate about the blues AND Stevie Ray and the passion shows up here in spades.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Stevie Ray Vaughan (guitar, vocals), Tommy Shannon (bass guitar), Reese Wynans (keyboards), Chris Layton (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=AllKO87nJco"
    -referenceProduit: "Analogue Productions AAPP 099-45"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. The House Is Rockin'"
        "ordre" => 1
      ]
      [
        "nom" => "2. Crossfire"
        "ordre" => 2
      ]
      [
        "nom" => "3. Tightrope"
        "ordre" => 3
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "1. Let Me Love You Baby"
        "ordre" => 5
      ]
      [
        "nom" => "2. Leave My Girl Alone"
        "ordre" => 6
      ]
      [
        "nom" => "3. Travis Walk"
        "ordre" => 7
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "1. Wall of Denial"
        "ordre" => 9
      ]
      [
        "nom" => "2. Scratch N Sniff"
        "ordre" => 10
      ]
      [
        "nom" => "Side D :"
        "ordre" => 11
      ]
      [
        "nom" => "1. Love Me Darlin'"
        "ordre" => 12
      ]
      [
        "nom" => "2. Riviera Paradise"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1950 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1505 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2081 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1955 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2069 …}
    -enregistreLe: DateTime @1485674979 {#1929
      date: 2017-01-29 07:29:39.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763477156 {#1922
      date: 2025-11-18 14:45:56.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2075 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-in-step-analogue-productions-aapp-099-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
}

[
  "produit" => App\Entity\Produit {#2098
    -id: 1039
    -nom: "Soul To Soul"
    -informationComplementaire: null
    -description: """
      - Expanded Double Trouble lineup created Vaughan's most diverse album !\r\n
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      - Cut at 45 RPM, 200 gram pressing by Quality Record Pressings !\r\n
      \r\n
      "The new remastering sounds amazing. Better than it ever did. I'm happy and pleasantly surprised". - Chris "Whipper" Layton\r\n
      \r\n
      The 45 RPM Analogue Productions reissue of Stevie Ray Vaughan's Soul To Soul is so good, as are its 45 RPM companions - Texas Flood and Couldn't Stand The Weather - that they truly represent what Gregg Geller, producer and A&R representative described as "the best replication of the master tapes to date".\r\n
      \r\n
      We've already brought you the 33 1/3 RPM box set Texas Hurricane featuring the greatest Stevie Ray Vaughan tribute ever reissued - six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45 RPM versions of these three standout LPs.\r\n
      \r\n
      We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs. \r\n
      \r\n
      Stevie Ray Vaughan's myth making was already complete by the time that his third record in as many years was released in October 1985. But no one could have expected the artistic leaps and additional prowess the guitarist displays on Soul To Soul, a record on which Vaughan added a full-time keyboardist and saxophonist, and dug deep into his native state's musical well for soul, R&B and surf motifs. Vaughan wrote four of Soul to Soul's 10 tracks; two songs were released as singles. The album went to N° 34 on the Billboard 200 chart and the music video for "Change It" received regular rotation on MTV.\r\n
      \r\n
      There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy.\r\n
      \r\n
      But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Stevie Ray Vaughan (guitar, vocals), Tommy Shannon (bass), Reese Wynans (keyboards), Joe Sublett (saxophone), Chris Layton (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Xj5488sW3UI"
    -referenceProduit: "Analogue Productions AAPP 098-45"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Say What ! "
        "ordre" => 1
      ]
      [
        "nom" => "2. Lookin' Out The Window "
        "ordre" => 2
      ]
      [
        "nom" => "3. Look at Little Sister "
        "ordre" => 3
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
      [
        "nom" => "1. Ain't Gone 'N' Give Up On Love "
        "ordre" => 5
      ]
      [
        "nom" => "2. Gone Home "
        "ordre" => 6
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "1. Change It "
        "ordre" => 8
      ]
      [
        "nom" => "2. You'll Be Mine "
        "ordre" => 9
      ]
      [
        "nom" => "3. Empty Arms "
        "ordre" => 10
      ]
      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. Come On (Part III) "
        "ordre" => 12
      ]
      [
        "nom" => "2. Life Without you"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1950 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1489 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2106 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2099 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2101 …}
    -enregistreLe: DateTime @1473163421 {#2095
      date: 2016-09-06 12:03:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763477138 {#2096
      date: 2025-11-18 14:45:38.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2103 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-soul-to-soul-analogue-productions-aapp-098-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3267
  -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 {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2098
    -id: 1039
    -nom: "Soul To Soul"
    -informationComplementaire: null
    -description: """
      - Expanded Double Trouble lineup created Vaughan's most diverse album !\r\n
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      - Cut at 45 RPM, 200 gram pressing by Quality Record Pressings !\r\n
      \r\n
      "The new remastering sounds amazing. Better than it ever did. I'm happy and pleasantly surprised". - Chris "Whipper" Layton\r\n
      \r\n
      The 45 RPM Analogue Productions reissue of Stevie Ray Vaughan's Soul To Soul is so good, as are its 45 RPM companions - Texas Flood and Couldn't Stand The Weather - that they truly represent what Gregg Geller, producer and A&R representative described as "the best replication of the master tapes to date".\r\n
      \r\n
      We've already brought you the 33 1/3 RPM box set Texas Hurricane featuring the greatest Stevie Ray Vaughan tribute ever reissued - six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45 RPM versions of these three standout LPs.\r\n
      \r\n
      We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs. \r\n
      \r\n
      Stevie Ray Vaughan's myth making was already complete by the time that his third record in as many years was released in October 1985. But no one could have expected the artistic leaps and additional prowess the guitarist displays on Soul To Soul, a record on which Vaughan added a full-time keyboardist and saxophonist, and dug deep into his native state's musical well for soul, R&B and surf motifs. Vaughan wrote four of Soul to Soul's 10 tracks; two songs were released as singles. The album went to N° 34 on the Billboard 200 chart and the music video for "Change It" received regular rotation on MTV.\r\n
      \r\n
      There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy.\r\n
      \r\n
      But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Stevie Ray Vaughan (guitar, vocals), Tommy Shannon (bass), Reese Wynans (keyboards), Joe Sublett (saxophone), Chris Layton (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Xj5488sW3UI"
    -referenceProduit: "Analogue Productions AAPP 098-45"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Say What ! "
        "ordre" => 1
      ]
      [
        "nom" => "2. Lookin' Out The Window "
        "ordre" => 2
      ]
      [
        "nom" => "3. Look at Little Sister "
        "ordre" => 3
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
      [
        "nom" => "1. Ain't Gone 'N' Give Up On Love "
        "ordre" => 5
      ]
      [
        "nom" => "2. Gone Home "
        "ordre" => 6
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "1. Change It "
        "ordre" => 8
      ]
      [
        "nom" => "2. You'll Be Mine "
        "ordre" => 9
      ]
      [
        "nom" => "3. Empty Arms "
        "ordre" => 10
      ]
      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. Come On (Part III) "
        "ordre" => 12
      ]
      [
        "nom" => "2. Life Without you"
        "ordre" => 13
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1950 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1489 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2106 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2099 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2101 …}
    -enregistreLe: DateTime @1473163421 {#2095
      date: 2016-09-06 12:03:41.0 UTC (+00:00)
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    -modifierLe: DateTime @1763477138 {#2096
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[
  "produit" => App\Entity\Produit {#2111
    -id: 1038
    -nom: "Couldn't Stand The Weather"
    -informationComplementaire: null
    -description: """
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      - Cut at 45 RPM, 180 gram pressing by Quality Record Pressings !\r\n
      \r\n
      "The new remastering sounds amazing. Better than it ever did. I'm happy and pleasantly surprised". - Chris "Whipper" Layton\r\n
      \r\n
      The 45 RPM Analogue Productions reissue of Stevie Ray Vaughan's Couldn't Stand The Weather is so good, as are its 45 RPM companions - Texas Flood and Soul To Soul - that they truly represent what Gregg Geller, producer and A&R representative described as "the best replication of the master tapes to date".\r\n
      \r\n
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      \r\n
      We've used the original 30 inches-per-second, half-inch analog master tapes for all of these albums. Ryan K. Smith at Sterling Sound cut the lacquers for the LPs using the ultimate VMS 80 cutting lathe. Gary Salstrom handled the plating and the vinyl was pressed of course at our Quality Record Pressings, maker of the world's finest-sounding LPs. \r\n
      \r\n
      Couldn’t Stand The Weather is the remarkable sophomore album by Stevie Ray Vaughan and Double Trouble. It follows their critically acclaimed debut, Texas Flood. Incorporating the same winning formula of musicianship and songwriting, Couldn’t Stand The Weather cemented Vaughan’s place as one of music’s greatest. It is their first to earn gold certification and their first platinum-seller. It includes breathtaking renditions of Clark’s “Cold Shot” and Hendrix’s “Voodoo Child”. A staple on the Billboard charts, this definitive masterpiece received praise from Entertainment Weekly, Q, Down Beat and many others.\r\n
      \r\n
      There's not a link in this production chain that wasn't absolute first-rate. The absolute best that money can buy.\r\n
      \r\n
      But beyond that we've poured our passion into this project. Acoustic Sounds is a big fan of the blues and Stevie Ray Vaughan. It's a big dream come true to work on this project and to make these records sound and look the best they ever have.
