Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2548
  -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 {#2395 …}
}

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

App\Twig\Components\ListePanier {#2625
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2628 …}
  -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 {#2627 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +listePanier: null
  +listeModal: true
  +paysForme: null
  +paysSelectionne: null
  +selectedPays: null
  +fraisLivraison: 17.5
  +montantTotal: 35.0
  +tempsLivraison: 0
  +quantite: 0
  +categorieProduitEnum: [
    "VINYLES" => "Vinyles"
    "MATERIEL_HIFI" => "Matériel HiFi"
    "ACCESSOIRES" => "Accessoires"
    "MASTER_TAPES" => "Master Tapes"
  ]
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2395 …}
  -formView: Symfony\Component\Form\FormView {#2664 …}
  -form: Symfony\Component\Form\Form {#2814 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1841
    -id: 1089
    -nom: "Jerry Garcia & David Grisman"
    -informationComplementaire: null
    -description: """
      Garcia and Grisman Put on Virtuosic Performance, Make Way Through Pop Standards, Blues Classics, Folk Staples, Bluegrass Jaunts, and More !\r\n
      \r\n
      Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analog form. You will never hear a better-sounding Americana-styled recording.\r\n
      \r\n
      Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist / fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.\r\n
      \r\n
      Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" complete with a section based on a Cuban fold theme is alone enough worth the price of admission to this sensational session. But there's so much more.\r\n
      \r\n
      The quartet delves into Celtic themes "Two Soldiers", jazz-grass "Grateful Dawg", old-world ballads "Russian Lullaby", and Appalachian flavors "Walkin' Boss" with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jerry Garcia (guitar, vocals), David Grisman (mandolin), Jim Kerwin (bass), Joe Craven, percussion (fiddle)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=JWzwTm2NfIE"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-430"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. The Thrill Is Gone"
      ]
      [
        "ordre" => 2
        "nom" => "2. Grateful Dawg"
      ]
      [
        "ordre" => 3
        "nom" => "3. Two Soldiers"
      ]
      [
        "ordre" => 4
        "nom" => "Side B :"
      ]
      [
        "ordre" => 5
        "nom" => "1. Friend of the Devil"
      ]
      [
        "ordre" => 6
        "nom" => "2. Russian Lullaby"
      ]
      [
        "ordre" => 7
        "nom" => "3. Dawg’s Waltz "
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. Walkin’ Boss"
      ]
      [
        "ordre" => 10
        "nom" => "2. Rockin’ Chair"
      ]
      [