      """
    -prixVente: "129.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Stevie Ray Vaughan (guitar, vocals), Tommy Shannon (bass), Stan Harrison (tenor saxophone), Chris Layton (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=nO23B5C_Mcw"
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2693 …}
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    -id: 1038
    -nom: "Couldn't Stand The Weather"
    -informationComplementaire: null
    -description: """
      - Mastered from the original analog tapes by Ryan K. Smith at Sterling Sound !\r\n
      - Cut at 45 RPM, 180 gram pressing by Quality Record Pressings !\r\n
      \r\n
      "The new remastering sounds amazing. Better than it ever did. I'm happy and pleasantly surprised". - Chris "Whipper" Layton\r\n
      \r\n
      The 45 RPM Analogue Productions reissue of Stevie Ray Vaughan's Couldn't Stand The Weather is so good, as are its 45 RPM companions - Texas Flood and Soul To Soul - that they truly represent what Gregg Geller, producer and A&R representative described as "the best replication of the master tapes to date".\r\n
      \r\n
      We've already brought you the 33 1/3 RPM box set Texas Hurricane featuring the greatest Stevie Ray Vaughan tribute ever reissued - six of Vaughan's most classic album titles remastered for ultimate blues and guitar fanatics. We've now taken the extra step and done 45 RPM versions of these three standout LPs.\r\n
      \r\n
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      \r\n
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      """
    -prixVente: "129.50"
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    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#1950 …}
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[
  "produit" => App\Entity\Produit {#2124
    -id: 2559
    -nom: "Purple"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Stone Temple Pilot's No. 1 charting second album !\r\n
      - Includes "Interstate Love Song", "Vasoline" and "Big Empty" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      "...its 30th anniversary this year is more fitting for Analogue Productions to embrace this album as part of their highly successful Atlantic 75 series... the 45 RPM  treatment uncovers some aural nuggets buried deep in the mix. The extra guitar panned to the right during the verses of 'Vasoline' is more prominent. The shaker percussion on 'Interstate Love Song' always blended with the song's backing track; it gets a spotlight here... This 45rpm cut of 'Purple' is the defining way to experience this album and it produces plenty of surprises". - Music = 10/11; Sound = 11/11 Dylan Peggin, TrackingAngle.com. Read the whole review here.\r\n
      \r\n
      "...they're both amazing sounding records and you are not going to be disappointed in either one of these". - Rocco Richardson, review of Stone Temple Pilot's 'Core' and 'Purple' albums, Pieces of Vinyl YouTube video\r\n
      \r\n
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      \r\n
      The album, building on the foundations laid by the band's debut album Core, was a huge success for the band, debuting at N° 1 on the Billboard 200 chart and quickly achieving multi-platinum status, worldwide.\r\n
      \r\n
      Its chart-topping single, "Interstate Love Song", became an anthem for a generation, and the album as a whole showcased the band's artistic prowess.\r\n
      \r\n
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      \r\n
      Purple also demonstrated that Stone Temple Pilots were more than just another grunge act; they were a force to be reckoned with, capable of delivering powerful and emotionally resonant music. Purple remains a crucial chapter in the band's history and an essential listen for any fan of rock music.\r\n
      \r\n
      Analogue Productions has given the showstopping Purple the full reissue treatment: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180 gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Scott Weiland (guitar, percussion, vocals), Robert DeLeo (bass, guitar, percussion), Dean DeLeo (electric & acoustic guitar, percussion,  drums), Eric Kretz (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=6EM6Uk1BICc"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) AAPA 029-45"
    -titreMorceau: [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2126 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3361
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    -id: 2559
    -nom: "Purple"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - Stone Temple Pilot's No. 1 charting second album !\r\n
      - Includes "Interstate Love Song", "Vasoline" and "Big Empty" !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
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      "...its 30th anniversary this year is more fitting for Analogue Productions to embrace this album as part of their highly successful Atlantic 75 series... the 45 RPM  treatment uncovers some aural nuggets buried deep in the mix. The extra guitar panned to the right during the verses of 'Vasoline' is more prominent. The shaker percussion on 'Interstate Love Song' always blended with the song's backing track; it gets a spotlight here... This 45rpm cut of 'Purple' is the defining way to experience this album and it produces plenty of surprises". - Music = 10/11; Sound = 11/11 Dylan Peggin, TrackingAngle.com. Read the whole review here.\r\n
      \r\n
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      \r\n
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      \r\n
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      \r\n
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      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
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  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
}

[
  "produit" => App\Entity\Produit {#2143
    -id: 2310
    -nom: "The Futuristic Sounds Of Sun Ra  (60th Anniversary Edition)"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Sun Ra (piano), Bernard McKinney (trombone, euphonium), Marshall Allen (alto saxophone, flute), John Gilmore (tenor saxophone, bass clarinet), Pat Patrick (bass saxophone), Ronnie Boykins (bass), Leah Ananda (conga), Ricky Murray (vocals), Willie Jones (drums).\r\n
      \r\n
      - 60th Anniversary reissue of jazz legend Sun Ra's iconic 1962 album !\r\n
      - Featuring all-analog remastering by Kevin Gray at Cohearent Audio !\r\n
      - Pressed on 180 gram LP at RTI !\r\n
      - Includes Tom Wilson's original liner notes and essays by jazz historian Ben Young, and author Irwin Chusid !\r\n
      \r\n
      This special 60th Anniversary reissue of groundbreaking jazz artist Sun Ra's iconic 1962 album The Futuristic Sounds of Sun Ra features all-analog remastering by Kevin Gray at Cohearent Audio, pressed on 180 gram vinyl at RTI. The package includes Tom Wilson's original liner notes, plus insightful new essays by jazz historian Ben Young, as well as by Irwin Chusid, who is also a journalist, radio personality, and author.\r\n
      \r\n
      Engineered by Paul Cady, the sessions featured nine players, including Ra on piano, Bernard McKinney (later known as Kiane Zawadi, on trombone and euphonium), Marshall Allen (alto sax, flute, among other reed instruments), John Gilmore (tenor sax, bass clarinet), Pat Patrick (bass saxophone), Ronnie Boykins (bass), Willie Jones (drums), Leah Ananda (conga), and Ricky Murray (vocals).\r\n
      \r\n
      Recorded in just one day, on October 10, 1961, The Futuristic Sounds of Sun Ra features 11 tracks. Among the selections is the Latin-influenced opener, "Bassism", the bluesy "Of Sounds and Something Else", and the aptly named, "What's That ?", which breaks into a four saxophone improvisation, and stands out as an example of Ra's early experimental work.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Sun Ra (piano), Bernard McKinney (trombone, euphonium), Marshall Allen (alto saxophone, flute), John Gilmore (tenor saxophone, bass clarinet), Pat Patrick (bass saxophone), Ronnie Boykins (bass), Leah Ananda (conga), Ricky Murray (vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=0jIGyu-JSlA&list=PLKLPE6Ph1xZr0-IHKels61Dzg8PcB4oGX"
    -referenceProduit: "Concord Craft Recordings 0532"
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        "nom" => "Side A : "
        "ordre" => 0
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      [
        "nom" => "5. Space Jazz Reverie"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2145 …}
    -label: Proxies\__CG__\App\Entity\Label {#2148 …}
    -style: App\Entity\Style {#1502 …}
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    -enregistreLe: DateTime @1667119262 {#2140
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    }
    -modifierLe: DateTime @1763475825 {#2141
      date: 2025-11-18 14:23:45.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2154 …}
    -disponible: null
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    -slug: "vinyles-the-futuristic-sounds-of-sun-ra-60th-anniversary-edition-concord-craft-recordings-0532"
  }
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App\Twig\Components\GestionPanierFavoriComponents {#3412
  -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 {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2143
    -id: 2310
    -nom: "The Futuristic Sounds Of Sun Ra  (60th Anniversary Edition)"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Sun Ra (piano), Bernard McKinney (trombone, euphonium), Marshall Allen (alto saxophone, flute), John Gilmore (tenor saxophone, bass clarinet), Pat Patrick (bass saxophone), Ronnie Boykins (bass), Leah Ananda (conga), Ricky Murray (vocals), Willie Jones (drums).\r\n
      \r\n
      - 60th Anniversary reissue of jazz legend Sun Ra's iconic 1962 album !\r\n
      - Featuring all-analog remastering by Kevin Gray at Cohearent Audio !\r\n
      - Pressed on 180 gram LP at RTI !\r\n
      - Includes Tom Wilson's original liner notes and essays by jazz historian Ben Young, and author Irwin Chusid !\r\n
      \r\n
      This special 60th Anniversary reissue of groundbreaking jazz artist Sun Ra's iconic 1962 album The Futuristic Sounds of Sun Ra features all-analog remastering by Kevin Gray at Cohearent Audio, pressed on 180 gram vinyl at RTI. The package includes Tom Wilson's original liner notes, plus insightful new essays by jazz historian Ben Young, as well as by Irwin Chusid, who is also a journalist, radio personality, and author.\r\n
      \r\n
      Engineered by Paul Cady, the sessions featured nine players, including Ra on piano, Bernard McKinney (later known as Kiane Zawadi, on trombone and euphonium), Marshall Allen (alto sax, flute, among other reed instruments), John Gilmore (tenor sax, bass clarinet), Pat Patrick (bass saxophone), Ronnie Boykins (bass), Willie Jones (drums), Leah Ananda (conga), and Ricky Murray (vocals).\r\n
      \r\n
      Recorded in just one day, on October 10, 1961, The Futuristic Sounds of Sun Ra features 11 tracks. Among the selections is the Latin-influenced opener, "Bassism", the bluesy "Of Sounds and Something Else", and the aptly named, "What's That ?", which breaks into a four saxophone improvisation, and stands out as an example of Ra's early experimental work.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Sun Ra (piano), Bernard McKinney (trombone, euphonium), Marshall Allen (alto saxophone, flute), John Gilmore (tenor saxophone, bass clarinet), Pat Patrick (bass saxophone), Ronnie Boykins (bass), Leah Ananda (conga), Ricky Murray (vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=0jIGyu-JSlA&list=PLKLPE6Ph1xZr0-IHKels61Dzg8PcB4oGX"
    -referenceProduit: "Concord Craft Recordings 0532"
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        "ordre" => 8
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        "nom" => "3. Jet Flight "
        "ordre" => 10
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      [
        "nom" => "4. Looking Outward "
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      ]
      [
        "nom" => "5. Space Jazz Reverie"
        "ordre" => 12
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2145 …}
    -label: Proxies\__CG__\App\Entity\Label {#2148 …}
    -style: App\Entity\Style {#1502 …}
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    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2152 …}
    -enregistreLe: DateTime @1667119262 {#2140
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    }
    -modifierLe: DateTime @1763475825 {#2141
      date: 2025-11-18 14:23:45.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2154 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-futuristic-sounds-of-sun-ra-60th-anniversary-edition-concord-craft-recordings-0532"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
}

[
  "produit" => App\Entity\Produit {#2162
    -id: 1087
    -nom: "Breakfast In America"
    -informationComplementaire: null
    -description: """
      Supertramp's Breakfast in America has it all : Illustrious artwork. Sing-a-long hooks. Contagious melodies. Symphonic bluster. Rhapsodic thrust. Signature Wurlitzer electric piano sounds. Two Grammy Awards, including one for Best Engineered Album. More than 20 million copies sold. Four Billboard hit singles that continue to dominate radio airplay today. Every aspect of the chart-topping art-rock set screams blockbuster, not the least of which is the production, the result of painstaking studio setups and months of mixing. Now, you can experience the sonic brilliance in unprecedented clarity on Mobile Fidelity's definitive analog reissue.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, this numbered-edition 180 gram LP wrings out the record's dynamics, colors, and tones in all their full-range glory. Absent artificial ceilings, Breakfast in America unfolds with an expansiveness and radiance that parallels the vibrancy of its iconic New York-themed cover. Crucial traits such as imaging, separation, balance, transients, and openness achieve near-epic levels of realism and presence. Songs unfold and breathe on mammoth soundstages that put the effort's legendary production and stellar playing into proper perspective. The 1979 set has been reissued multiple times in the past, but it's never sounded so engaging, lifelike, or entertaining. If you think you know the record backwards and forwards, wait until you hear this version.\r\n
      \r\n
      Indeed, aside from the undeniably catchy nature of the ten tracks, fun remains the most central element of Breakfast in America. The band even titled the record to fall in line with the overall joyful feeling of the material. About the latter : Few late 1970s rock albums feature a more cohesive, harmony-drenched parade of stunningly executed, wondrously arranged works. The collective offspring of members Rick Davies and Roger Hodgson, each tune reflects the creative pulses of each musician, with the resultant contrasts lending to their appeal. Davies' penchant for grittier, bluesy strands blends with Hodgson's witty, pop-leaning techniques. The combination proves unstoppable.\r\n
      \r\n
      Home to a quartet of commercial staples "The Logical Song", "Goodbye Stranger", "Take the Long Way Home", and the title track Breakfast in America teems with arena-sized drama, meticulous craftsmanship, and mesmerizing refrains. Shrewd lyrical turns abound, whether on the phonetic, adjective-stacked "The Logical Song", life-in-America portrait "Child of Vision", or move-to-L.A. saga "Gone Hollywood". U.S. references also dot the smash title track, which reflects the glib humor, romantic fantasies, and pop culture permeating the record.\r\n
      \r\n
      Breakfast in America also retains its vitality because of its expert instrumentation and placement. Deemed a "a textbook-perfect album of post-Beatles, keyboard-centered English art rock that strikes the shrewdest possible balance between quasi-symphonic classicism and rock & roll" by Rolling Stone shortly after its release, the record serves as a blueprint of reference-setting production and mixing. Check the scorching guitar outro on "Goodbye Stranger", gospel accents on "Lord Is It Mine", saxophone lines on "Take the Long Way Home", or chemistry of the choruses on basically every piece here. It's enough to make one long for the 70s again.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Roger Hodgson (guitars, keyboards, vocals), Rick Davies (keyboards, harmonica, vocals), John Helliwell (saxophone, woodwinds, vocals), Dougie Thomson (bass), Bob Siebenberg (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=u8pVZ5hTGJQ"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-471"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Gone Hollywood"
        "ordre" => 1
      ]
      [
        "nom" => "2. The Logical Song"
        "ordre" => 2
      ]
      [
        "nom" => "3. Goodbye Stranger"
        "ordre" => 3
      ]
      [
        "nom" => "4. Breakfast In America"
        "ordre" => 4
      ]
      [
        "nom" => "5. Oh Darling"
        "ordre" => 5
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "1. Take the Long Way Home"
        "ordre" => 7
      ]
      [
        "nom" => "2. Lord Is It Mine"
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      [
        "nom" => "3. Just Another Nervous Wreck"
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        "nom" => "4. Casual Conversations"
        "ordre" => 10
      ]
      [
        "nom" => "5. Child of Vision"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2164 …}
    -label: Proxies\__CG__\App\Entity\Label {#2167 …}
    -style: App\Entity\Style {#1505 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2176 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2169 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2171 …}
    -enregistreLe: DateTime @1480666537 {#2159
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    }
    -modifierLe: DateTime @1763475207 {#2160
      date: 2025-11-18 14:13:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2173 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-breakfast-in-america-mobile-fidelity-sound-lab-mfsl-1-471"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3463
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2162
    -id: 1087
    -nom: "Breakfast In America"
    -informationComplementaire: null
    -description: """
      Supertramp's Breakfast in America has it all : Illustrious artwork. Sing-a-long hooks. Contagious melodies. Symphonic bluster. Rhapsodic thrust. Signature Wurlitzer electric piano sounds. Two Grammy Awards, including one for Best Engineered Album. More than 20 million copies sold. Four Billboard hit singles that continue to dominate radio airplay today. Every aspect of the chart-topping art-rock set screams blockbuster, not the least of which is the production, the result of painstaking studio setups and months of mixing. Now, you can experience the sonic brilliance in unprecedented clarity on Mobile Fidelity's definitive analog reissue.\r\n
      \r\n
      Mastered from the original master tapes and pressed at RTI, this numbered-edition 180 gram LP wrings out the record's dynamics, colors, and tones in all their full-range glory. Absent artificial ceilings, Breakfast in America unfolds with an expansiveness and radiance that parallels the vibrancy of its iconic New York-themed cover. Crucial traits such as imaging, separation, balance, transients, and openness achieve near-epic levels of realism and presence. Songs unfold and breathe on mammoth soundstages that put the effort's legendary production and stellar playing into proper perspective. The 1979 set has been reissued multiple times in the past, but it's never sounded so engaging, lifelike, or entertaining. If you think you know the record backwards and forwards, wait until you hear this version.\r\n
      \r\n
      Indeed, aside from the undeniably catchy nature of the ten tracks, fun remains the most central element of Breakfast in America. The band even titled the record to fall in line with the overall joyful feeling of the material. About the latter : Few late 1970s rock albums feature a more cohesive, harmony-drenched parade of stunningly executed, wondrously arranged works. The collective offspring of members Rick Davies and Roger Hodgson, each tune reflects the creative pulses of each musician, with the resultant contrasts lending to their appeal. Davies' penchant for grittier, bluesy strands blends with Hodgson's witty, pop-leaning techniques. The combination proves unstoppable.\r\n
      \r\n
      Home to a quartet of commercial staples "The Logical Song", "Goodbye Stranger", "Take the Long Way Home", and the title track Breakfast in America teems with arena-sized drama, meticulous craftsmanship, and mesmerizing refrains. Shrewd lyrical turns abound, whether on the phonetic, adjective-stacked "The Logical Song", life-in-America portrait "Child of Vision", or move-to-L.A. saga "Gone Hollywood". U.S. references also dot the smash title track, which reflects the glib humor, romantic fantasies, and pop culture permeating the record.\r\n
      \r\n
      Breakfast in America also retains its vitality because of its expert instrumentation and placement. Deemed a "a textbook-perfect album of post-Beatles, keyboard-centered English art rock that strikes the shrewdest possible balance between quasi-symphonic classicism and rock & roll" by Rolling Stone shortly after its release, the record serves as a blueprint of reference-setting production and mixing. Check the scorching guitar outro on "Goodbye Stranger", gospel accents on "Lord Is It Mine", saxophone lines on "Take the Long Way Home", or chemistry of the choruses on basically every piece here. It's enough to make one long for the 70s again.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1910 …}
    -musicienOrchestre: "Roger Hodgson (guitars, keyboards, vocals), Rick Davies (keyboards, harmonica, vocals), John Helliwell (saxophone, woodwinds, vocals), Dougie Thomson (bass), Bob Siebenberg (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=u8pVZ5hTGJQ"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-471"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "1. Gone Hollywood"
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        "nom" => "3. Goodbye Stranger"
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      [
        "nom" => "4. Breakfast In America"
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      ]
      [
        "nom" => "5. Oh Darling"
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      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
      [
        "nom" => "1. Take the Long Way Home"
        "ordre" => 7
      ]
      [
        "nom" => "2. Lord Is It Mine"
        "ordre" => 8
      ]
      [
        "nom" => "3. Just Another Nervous Wreck"
        "ordre" => 9
      ]
      [
        "nom" => "4. Casual Conversations"
        "ordre" => 10
      ]
      [
        "nom" => "5. Child of Vision"
        "ordre" => 11
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2164 …}
    -label: Proxies\__CG__\App\Entity\Label {#2167 …}
    -style: App\Entity\Style {#1505 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2176 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2169 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2171 …}
    -enregistreLe: DateTime @1480666537 {#2159
      date: 2016-12-02 08:15:37.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763475207 {#2160
      date: 2025-11-18 14:13:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2173 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-breakfast-in-america-mobile-fidelity-sound-lab-mfsl-1-471"
  }
  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
}

[
  "produit" => App\Entity\Produit {#2181
    -id: 2557
    -nom: "T-Bone Blues"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) (Mono) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - An indispensable release for T-Bone Walker fans !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered by Matthew Lutthans at Cohearent Audio from the original master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      T-Bone Walker's T-Bone Blues, was recorded during three widely separated sessions in 1955, 1956 and 1957 and released by Atlantic Records in 1959.\r\n
      \r\n
      AllMusic calls the album "the last truly indispensable disc of the great guitar hero's career" and says the tracks on the album (5 Stars) "boast magnificent prescence, with T-Bone Walker's axe so crisp and clear it seems as though he's sitting right next to you as he delivers a luxurious remake of 'Call It Stormy Monday'."\r\n
      \r\n
      Atlantic took some chances with Walker, dispatching him to Chicago for a 1955 date with Junior Wells and Jimmy Rogers that produced "Why Not" and "Papa Ain't Salty". Even better were the 1956-1957 L.A. dates that produced the scalding instrumental "Two Bones and a Pick" (which finds Walker dueling it out with nephew R.S. Rankin and jazzman Barney Kessel).\r\n
      \r\n
      Mastered by Matthew Lutthans at Cohearent Audio in Los Angeles from the original master tape. Pressed on 180 gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "T-Bone Walker (guitar, vocals), Barney Kessel, R.S. Rankin (guitar), Lloyd Glenn, Ray Johnson (piano), Billy Hadnott, Joe Comfort (bass),  Plas Johnson (tenor saxophone), Earl Palmer, Oscar Bradley (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1166 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=M_ZDGFBKbBM"
    -referenceProduit: "Analogue Productions (Atlantic 75 Series) AAPA 053-45"
    -titreMorceau: [
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        "nom" => "Side A : "
        "ordre" => 0
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        "nom" => "1. Two Bones And A Pick"
        "ordre" => 1
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        "nom" => "2. Mean Old World"
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        "nom" => "3. T-Bone Shuffle"
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        "nom" => "1. Stormy Monday Blues"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2183 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3514
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
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    -id: 2557
    -nom: "T-Bone Blues"
    -informationComplementaire: null
    -description: """
      - Analogue Productions (Atlantic 75 Series) (Mono) !\r\n
      - Celebrating the 75th Anniversary of Atlantic Records !\r\n
      - An indispensable release for T-Bone Walker fans !\r\n
      - 180 gram 45 RPM double LP !\r\n
      - Mastered by Matthew Lutthans at Cohearent Audio from the original master tape !\r\n
      - Pressed at Quality Record Pressings !\r\n
      - Tip-on old style gatefold double pocket jacket by Stoughton Printing !\r\n
      \r\n
      T-Bone Walker's T-Bone Blues, was recorded during three widely separated sessions in 1955, 1956 and 1957 and released by Atlantic Records in 1959.\r\n
      \r\n
      AllMusic calls the album "the last truly indispensable disc of the great guitar hero's career" and says the tracks on the album (5 Stars) "boast magnificent prescence, with T-Bone Walker's axe so crisp and clear it seems as though he's sitting right next to you as he delivers a luxurious remake of 'Call It Stormy Monday'."\r\n
      \r\n
      Atlantic took some chances with Walker, dispatching him to Chicago for a 1955 date with Junior Wells and Jimmy Rogers that produced "Why Not" and "Papa Ain't Salty". Even better were the 1956-1957 L.A. dates that produced the scalding instrumental "Two Bones and a Pick" (which finds Walker dueling it out with nephew R.S. Rankin and jazzman Barney Kessel).\r\n
      \r\n
      Mastered by Matthew Lutthans at Cohearent Audio in Los Angeles from the original master tape. Pressed on 180 gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "T-Bone Walker (guitar, vocals), Barney Kessel, R.S. Rankin (guitar), Lloyd Glenn, Ray Johnson (piano), Billy Hadnott, Joe Comfort (bass),  Plas Johnson (tenor saxophone), Earl Palmer, Oscar Bradley (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1166 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
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      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2183 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -disponible: null
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[
  "produit" => App\Entity\Produit {#2197
    -id: 1817
    -nom: "Electric Warrior"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Marc Bolan (guitar, vocals), Mickey Finn (congas, bongos, vocals), Steve Currie (bass guitar), Bill Legend (drums, tambourine), Rick Wakeman (keyboards), Ian McDonald (saxophone), Burt Collins (flugelhorn), Howard Kaylan, Mark Volman (backing vocals).\r\n
      \r\n
      T. Rex's Exotic Landmark Signals the Birth of Glam Rock, Features "Bang a Gong (Get It On)" : Electric Warrior Swaggers with Libido, Flamboyance, Fantasy, Fun, Hooks, and Theatricality \r\n
      \r\n
      Mastered on Mobile Fidelity's State-of-the-Art Mastering System : 180 gram 45 RPM Vinyl (2 LP) Set Presents the 1971 Record's Reverb, Colors, Tones, and String Arrangements in Full-Tilt Glory\r\n
      \r\n
      Bang a gong and get it on. At once sardonic, flamboyant, and trashy, T. Rex's uncommonly unique Electric Warrior catapulted leader Marc Bolan to stardom, triggered an ongoing fascination with glam rock, and launched a movement that soon involved David Bowie, Roxy Music, Mott the Hoople, and more. Yet none of those namesake artists ever released a record that out-glammed, out-innuendoed, out-thrusted, or out-camped Electric Warrior named the 160th Greatest Album of All Time by Rolling Stone and included in the celebrated book 1001 Albums You Must Hear Before You Die. \r\n
      \r\n
      Mastered on Mobile Fidelity's state-of-the-art mastering system, pressed on dead-quiet vinyl at RTI, and housed in a gatefold sleeve, the label's numbered-edition 180 gram 45 RPM 2 LP set gives the 1971 landmark the widescreen sound quality it has always deserved. Tony Visconti's warm, reverb-soaked production and Roy Thomas Baker's ace engineering remain two of the work's most famous and revered elements. Here, the production and music can be experienced in all its full-tilt glory, from the subtle albeit elegant classical touches to the instantly identifiable Les Paul guitar licks to Bolan's sensual, wispy, are-they-or-aren't-they-serious vocals.\r\n
      \r\n
      As Sean Egan wrote in the liner notes of a long-out-of-print reissue : "The sound is recognizably rock, yet a previously unheard exotic variant, almost as if concocted by inhabitants of one of the Tolkien-esque worlds common in Bolan's lyrics. The strings are overt but discreet in shape and tone, injecting just the right amount of class". All these aspects and more come to life with a realism, vibrancy, detail, and textural palpability that surpass the presentation on any prior analog edition. If you can hear colors, this audiophile version ofElectric Warrior will stimulate your inner synesthesia.\r\n
      \r\n
      At the time of the album's creation, such cosmic-related phenomenon were well within Bolan's orbit. But the differences between Electric Warrior and the singer/guitarist's earlier works are as vast as those that divide high art and low-brow culture. Chief among them : Bolan's decision to channel his acoustic hippie-inspired visions into hyper-sexualized, metaphor-rich statements that benefit from amplified foundations. And still, part of the songs' charm relates to how they tread a fine line between rock and pop. \r\n
      \r\n
      Save for the lashing out of "Rip Off", Electric Warrior retains a mellow core underlined by a gauzy tint, gossamer temperament, and crushed-velvet feel. The perception that he record contains blustery heaviness is furthered and initiated by the now-iconic album cover, which depicts a giant-sized Bolan standing in front of an equally giant amplifier stack, striking a rock-star pose and giving the impression everything within is designed to go to the proverbial 11 on the volume knob. Akin to a majority of the songs themselves, the visual functions as clever illusion, absurd humor, ostentatious simplicity, and playful pretense. \r\n
      \r\n
      Bursting with excessive fun and unchecked libido, T. Rex's catchy boogies, shuffles, and vamps scoot by on a seemingly impossible blend of concise hooks, non-sequitur fantasies, and theatrical swagger. From the chart-topping "Bang a Gong (Get It On)" to the beautiful "Life's a Gas", the R&B-stoked hit "Jeepster" to the pout of "Motivator" and galactic soul of "Planet Queen", Bolan, percussionist Mickey Finn, and boards manipulator Visconti craft a rewardingly strange, parallel universe of sound, style, and sex that still has no equal.\r\n
      \r\n
      Secure your collectible copy of Electric Warrior from Music Direct today !
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Marc Bolan (guitar, vocals), Mickey Finn (congas, bongos, vocals), Steve Currie (bass guitar), Bill Legend (drums, tambourine), Rick Wakeman (keyboards), Ian McDonald (saxophone), Burt Collins (flugelhorn)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1174 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=Ch3N-EPNX-U"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-490"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. Mambo Sun"
        "ordre" => 1
      ]
      [
        "nom" => "2. Cosmic Dancer"
        "ordre" => 2
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
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      [
        "nom" => "1. Jeepster"
        "ordre" => 4
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      [
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        "ordre" => 5
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      [
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      [
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        "ordre" => 7
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      [
        "nom" => "1. Bang a Gong (Get It On)"
        "ordre" => 8
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      [
        "nom" => "2. Planet Queen"
        "ordre" => 9
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      [
        "nom" => "3. Girl"
        "ordre" => 10
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      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. The Motivator"
        "ordre" => 12
      ]
      [
        "nom" => "2. Life's a Gas"
        "ordre" => 13
      ]
      [
        "nom" => "3. Rip Off"
        "ordre" => 14
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2199 …}
    -label: Proxies\__CG__\App\Entity\Label {#2167 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2203 …}
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      date: 2025-11-18 08:03:29.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
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    -slug: "vinyles-electric-warrior-mobile-fidelity-sound-lab-mfsl-2-490"
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App\Twig\Components\GestionPanierFavoriComponents {#3565
  -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 {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2197
    -id: 1817
    -nom: "Electric Warrior"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Marc Bolan (guitar, vocals), Mickey Finn (congas, bongos, vocals), Steve Currie (bass guitar), Bill Legend (drums, tambourine), Rick Wakeman (keyboards), Ian McDonald (saxophone), Burt Collins (flugelhorn), Howard Kaylan, Mark Volman (backing vocals).\r\n
      \r\n
      T. Rex's Exotic Landmark Signals the Birth of Glam Rock, Features "Bang a Gong (Get It On)" : Electric Warrior Swaggers with Libido, Flamboyance, Fantasy, Fun, Hooks, and Theatricality \r\n
      \r\n
      Mastered on Mobile Fidelity's State-of-the-Art Mastering System : 180 gram 45 RPM Vinyl (2 LP) Set Presents the 1971 Record's Reverb, Colors, Tones, and String Arrangements in Full-Tilt Glory\r\n
      \r\n
      Bang a gong and get it on. At once sardonic, flamboyant, and trashy, T. Rex's uncommonly unique Electric Warrior catapulted leader Marc Bolan to stardom, triggered an ongoing fascination with glam rock, and launched a movement that soon involved David Bowie, Roxy Music, Mott the Hoople, and more. Yet none of those namesake artists ever released a record that out-glammed, out-innuendoed, out-thrusted, or out-camped Electric Warrior named the 160th Greatest Album of All Time by Rolling Stone and included in the celebrated book 1001 Albums You Must Hear Before You Die. \r\n
      \r\n
      Mastered on Mobile Fidelity's state-of-the-art mastering system, pressed on dead-quiet vinyl at RTI, and housed in a gatefold sleeve, the label's numbered-edition 180 gram 45 RPM 2 LP set gives the 1971 landmark the widescreen sound quality it has always deserved. Tony Visconti's warm, reverb-soaked production and Roy Thomas Baker's ace engineering remain two of the work's most famous and revered elements. Here, the production and music can be experienced in all its full-tilt glory, from the subtle albeit elegant classical touches to the instantly identifiable Les Paul guitar licks to Bolan's sensual, wispy, are-they-or-aren't-they-serious vocals.\r\n
      \r\n
      As Sean Egan wrote in the liner notes of a long-out-of-print reissue : "The sound is recognizably rock, yet a previously unheard exotic variant, almost as if concocted by inhabitants of one of the Tolkien-esque worlds common in Bolan's lyrics. The strings are overt but discreet in shape and tone, injecting just the right amount of class". All these aspects and more come to life with a realism, vibrancy, detail, and textural palpability that surpass the presentation on any prior analog edition. If you can hear colors, this audiophile version ofElectric Warrior will stimulate your inner synesthesia.\r\n
      \r\n
      At the time of the album's creation, such cosmic-related phenomenon were well within Bolan's orbit. But the differences between Electric Warrior and the singer/guitarist's earlier works are as vast as those that divide high art and low-brow culture. Chief among them : Bolan's decision to channel his acoustic hippie-inspired visions into hyper-sexualized, metaphor-rich statements that benefit from amplified foundations. And still, part of the songs' charm relates to how they tread a fine line between rock and pop. \r\n
      \r\n
      Save for the lashing out of "Rip Off", Electric Warrior retains a mellow core underlined by a gauzy tint, gossamer temperament, and crushed-velvet feel. The perception that he record contains blustery heaviness is furthered and initiated by the now-iconic album cover, which depicts a giant-sized Bolan standing in front of an equally giant amplifier stack, striking a rock-star pose and giving the impression everything within is designed to go to the proverbial 11 on the volume knob. Akin to a majority of the songs themselves, the visual functions as clever illusion, absurd humor, ostentatious simplicity, and playful pretense. \r\n
      \r\n
      Bursting with excessive fun and unchecked libido, T. Rex's catchy boogies, shuffles, and vamps scoot by on a seemingly impossible blend of concise hooks, non-sequitur fantasies, and theatrical swagger. From the chart-topping "Bang a Gong (Get It On)" to the beautiful "Life's a Gas", the R&B-stoked hit "Jeepster" to the pout of "Motivator" and galactic soul of "Planet Queen", Bolan, percussionist Mickey Finn, and boards manipulator Visconti craft a rewardingly strange, parallel universe of sound, style, and sex that still has no equal.\r\n
      \r\n
      Secure your collectible copy of Electric Warrior from Music Direct today !
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
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    -lpsMusic: 2
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    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=Ch3N-EPNX-U"
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        "ordre" => 5
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        "nom" => "3. Lean Woman Blues"
        "ordre" => 6
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        "nom" => "Side C :"
        "ordre" => 7
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      [
        "nom" => "1. Bang a Gong (Get It On)"
        "ordre" => 8
      ]
      [
        "nom" => "2. Planet Queen"
        "ordre" => 9
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      [
        "nom" => "3. Girl"
        "ordre" => 10
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      [
        "nom" => "Side D : "
        "ordre" => 11
      ]
      [
        "nom" => "1. The Motivator"
        "ordre" => 12
      ]
      [
        "nom" => "2. Life's a Gas"
        "ordre" => 13
      ]
      [
        "nom" => "3. Rip Off"
        "ordre" => 14
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2199 …}
    -label: Proxies\__CG__\App\Entity\Label {#2167 …}
    -style: App\Entity\Style {#1505 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2208 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2201 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2203 …}
    -enregistreLe: DateTime @1582613832 {#2194
      date: 2020-02-25 06:57:12.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763453009 {#2195
      date: 2025-11-18 08:03:29.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2205 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-electric-warrior-mobile-fidelity-sound-lab-mfsl-2-490"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
}

[
  "produit" => App\Entity\Produit {#2213
    -id: 1065
    -nom: "Labor of Love"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Taj Mahal (guitar, slide guitar, bass, vocals), Neal Pattman (harmonica, vocals), Algia Mae Hinton (twelve string guitar, vocals), John Dee Holeman (guitar, vocals), Cootie Stark (guitar, vocals), Etta Baker (guitar), Cool John Ferguson (electric guitar), Ardie Dean (drums).\r\n
      \r\n
      - Previously unreleased late 1990s recordings !\r\n
      - Taj Mahal, loose and casual in informal recording sessions with peers !\r\n
      - Taj performs with guest artists : John Dee Holeman, Cool John Ferguson, Cootie Stark and Algia Mae Hinton.\r\n
      \r\n
      The blues live on because the blues give people life, not the other way around. Talk about the blues with Grammy winning singer-songwriter and composer Taj Mahal, or Tim Duffy, founder of the Music Maker Relief Foundation, and you'll quickly understand how deeply they grasp this. So it's no surprise that their shared love of blues has created a special vinyl-only album release that's got the loose, easy feel of a porch-sitting guitar strum, sipping sweet tea on a warm summer day.\r\n
      \r\n
      Labor of Love comprises recordings made by Tim Duffy, hanging out with Taj and other artists in a Houston hotel room and during visits to the Music Maker Relief Foundation headquarters in Hillsborough, North Carolina.\r\n
      \r\n
      Taj and Tim first connected in the mid-1990s as Tim was establishing the foundation. The foundation is dedicated to preserving Southern roots music by directly supporting senior artists in need, while documenting their music and sharing their stage and recording talents with the world.\r\n
      \r\n
      A CD collection released by the foundation featuring Music Maker artists caught Taj's attention. Tim invited Taj to his place in rural Pinnacle, N.C., where he hung out with several of the artists. Taj loved how they played and sang, but he especially loved "getting to know their lives and how they made things work".\r\n
      \r\n
      Not much time passed before a performing tour was launched, with Taj as the headliner. Meanwhile, Tim, sensing an incredibly rich opportunity, was hauling along with the tour, high-end recording gear. He set it up in hotel rooms hoping to capture an impromptu session. One night in Houston, magic happened. A few senior bluesmen, Tim, Taj and the daughter of Katie Mae, immortalized in the Lightin' Hopkins classic "Katie Mae Blues" hung out together in a hotel room in Houston. Taj picked up an acoustic guitar and started in on classic tunes - "Stack-O-Lee", "Walking Blues", and more. The tape was rolling.\r\n
      \r\n
      During the time of the tour, Taj was also visiting during hang-out, barbecue and recording sessions at Music Maker's new North Carolina headquarters in Hillsborough. When the music got going, Taj would play some piano, bass, harp, banjo, mandolin and whatever else was needed.\r\n
      \r\n
      Now is the time for these immortalized sessions to be heard. So here they are on a solid piece of wax. And what wax it is - a full-on 180 gram vinyl Analogue Productions masterpiece plated and pressed at Quality Record Pressings, maker of the world's best-sounding LPs. Packaged in a Stoughton Printing tip-on gatefold jacket. You won't find a more intimate portrayal of Taj as a freewheeling, fun-loving, always-in-the-pocket sideman.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Taj Mahal (guitar, slide guitar, bass, vocals), Neal Pattman (harmonica, vocals), Algia Mae Hinton (twelve string guitar, vocals), John Dee Holeman (guitar, vocals), Cootie Stark (guitar, vocals), Etta Baker (guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=2nqJxaW3Y5w"
    -referenceProduit: "Analogue Productions AAPB 0113"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Stagger Lee"
        "ordre" => 1
      ]
      [
        "nom" => "2. Shortnin' Bread (With Neal Pattman)"
        "ordre" => 2
      ]
      [
        "nom" => "3. My Creole Belle"
        "ordre" => 3
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
      [
        "nom" => "1. I Ain't the One You Love (With Algie Mae Hinton)"
        "ordre" => 5
      ]
      [
        "nom" => "2. Fishin' Blues"
        "ordre" => 6
      ]
      [
        "nom" => "3. Mistreated Blues (With John Dee Holeman)"
        "ordre" => 7
      ]
      [
        "nom" => "4. Zanzibar"
        "ordre" => 8
      ]
      [
        "nom" => "Side C :"
        "ordre" => 9
      ]
      [
        "nom" => "1. So Sweet (With Cootie Stark)"
        "ordre" => 10
      ]
      [
        "nom" => "2. Spike Drivers Blues"
        "ordre" => 11
      ]
      [
        "nom" => "3. Hambone (With John Dee Holeman)"
        "ordre" => 12
      ]
      [
        "nom" => "Side D : "
        "ordre" => 13
      ]
      [
        "nom" => "1. Walking Blues"
        "ordre" => 14
      ]
      [
        "nom" => "2. John Henry (With Etta Baker)"
        "ordre" => 15
      ]
      [
        "nom" => "3. Song For Brenda (With Cool John Ferguson)"
        "ordre" => 16
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2215 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1489 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2224 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2217 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2219 …}
    -enregistreLe: DateTime @1477553434 {#2210
      date: 2016-10-27 07:30:34.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763452547 {#2211
      date: 2025-11-18 07:55:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2221 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-labor-of-love-analogue-productions-aapb-0113"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3616
  -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 {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2213
    -id: 1065
    -nom: "Labor of Love"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Taj Mahal (guitar, slide guitar, bass, vocals), Neal Pattman (harmonica, vocals), Algia Mae Hinton (twelve string guitar, vocals), John Dee Holeman (guitar, vocals), Cootie Stark (guitar, vocals), Etta Baker (guitar), Cool John Ferguson (electric guitar), Ardie Dean (drums).\r\n
      \r\n
      - Previously unreleased late 1990s recordings !\r\n
      - Taj Mahal, loose and casual in informal recording sessions with peers !\r\n
      - Taj performs with guest artists : John Dee Holeman, Cool John Ferguson, Cootie Stark and Algia Mae Hinton.\r\n
      \r\n
      The blues live on because the blues give people life, not the other way around. Talk about the blues with Grammy winning singer-songwriter and composer Taj Mahal, or Tim Duffy, founder of the Music Maker Relief Foundation, and you'll quickly understand how deeply they grasp this. So it's no surprise that their shared love of blues has created a special vinyl-only album release that's got the loose, easy feel of a porch-sitting guitar strum, sipping sweet tea on a warm summer day.\r\n
      \r\n
      Labor of Love comprises recordings made by Tim Duffy, hanging out with Taj and other artists in a Houston hotel room and during visits to the Music Maker Relief Foundation headquarters in Hillsborough, North Carolina.\r\n
      \r\n
      Taj and Tim first connected in the mid-1990s as Tim was establishing the foundation. The foundation is dedicated to preserving Southern roots music by directly supporting senior artists in need, while documenting their music and sharing their stage and recording talents with the world.\r\n
      \r\n
      A CD collection released by the foundation featuring Music Maker artists caught Taj's attention. Tim invited Taj to his place in rural Pinnacle, N.C., where he hung out with several of the artists. Taj loved how they played and sang, but he especially loved "getting to know their lives and how they made things work".\r\n
      \r\n
      Not much time passed before a performing tour was launched, with Taj as the headliner. Meanwhile, Tim, sensing an incredibly rich opportunity, was hauling along with the tour, high-end recording gear. He set it up in hotel rooms hoping to capture an impromptu session. One night in Houston, magic happened. A few senior bluesmen, Tim, Taj and the daughter of Katie Mae, immortalized in the Lightin' Hopkins classic "Katie Mae Blues" hung out together in a hotel room in Houston. Taj picked up an acoustic guitar and started in on classic tunes - "Stack-O-Lee", "Walking Blues", and more. The tape was rolling.\r\n
      \r\n
      During the time of the tour, Taj was also visiting during hang-out, barbecue and recording sessions at Music Maker's new North Carolina headquarters in Hillsborough. When the music got going, Taj would play some piano, bass, harp, banjo, mandolin and whatever else was needed.\r\n
      \r\n
      Now is the time for these immortalized sessions to be heard. So here they are on a solid piece of wax. And what wax it is - a full-on 180 gram vinyl Analogue Productions masterpiece plated and pressed at Quality Record Pressings, maker of the world's best-sounding LPs. Packaged in a Stoughton Printing tip-on gatefold jacket. You won't find a more intimate portrayal of Taj as a freewheeling, fun-loving, always-in-the-pocket sideman.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "Taj Mahal (guitar, slide guitar, bass, vocals), Neal Pattman (harmonica, vocals), Algia Mae Hinton (twelve string guitar, vocals), John Dee Holeman (guitar, vocals), Cootie Stark (guitar, vocals), Etta Baker (guitar)…"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=2nqJxaW3Y5w"
    -referenceProduit: "Analogue Productions AAPB 0113"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. Stagger Lee"
        "ordre" => 1
      ]
      [
        "nom" => "2. Shortnin' Bread (With Neal Pattman)"
        "ordre" => 2
      ]
      [
        "nom" => "3. My Creole Belle"
        "ordre" => 3
      ]
      [
        "nom" => "Side B :"
        "ordre" => 4
      ]
      [
        "nom" => "1. I Ain't the One You Love (With Algie Mae Hinton)"
        "ordre" => 5
      ]
      [
        "nom" => "2. Fishin' Blues"
        "ordre" => 6
      ]
      [
        "nom" => "3. Mistreated Blues (With John Dee Holeman)"
        "ordre" => 7
      ]
      [
        "nom" => "4. Zanzibar"
        "ordre" => 8
      ]
      [
        "nom" => "Side C :"
        "ordre" => 9
      ]
      [
        "nom" => "1. So Sweet (With Cootie Stark)"
        "ordre" => 10
      ]
      [
        "nom" => "2. Spike Drivers Blues"
        "ordre" => 11
      ]
      [
        "nom" => "3. Hambone (With John Dee Holeman)"
        "ordre" => 12
      ]
      [
        "nom" => "Side D : "
        "ordre" => 13
      ]
      [
        "nom" => "1. Walking Blues"
        "ordre" => 14
      ]
      [
        "nom" => "2. John Henry (With Etta Baker)"
        "ordre" => 15
      ]
      [
        "nom" => "3. Song For Brenda (With Cool John Ferguson)"
        "ordre" => 16
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2215 …}
    -label: Proxies\__CG__\App\Entity\Label {#1964 …}
    -style: App\Entity\Style {#1489 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2224 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2217 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2219 …}
    -enregistreLe: DateTime @1477553434 {#2210
      date: 2016-10-27 07:30:34.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763452547 {#2211
      date: 2025-11-18 07:55:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2221 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-labor-of-love-analogue-productions-aapb-0113"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
}

[
  "produit" => App\Entity\Produit {#2229
    -id: 1199
    -nom: "With The Beatles"
    -informationComplementaire: null
    -description: """
      - Cut at Abbey Road Studios using non-limited 24-bit digital masters sourced from the original analog master tapes !\r\n
      - Pressed on 180 gram vinyl; album's North American LP debut in stereo !\r\n
      - Optimum audiophile-quality sound from a first-rate team of producers and engineers !\r\n
      - Rolling Stone 500 Greatest Albums of All Time - rated 53 / 500 !\r\n
      \r\n
      For years the most anticipated vinyl reissues have been from the one, the only Beatles catalog. Finally, after a delay due to the meticulousness of the remastering process and assorted other hurdles, that day has come. The Beatles catalog is getting the audiophile treatment! 180-gram vinyl pressings cut at Abbey Road Studios using the non-limited 24-bit digital masters sourced from the original master tapes!\r\n
      \r\n
      For Americans in the full grip of Beatlemania, this was the first album they could buy. With The Beatles (sold as Meet The Beatles ! in the U.S.) was the Fab Four's second British record. With the Beatles produced the singles "It Won't Be Long" and "All My Loving". John Lennon and Paul McCartney were on a songwriting roll that would be unmatched in rock history, and at this point they were still a real team. Like no other digital or analog edition, this LP pressing showcases how far the Fab Four really were beyond any of their peers.\r\n
      \r\n
      For its Beatles' Stereo Albums series on LP, Capitol / Apple turned to a crack team of engineers to remaster With The Beatles from the original sources. The team, including Guy Massey, Steve Rooke and Sam Okell with Paul Hicks and Sean Magee undertook a four-year restoration process for the LP versions, combining state-of-the-art equipment, vintage studio gear and rigorous testing to meet the highest fidelity standards and produce authentic unsurpassed sound rivaling the original LPs. There is no longer any need to pay hundreds of dollars for Japanese pressings!\r\n
      \r\n
      Recorded in much the same fashion as Please Please Me, With The Beatles used close-miking techniques and a combination of direct and ambient sounds gathered from group microphones. There's a great rollicking liveliness and depth captured. Paying homage to Motown, the band sends up "Please Mister Postman", "Money (That's What I Want)", and "You Really Got a Hold On Me" with equal parts ragged urgency and poignant emotion. A batch of rich originals spans bittersweet ballads "All I've Got to Do" to shout-out-loud rock classics "It Won't Be Long".\r\n
      \r\n
      The set has been criticized by some for containing too many covers; yet it's a snapshot of the Beatles during the band's last connection to its Cavern Club days and avoids any dull moments. Again, the production emphasizes an in-the-studio feel, with minimal effects and few baffles. Now, hear just how hard the Beatles rocked in what's the equivalent of 3D sound. The strings of the band's guitars and pop of Ringo's 20-inch Ludwig kick drum resonate with punch, drive, and true-to-life imaging. It's all thanks to Capitol's meticulous mastering.\r\n
      \r\n
      Extensive testing was done before engineers copied the analog master tapes into digital files using 24-bit/192 kHz resolution and a Prism A-D converter. Dust build-ups were removed from tape machine heads after the completion of each title. Artifacts such as electrical clicks, microphone vocal pops, excessive sibilance and poor edits were improved upon as long as they were judged not to damage the integrity of the songs. The 24/192 transfers were done to produce an archival copy of the tapes and then those files were reduced to 24/44.1 kHz files for final mastering. De-noising technology was applied in only a few necessary spots and on a sum total of less than five of the entire 525 minutes of Beatles music.\r\n
      \r\n
      The digital files were cut to lacquers at Abbey Road Studios. Engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was decided to use the remasters that had not undergone "limiting", a procedure to increase the sound level.\r\n
      \r\n
      Steps to eliminate vocal distortions and inner-groove distortions were addressed using a digital workstation. The latter can affect high-middle frequencies, producing a "mushy" sound noticeable on vocals. Using what Magee has described as "surgical EQ", problem frequencies were identified and reduced in level to compensate for this.\r\n
      \r\n
      Lastly, the first batches of test pressings made from the master lacquers that had been sent to two pressing plants were judged. Records with any noise or click appearing on more than one test pressing in the same place were rejected, on the grounds that undesired sound had been introduced either during the cutting or pressing stage.\r\n
      \r\n
      For producer Rick Rubin, The Beatles' recorded achievements are akin to a miracle. The most popular bands in the world today typically produce an album every four years, Rubin told a 2009 radio audience. That's two albums as an eight-year cycle. "And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can't be done. Truthfully, I think of it as proof of God, because it's beyond man's ability".
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "John Lennon (rhythm guitar, harmonica, vocals), Paul McCartney (bass guitar, piano, vocals), George Harrison (lead guitar, vocals), Ringo Starr (drums, percussion, vocals), George Martin (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: null
    -referenceProduit: "EMI Records 2420"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. It Won't Be Long"
        "ordre" => 1
      ]
      [
        "nom" => "2. All I've Got To Do"
        "ordre" => 2
      ]
      [
        "nom" => "3. All My Loving"
        "ordre" => 3
      ]
      [
        "nom" => "4. Don't Bother Me"
        "ordre" => 4
      ]
      [
        "nom" => "5. Little Child"
        "ordre" => 5
      ]
      [
        "nom" => "6. Till There Was You"
        "ordre" => 6
      ]
      [
        "nom" => "7. Please Mister Postman"
        "ordre" => 7
      ]
      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
      [
        "nom" => ""
        "ordre" => 9
      ]
      [
        "nom" => ""
        "ordre" => 10
      ]
      [
        "nom" => ""
        "ordre" => 11
      ]
      [
        "nom" => ""
        "ordre" => 12
      ]
      [
        "nom" => ""
        "ordre" => 13
      ]
      [
        "nom" => ""
        "ordre" => 14
      ]
      [
        "nom" => ""
        "ordre" => 15
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2231 …}
    -label: Proxies\__CG__\App\Entity\Label {#2234 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2243 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2236 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2238 …}
    -enregistreLe: DateTime @1501570978 {#2226
      date: 2017-08-01 07:02:58.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763451197 {#2227
      date: 2025-11-18 07:33:17.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2240 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-with-the-beatles-emi-records-2420"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3667
  -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 {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2229
    -id: 1199
    -nom: "With The Beatles"
    -informationComplementaire: null
    -description: """
      - Cut at Abbey Road Studios using non-limited 24-bit digital masters sourced from the original analog master tapes !\r\n
      - Pressed on 180 gram vinyl; album's North American LP debut in stereo !\r\n
      - Optimum audiophile-quality sound from a first-rate team of producers and engineers !\r\n
      - Rolling Stone 500 Greatest Albums of All Time - rated 53 / 500 !\r\n
      \r\n
      For years the most anticipated vinyl reissues have been from the one, the only Beatles catalog. Finally, after a delay due to the meticulousness of the remastering process and assorted other hurdles, that day has come. The Beatles catalog is getting the audiophile treatment! 180-gram vinyl pressings cut at Abbey Road Studios using the non-limited 24-bit digital masters sourced from the original master tapes!\r\n
      \r\n
      For Americans in the full grip of Beatlemania, this was the first album they could buy. With The Beatles (sold as Meet The Beatles ! in the U.S.) was the Fab Four's second British record. With the Beatles produced the singles "It Won't Be Long" and "All My Loving". John Lennon and Paul McCartney were on a songwriting roll that would be unmatched in rock history, and at this point they were still a real team. Like no other digital or analog edition, this LP pressing showcases how far the Fab Four really were beyond any of their peers.\r\n
      \r\n
      For its Beatles' Stereo Albums series on LP, Capitol / Apple turned to a crack team of engineers to remaster With The Beatles from the original sources. The team, including Guy Massey, Steve Rooke and Sam Okell with Paul Hicks and Sean Magee undertook a four-year restoration process for the LP versions, combining state-of-the-art equipment, vintage studio gear and rigorous testing to meet the highest fidelity standards and produce authentic unsurpassed sound rivaling the original LPs. There is no longer any need to pay hundreds of dollars for Japanese pressings!\r\n
      \r\n
      Recorded in much the same fashion as Please Please Me, With The Beatles used close-miking techniques and a combination of direct and ambient sounds gathered from group microphones. There's a great rollicking liveliness and depth captured. Paying homage to Motown, the band sends up "Please Mister Postman", "Money (That's What I Want)", and "You Really Got a Hold On Me" with equal parts ragged urgency and poignant emotion. A batch of rich originals spans bittersweet ballads "All I've Got to Do" to shout-out-loud rock classics "It Won't Be Long".\r\n
      \r\n
      The set has been criticized by some for containing too many covers; yet it's a snapshot of the Beatles during the band's last connection to its Cavern Club days and avoids any dull moments. Again, the production emphasizes an in-the-studio feel, with minimal effects and few baffles. Now, hear just how hard the Beatles rocked in what's the equivalent of 3D sound. The strings of the band's guitars and pop of Ringo's 20-inch Ludwig kick drum resonate with punch, drive, and true-to-life imaging. It's all thanks to Capitol's meticulous mastering.\r\n
      \r\n
      Extensive testing was done before engineers copied the analog master tapes into digital files using 24-bit/192 kHz resolution and a Prism A-D converter. Dust build-ups were removed from tape machine heads after the completion of each title. Artifacts such as electrical clicks, microphone vocal pops, excessive sibilance and poor edits were improved upon as long as they were judged not to damage the integrity of the songs. The 24/192 transfers were done to produce an archival copy of the tapes and then those files were reduced to 24/44.1 kHz files for final mastering. De-noising technology was applied in only a few necessary spots and on a sum total of less than five of the entire 525 minutes of Beatles music.\r\n
      \r\n
      The digital files were cut to lacquers at Abbey Road Studios. Engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was decided to use the remasters that had not undergone "limiting", a procedure to increase the sound level.\r\n
      \r\n
      Steps to eliminate vocal distortions and inner-groove distortions were addressed using a digital workstation. The latter can affect high-middle frequencies, producing a "mushy" sound noticeable on vocals. Using what Magee has described as "surgical EQ", problem frequencies were identified and reduced in level to compensate for this.\r\n
      \r\n
      Lastly, the first batches of test pressings made from the master lacquers that had been sent to two pressing plants were judged. Records with any noise or click appearing on more than one test pressing in the same place were rejected, on the grounds that undesired sound had been introduced either during the cutting or pressing stage.\r\n
      \r\n
      For producer Rick Rubin, The Beatles' recorded achievements are akin to a miracle. The most popular bands in the world today typically produce an album every four years, Rubin told a 2009 radio audience. That's two albums as an eight-year cycle. "And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can't be done. Truthfully, I think of it as proof of God, because it's beyond man's ability".
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "John Lennon (rhythm guitar, harmonica, vocals), Paul McCartney (bass guitar, piano, vocals), George Harrison (lead guitar, vocals), Ringo Starr (drums, percussion, vocals), George Martin (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: null
    -referenceProduit: "EMI Records 2420"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. It Won't Be Long"
        "ordre" => 1
      ]
      [
        "nom" => "2. All I've Got To Do"
        "ordre" => 2
      ]
      [
        "nom" => "3. All My Loving"
        "ordre" => 3
      ]
      [
        "nom" => "4. Don't Bother Me"
        "ordre" => 4
      ]
      [
        "nom" => "5. Little Child"
        "ordre" => 5
      ]
      [
        "nom" => "6. Till There Was You"
        "ordre" => 6
      ]
      [
        "nom" => "7. Please Mister Postman"
        "ordre" => 7
      ]
      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
      [
        "nom" => ""
        "ordre" => 9
      ]
      [
        "nom" => ""
        "ordre" => 10
      ]
      [
        "nom" => ""
        "ordre" => 11
      ]
      [
        "nom" => ""
        "ordre" => 12
      ]
      [
        "nom" => ""
        "ordre" => 13
      ]
      [
        "nom" => ""
        "ordre" => 14
      ]
      [
        "nom" => ""
        "ordre" => 15
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2231 …}
    -label: Proxies\__CG__\App\Entity\Label {#2234 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2243 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2236 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2238 …}
    -enregistreLe: DateTime @1501570978 {#2226
      date: 2017-08-01 07:02:58.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763451197 {#2227
      date: 2025-11-18 07:33:17.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2240 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-with-the-beatles-emi-records-2420"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
}

[
  "produit" => App\Entity\Produit {#2248
    -id: 475
    -nom: "A Hard Day's Night"
    -informationComplementaire: null
    -description: """
      - Cut at Abbey Road Studios using non-limited 24-bit digital masters sourced from the original analog master tapes !\r\n
      - Pressed on 180 gram vinyl; album's North American LP debut in stereo !\r\n
      - Optimum audiophile-quality sound from a first-rate team of producers and engineers !\r\n
      - The BEATLES ON VINYL - DONE RIGHT !\r\n
      \r\n
      For years the most anticipated vinyl reissues have been from the one, the only Beatles catalog. Finally, after a delay due to the meticulousness of the remastering process and assorted other hurdles, that day has come. The Beatles catalog is getting the audiophile treatment! 180 gram vinyl pressings cut at Abbey Road Studios using the non-limited 24-bit digital masters sourced from the original master tapes !\r\n
      \r\n
      Rolling Stone declares: "A Hard Day's Night opens with the most famous chord in all of rock 'n' roll: A radiant burst of 12-string guitar evoking the chaos and euphoria of Beatlemania at its height". The Richard Lester film of the same title showed the Beatles' charm. The soundtrack deepened listeners' sense of their musical genius in the off-kilter beauty of John Lennon's "If I Fell", the rockabilly bounce of Paul McCartney's "Can't Buy Me Love", and the great leap forward of George Harrison's guitar work on the 12 string Rickenbacker.\r\n
      \r\n
      The first Beatles album to feature all-original material, A Hard Day's Night affirmed the band's "top-of-the-world-ma" status. Galvanized by the arrival of new gear and methods in the recording studio, the Beatles captured a new magic, and this superb LP pressing showcases their success in a way never experienced before.\r\n
      \r\n
      For its Beatles' Stereo Albums series on LP, Capitol/Apple turned to a crack team of engineers to remaster A Hard Day's Night from the original sources. The team, including Guy Massey, Steve Rooke and Sam Okell with Paul Hicks and Sean Magee undertook a four-year restoration process for the LP versions, combining state-of-the-art equipment, vintage studio gear and rigorous testing to meet the highest fidelity standards and produce authentic unsurpassed sound rivaling the original LPs. There is no longer any need to pay hundreds of dollars for Japanese pressings !\r\n
      \r\n
      With the addition of a REDD.51 mixing console at their disposal at Abbey Road, a device that increased the level of communication between producer, engineer, and band, the Beatles upped the ante not only in memorable songwriting and joyous emotion, but definitive sonics. And so now you can almost feel the repeat echo on the title track, a cue that regenerates delay and adds to the tune's spaciousness. Similarly, the harmonica shiver on "I Should've Known Better" rings out with amazing purity and expansive reach.\r\n
      \r\n
      Most significantly, the LP frames the fairly crisp top-end sound of Ringo's drums. Throughout, his strict orders to hit the snare solidly in the middle (and not on the rims) unfold in the form of involving rhythmic beats that now seem as if they're happening right in front of you. As for the unique 12-string jangle created by George Harrison's Rickenbacker 360-12 12-string guitar, employed for the first time on this 1964 effort, it positively sweeps over the soundstage, preceding the likes of the Byrds. And those voices. Mesmerizing.\r\n
      \r\n
      The album's title track, with its distinct, instantly recognisable opening chord, and the previously released "Can't Buy Me Love" both were transatlantic number-one singles for the band.\r\n
      \r\n
      Extensive testing was done before engineers copied the analog master tapes into digital files using 24-bit/192 kHz resolution and a Prism A-D converter. Dust build-ups were removed from tape machine heads after the completion of each title. Artifacts such as electrical clicks, microphone vocal pops, excessive sibilance and poor edits were improved upon as long as they were judged not to damage the integrity of the songs. The 24/192 transfers were done to produce an archival copy of the tapes and then those files were reduced to 24/44.1 kHz files for final mastering. De-noising technology was applied in only a few necessary spots and on a sum total of less than five of the entire 525 minutes of Beatles music. \r\n
      \r\n
      The digital files were cut to lacquers at Abbey Road Studios. Engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was decided to use the remasters that had not undergone "limiting", a procedure to increase the sound level.\r\n
      \r\n
      Steps to eliminate vocal distortions and inner-groove distortions were addressed using a digital workstation. The latter can affect high-middle frequencies, producing a "mushy" sound noticeable on vocals. Using what Magee has described as "surgical EQ", problem frequencies were identified and reduced in level to compensate for this.\r\n
      \r\n
      Lastly, the first batches of test pressings made from the master lacquers that had been sent to two pressing plants were judged. Records with any noise or click appearing on more than one test pressing in the same place were rejected, on the grounds that undesired sound had been introduced either during the cutting or pressing stage.\r\n
      \r\n
      For producer Rick Rubin, The Beatles' recorded achievements are akin to a miracle. The most popular bands in the world today typically produce an album every four years, Rubin told a 2009 radio audience. That's two albums as an eight-year cycle. "And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change ... it can't be done. Truthfully, I think of it as proof of God, because it's beyond man's ability".
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "John Lennon (rhythm & acoustic guitar, harmonica, piano, vocals),  Paul McCartney (bass guitar, piano, vocals), George Harrison (lead guitar, 12-string Rickenbacker guitar, vocals), Ringo Starr (drums, percussion, bongos, cowbell), George Martin (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ua2tyckT9AQ&list=RDua2tyckT9AQ&start_radio=1"
    -referenceProduit: "EMI Records 2413"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. A Hard Day's Night"
        "ordre" => 1
      ]
      [
        "nom" => "2. I Should Have Known Better"
        "ordre" => 2
      ]
      [
        "nom" => "3. If I Fell"
        "ordre" => 3
      ]
      [
        "nom" => "4. I'm Happy Just to Dance With You"
        "ordre" => 4
      ]
      [
        "nom" => "5. And I Love Her"
        "ordre" => 5
      ]
      [
        "nom" => "6. Tell Me Why"
        "ordre" => 6
      ]
      [
        "nom" => "7. Can't Buy Me Love"
        "ordre" => 7
      ]
      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
      [
        "nom" => "1. Any Time at All"
        "ordre" => 9
      ]
      [
        "nom" => "2. I'll Cry Instead"
        "ordre" => 10
      ]
      [
        "nom" => "3. Things We Said Today"
        "ordre" => 11
      ]
      [
        "nom" => "4. When I Get Home"
        "ordre" => 12
      ]
      [
        "nom" => "5. You Can't Do That"
        "ordre" => 13
      ]
      [
        "nom" => "6. I'll Be Back"
        "ordre" => 14
      ]
      [
        "nom" => ""
        "ordre" => 15
      ]
      [
        "nom" => ""
        "ordre" => 16
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2231 …}
    -label: Proxies\__CG__\App\Entity\Label {#2234 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2256 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2249 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2251 …}
    -enregistreLe: DateTime @1320672300 {#2245
      date: 2011-11-07 13:25:00.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763408596 {#2246
      date: 2025-11-17 19:43:16.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2253 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-a-hard-day-s-night-emi-records-2413"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3720
  -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 {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2248
    -id: 475
    -nom: "A Hard Day's Night"
    -informationComplementaire: null
    -description: """
      - Cut at Abbey Road Studios using non-limited 24-bit digital masters sourced from the original analog master tapes !\r\n
      - Pressed on 180 gram vinyl; album's North American LP debut in stereo !\r\n
      - Optimum audiophile-quality sound from a first-rate team of producers and engineers !\r\n
      - The BEATLES ON VINYL - DONE RIGHT !\r\n
      \r\n
      For years the most anticipated vinyl reissues have been from the one, the only Beatles catalog. Finally, after a delay due to the meticulousness of the remastering process and assorted other hurdles, that day has come. The Beatles catalog is getting the audiophile treatment! 180 gram vinyl pressings cut at Abbey Road Studios using the non-limited 24-bit digital masters sourced from the original master tapes !\r\n
      \r\n
      Rolling Stone declares: "A Hard Day's Night opens with the most famous chord in all of rock 'n' roll: A radiant burst of 12-string guitar evoking the chaos and euphoria of Beatlemania at its height". The Richard Lester film of the same title showed the Beatles' charm. The soundtrack deepened listeners' sense of their musical genius in the off-kilter beauty of John Lennon's "If I Fell", the rockabilly bounce of Paul McCartney's "Can't Buy Me Love", and the great leap forward of George Harrison's guitar work on the 12 string Rickenbacker.\r\n
      \r\n
      The first Beatles album to feature all-original material, A Hard Day's Night affirmed the band's "top-of-the-world-ma" status. Galvanized by the arrival of new gear and methods in the recording studio, the Beatles captured a new magic, and this superb LP pressing showcases their success in a way never experienced before.\r\n
      \r\n
      For its Beatles' Stereo Albums series on LP, Capitol/Apple turned to a crack team of engineers to remaster A Hard Day's Night from the original sources. The team, including Guy Massey, Steve Rooke and Sam Okell with Paul Hicks and Sean Magee undertook a four-year restoration process for the LP versions, combining state-of-the-art equipment, vintage studio gear and rigorous testing to meet the highest fidelity standards and produce authentic unsurpassed sound rivaling the original LPs. There is no longer any need to pay hundreds of dollars for Japanese pressings !\r\n
      \r\n
      With the addition of a REDD.51 mixing console at their disposal at Abbey Road, a device that increased the level of communication between producer, engineer, and band, the Beatles upped the ante not only in memorable songwriting and joyous emotion, but definitive sonics. And so now you can almost feel the repeat echo on the title track, a cue that regenerates delay and adds to the tune's spaciousness. Similarly, the harmonica shiver on "I Should've Known Better" rings out with amazing purity and expansive reach.\r\n
      \r\n
      Most significantly, the LP frames the fairly crisp top-end sound of Ringo's drums. Throughout, his strict orders to hit the snare solidly in the middle (and not on the rims) unfold in the form of involving rhythmic beats that now seem as if they're happening right in front of you. As for the unique 12-string jangle created by George Harrison's Rickenbacker 360-12 12-string guitar, employed for the first time on this 1964 effort, it positively sweeps over the soundstage, preceding the likes of the Byrds. And those voices. Mesmerizing.\r\n
      \r\n
      The album's title track, with its distinct, instantly recognisable opening chord, and the previously released "Can't Buy Me Love" both were transatlantic number-one singles for the band.\r\n
      \r\n
      Extensive testing was done before engineers copied the analog master tapes into digital files using 24-bit/192 kHz resolution and a Prism A-D converter. Dust build-ups were removed from tape machine heads after the completion of each title. Artifacts such as electrical clicks, microphone vocal pops, excessive sibilance and poor edits were improved upon as long as they were judged not to damage the integrity of the songs. The 24/192 transfers were done to produce an archival copy of the tapes and then those files were reduced to 24/44.1 kHz files for final mastering. De-noising technology was applied in only a few necessary spots and on a sum total of less than five of the entire 525 minutes of Beatles music. \r\n
      \r\n
      The digital files were cut to lacquers at Abbey Road Studios. Engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was decided to use the remasters that had not undergone "limiting", a procedure to increase the sound level.\r\n
      \r\n
      Steps to eliminate vocal distortions and inner-groove distortions were addressed using a digital workstation. The latter can affect high-middle frequencies, producing a "mushy" sound noticeable on vocals. Using what Magee has described as "surgical EQ", problem frequencies were identified and reduced in level to compensate for this.\r\n
      \r\n
      Lastly, the first batches of test pressings made from the master lacquers that had been sent to two pressing plants were judged. Records with any noise or click appearing on more than one test pressing in the same place were rejected, on the grounds that undesired sound had been introduced either during the cutting or pressing stage.\r\n
      \r\n
      For producer Rick Rubin, The Beatles' recorded achievements are akin to a miracle. The most popular bands in the world today typically produce an album every four years, Rubin told a 2009 radio audience. That's two albums as an eight-year cycle. "And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change ... it can't be done. Truthfully, I think of it as proof of God, because it's beyond man's ability".
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "John Lennon (rhythm & acoustic guitar, harmonica, piano, vocals),  Paul McCartney (bass guitar, piano, vocals), George Harrison (lead guitar, 12-string Rickenbacker guitar, vocals), Ringo Starr (drums, percussion, bongos, cowbell), George Martin (piano)"
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=ua2tyckT9AQ&list=RDua2tyckT9AQ&start_radio=1"
    -referenceProduit: "EMI Records 2413"
    -titreMorceau: [
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "1. A Hard Day's Night"
        "ordre" => 1
      ]
      [
        "nom" => "2. I Should Have Known Better"
        "ordre" => 2
      ]
      [
        "nom" => "3. If I Fell"
        "ordre" => 3
      ]
      [
        "nom" => "4. I'm Happy Just to Dance With You"
        "ordre" => 4
      ]
      [
        "nom" => "5. And I Love Her"
        "ordre" => 5
      ]
      [
        "nom" => "6. Tell Me Why"
        "ordre" => 6
      ]
      [
        "nom" => "7. Can't Buy Me Love"
        "ordre" => 7
      ]
      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
      [
        "nom" => "1. Any Time at All"
        "ordre" => 9
      ]
      [
        "nom" => "2. I'll Cry Instead"
        "ordre" => 10
      ]
      [
        "nom" => "3. Things We Said Today"
        "ordre" => 11
      ]
      [
        "nom" => "4. When I Get Home"
        "ordre" => 12
      ]
      [
        "nom" => "5. You Can't Do That"
        "ordre" => 13
      ]
      [
        "nom" => "6. I'll Be Back"
        "ordre" => 14
      ]
      [
        "nom" => ""
        "ordre" => 15
      ]
      [
        "nom" => ""
        "ordre" => 16
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2231 …}
    -label: Proxies\__CG__\App\Entity\Label {#2234 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2256 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2249 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2251 …}
    -enregistreLe: DateTime @1320672300 {#2245
      date: 2011-11-07 13:25:00.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763408596 {#2246
      date: 2025-11-17 19:43:16.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2253 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-a-hard-day-s-night-emi-records-2413"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
}

[
  "produit" => App\Entity\Produit {#2261
    -id: 944
    -nom: "Please Please Me"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      John Lennon (rhythm & acoustic guitar, harmonica, handclaps, lead & backing vocals), Paul McCartney (bass & acoustic guitar, piano, handclaps, lead & backing vocals), George Harrison (lead & acoustic guitar, handclaps, backing vocals), Ringo Starr (drums, bongos, maracas, handclaps, lead vocals), George Martin (piano).\r\n
      \r\n
      - Cut at Abbey Road studios using non-limited 24-bit digital masters sourced from the original analog master tapes !\r\n
      - Pressed on 180 gram vinyl; album's North American LP debut in stereo !\r\n
      - "Love Me Do" and "P.S. I Love You" in mono !\r\n
      - Optimum audiophile-quality sound from a first-rate team of producers and engineers !\r\n
      - Rolling Stone 500 Greatest Albums of All Time - Rated 39 / 500 !\r\n
      \r\n
      For years the most anticipated vinyl reissues have been from the one, the only Beatles catalog. Finally, after a delay due to the meticulousness of the remastering process and assorted other hurdles, that day has come. The Beatles catalog is getting the audiophile treatment! 180 gram vinyl pressings cut at Abbey Road using the non-limited 24-bit digital masters sourced from the original master tapes!\r\n
      \r\n
      Once "Please Please Me" rocketed to number one, the Beatles rushed to deliver a debut album, bashing out Please Please Me in a day. Decades after its release, the album still sounds fresh, precisely because of its intense origins. Here is the Rosetta Stone of Beatlemania, encapsulated and sounding sweeter than ever.\r\n
      \r\n
      For its Beatles' Stereo Albums series on LP, Capitol / Apple turned to a crack team of engineers to remaster Please Please Me from the original sources. The team, including Guy Massey, Steve Rooke and Sam Okell with Paul Hicks and Sean Magee undertook a four-year restoration process for the LP versions, combining state-of-the-art equipment, vintage studio gear and rigorous testing to meet the highest fidelity standards and produce authentic unsurpassed sound rivaling the original LPs. There is no longer any need to pay hundreds of dollars for Japanese pressings!\r\n
      \r\n
      The Beatles recorded 10 of the 14 songs on Please Please Me at EMI's Abbey Road studio in just over 12 hours on February 11, 1963. Rolling Stone, which places the album 39th on its list of the 500 greatest albums of all time, notes that for productivity alone, it's one of the greatest first albums in rock. The Beatles had already invented a bracing new sound for a rock band an assault of thrumming energy and impeccable vocal harmonies and they nailed it using the covers and originals in their live repertoire: the Shirelles' "Boys" and Arthur Alexander's "Anna"; the Lennon-McCartney burners "There's a Place" and "I Saw Her Standing There". Fittingly, John Lennon finished the epochal all-day session shirtless and shredding what was left of his vocal cords on two takes of "Twist and Shout".\r\n
      \r\n
      On this remaster, for the first time you can detect the "leakage" encouraged to flow between the microphones as well as the results of the close-miking techniques designed to lighten up the sound and yet, leave it loose hence, the explosive vocals, partially a consequence of few microphone screens or baffles. You can distinguish the Gretsch Country Gentlemen 6122 from the Rickenbacker 425 guitars. Lennon's lose-control vocal blowout on "Twist and Shout" hits a new level of wow. All due to Capitol's skillful mastering.\r\n
      \r\n
      Extensive testing was done before engineers copied the analog master tapes into digital files using 24-bit/192 kHz resolution and a Prism A-D converter. Dust build-ups were removed from tape machine heads after the completion of each title. Artifacts such as electrical clicks, microphone vocal pops, excessive sibilance and poor edits were improved upon as long as they were judged not to damage the integrity of the songs. The 24/192 transfers were done to produce an archival copy of the tapes and then those files were reduced to 24/44.1 kHz files for final mastering. De-noising technology was applied in only a few necessary spots and on a sum total of less than five of the entire 525 minutes of Beatles music. Compression was used sparingly and only on the stereo versions to preserve the sanctity of the dynamics.\r\n
      \r\n
      The digital files were cut to lacquers at Abbey Road Studios. Engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was decided to use the remasters that had not undergone "limiting", a procedure to increase the sound level.\r\n
      \r\n
      Steps to eliminate vocal distortions and inner-groove distortions were addressed using a digital workstation. The latter can affect high-middle frequencies, producing a "mushy" sound noticeable on vocals. Using what Magee has described as "surgical EQ", problem frequencies were identified and reduced in level to compensate for this.\r\n
      \r\n
      Lastly, the first batches of test pressings made from the master lacquers that had been sent to two pressing plants were judged. Records with any noise or click appearing on more than one test pressing in the same place were rejected, on the grounds that undesired sound had been introduced either during the cutting or pressing stage.\r\n
      \r\n
      For producer Rick Rubin, The Beatles' recorded achievements are akin to a miracle. The most popular bands in the world today typically produce an album every four years, Rubin told a 2009 radio audience. That's two albums as an eight-year cycle. "And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can't be done. Truthfully, I think of it as proof of God, because it's beyond man's ability".
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "John Lennon (rhythm & acoustic guitar, harmonica, handclaps, lead & backing vocals), Paul McCartney (bass & acoustic guitar, piano, handclaps, lead & backing vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=-Igp2nllWoM&list=RD-Igp2nllWoM&start_radio=1"
    -referenceProduit: "EMI Records 2416"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. I Saw Her Standing There"
        "ordre" => 1
      ]
      [
        "nom" => "2. Misery"
        "ordre" => 2
      ]
      [
        "nom" => "3. Anna (Go To Him)"
        "ordre" => 3
      ]
      [
        "nom" => "4. Chains"
        "ordre" => 4
      ]
      [
        "nom" => "5. Boys"
        "ordre" => 5
      ]
      [
        "nom" => "6. Ask Me Why"
        "ordre" => 6
      ]
      [
        "nom" => "7. Please Please Me"
        "ordre" => 7
      ]
      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
      [
        "nom" => "1. Love Me Do"
        "ordre" => 9
      ]
      [
        "nom" => "2. P.S. I Love You"
        "ordre" => 10
      ]
      [
        "nom" => "3. Baby It's You"
        "ordre" => 11
      ]
      [
        "nom" => "4. Do You Want To Know A Secret"
        "ordre" => 12
      ]
      [
        "nom" => "5. A Taste Of Honey"
        "ordre" => 13
      ]
      [
        "nom" => "6. There's A Place"
        "ordre" => 14
      ]
      [
        "nom" => "7. Twist And Shout"
        "ordre" => 15
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2231 …}
    -label: Proxies\__CG__\App\Entity\Label {#2234 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2269 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2262 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2264 …}
    -enregistreLe: DateTime @1464852787 {#2258
      date: 2016-06-02 07:33:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763371047 {#2259
      date: 2025-11-17 09:17:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2266 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-please-please-me-emi-records-2416"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3768
  -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 {#2693 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1864 …}
  +produit: App\Entity\Produit {#2261
    -id: 944
    -nom: "Please Please Me"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      John Lennon (rhythm & acoustic guitar, harmonica, handclaps, lead & backing vocals), Paul McCartney (bass & acoustic guitar, piano, handclaps, lead & backing vocals), George Harrison (lead & acoustic guitar, handclaps, backing vocals), Ringo Starr (drums, bongos, maracas, handclaps, lead vocals), George Martin (piano).\r\n
      \r\n
      - Cut at Abbey Road studios using non-limited 24-bit digital masters sourced from the original analog master tapes !\r\n
      - Pressed on 180 gram vinyl; album's North American LP debut in stereo !\r\n
      - "Love Me Do" and "P.S. I Love You" in mono !\r\n
      - Optimum audiophile-quality sound from a first-rate team of producers and engineers !\r\n
      - Rolling Stone 500 Greatest Albums of All Time - Rated 39 / 500 !\r\n
      \r\n
      For years the most anticipated vinyl reissues have been from the one, the only Beatles catalog. Finally, after a delay due to the meticulousness of the remastering process and assorted other hurdles, that day has come. The Beatles catalog is getting the audiophile treatment! 180 gram vinyl pressings cut at Abbey Road using the non-limited 24-bit digital masters sourced from the original master tapes!\r\n
      \r\n
      Once "Please Please Me" rocketed to number one, the Beatles rushed to deliver a debut album, bashing out Please Please Me in a day. Decades after its release, the album still sounds fresh, precisely because of its intense origins. Here is the Rosetta Stone of Beatlemania, encapsulated and sounding sweeter than ever.\r\n
      \r\n
      For its Beatles' Stereo Albums series on LP, Capitol / Apple turned to a crack team of engineers to remaster Please Please Me from the original sources. The team, including Guy Massey, Steve Rooke and Sam Okell with Paul Hicks and Sean Magee undertook a four-year restoration process for the LP versions, combining state-of-the-art equipment, vintage studio gear and rigorous testing to meet the highest fidelity standards and produce authentic unsurpassed sound rivaling the original LPs. There is no longer any need to pay hundreds of dollars for Japanese pressings!\r\n
      \r\n
      The Beatles recorded 10 of the 14 songs on Please Please Me at EMI's Abbey Road studio in just over 12 hours on February 11, 1963. Rolling Stone, which places the album 39th on its list of the 500 greatest albums of all time, notes that for productivity alone, it's one of the greatest first albums in rock. The Beatles had already invented a bracing new sound for a rock band an assault of thrumming energy and impeccable vocal harmonies and they nailed it using the covers and originals in their live repertoire: the Shirelles' "Boys" and Arthur Alexander's "Anna"; the Lennon-McCartney burners "There's a Place" and "I Saw Her Standing There". Fittingly, John Lennon finished the epochal all-day session shirtless and shredding what was left of his vocal cords on two takes of "Twist and Shout".\r\n
      \r\n
      On this remaster, for the first time you can detect the "leakage" encouraged to flow between the microphones as well as the results of the close-miking techniques designed to lighten up the sound and yet, leave it loose hence, the explosive vocals, partially a consequence of few microphone screens or baffles. You can distinguish the Gretsch Country Gentlemen 6122 from the Rickenbacker 425 guitars. Lennon's lose-control vocal blowout on "Twist and Shout" hits a new level of wow. All due to Capitol's skillful mastering.\r\n
      \r\n
      Extensive testing was done before engineers copied the analog master tapes into digital files using 24-bit/192 kHz resolution and a Prism A-D converter. Dust build-ups were removed from tape machine heads after the completion of each title. Artifacts such as electrical clicks, microphone vocal pops, excessive sibilance and poor edits were improved upon as long as they were judged not to damage the integrity of the songs. The 24/192 transfers were done to produce an archival copy of the tapes and then those files were reduced to 24/44.1 kHz files for final mastering. De-noising technology was applied in only a few necessary spots and on a sum total of less than five of the entire 525 minutes of Beatles music. Compression was used sparingly and only on the stereo versions to preserve the sanctity of the dynamics.\r\n
      \r\n
      The digital files were cut to lacquers at Abbey Road Studios. Engineer Sean Magee cut the LPs in chronological release order. He used the original 24-bit remasters rather than the 16-bit versions that were required for CD production. It was decided to use the remasters that had not undergone "limiting", a procedure to increase the sound level.\r\n
      \r\n
      Steps to eliminate vocal distortions and inner-groove distortions were addressed using a digital workstation. The latter can affect high-middle frequencies, producing a "mushy" sound noticeable on vocals. Using what Magee has described as "surgical EQ", problem frequencies were identified and reduced in level to compensate for this.\r\n
      \r\n
      Lastly, the first batches of test pressings made from the master lacquers that had been sent to two pressing plants were judged. Records with any noise or click appearing on more than one test pressing in the same place were rejected, on the grounds that undesired sound had been introduced either during the cutting or pressing stage.\r\n
      \r\n
      For producer Rick Rubin, The Beatles' recorded achievements are akin to a miracle. The most popular bands in the world today typically produce an album every four years, Rubin told a 2009 radio audience. That's two albums as an eight-year cycle. "And think of the growth or change between those two albums. The idea that The Beatles made thirteen albums in seven years and went through that arc of change... it can't be done. Truthfully, I think of it as proof of God, because it's beyond man's ability".
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1918 …}
    -musicienOrchestre: "John Lennon (rhythm & acoustic guitar, harmonica, handclaps, lead & backing vocals), Paul McCartney (bass & acoustic guitar, piano, handclaps, lead & backing vocals)..."
    -sonMusic: App\Enum\SonMusicEnum {#1167 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1171 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1173 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=-Igp2nllWoM&list=RD-Igp2nllWoM&start_radio=1"
    -referenceProduit: "EMI Records 2416"
    -titreMorceau: [
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "1. I Saw Her Standing There"
        "ordre" => 1
      ]
      [
        "nom" => "2. Misery"
        "ordre" => 2
      ]
      [
        "nom" => "3. Anna (Go To Him)"
        "ordre" => 3
      ]
      [
        "nom" => "4. Chains"
        "ordre" => 4
      ]
      [
        "nom" => "5. Boys"
        "ordre" => 5
      ]
      [
        "nom" => "6. Ask Me Why"
        "ordre" => 6
      ]
      [
        "nom" => "7. Please Please Me"
        "ordre" => 7
      ]
      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
      [
        "nom" => "1. Love Me Do"
        "ordre" => 9
      ]
      [
        "nom" => "2. P.S. I Love You"
        "ordre" => 10
      ]
      [
        "nom" => "3. Baby It's You"
        "ordre" => 11
      ]
      [
        "nom" => "4. Do You Want To Know A Secret"
        "ordre" => 12
      ]
      [
        "nom" => "5. A Taste Of Honey"
        "ordre" => 13
      ]
      [
        "nom" => "6. There's A Place"
        "ordre" => 14
      ]
      [
        "nom" => "7. Twist And Shout"
        "ordre" => 15
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2231 …}
    -label: Proxies\__CG__\App\Entity\Label {#2234 …}
    -style: App\Entity\Style {#1506 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2269 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2262 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2264 …}
    -enregistreLe: DateTime @1464852787 {#2258
      date: 2016-06-02 07:33:07.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1763371047 {#2259
      date: 2025-11-17 09:17:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1099 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2266 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-please-please-me-emi-records-2416"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3964
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2461 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3965 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#4013 …}
  +isValidated: false
  +validatedFields: []
}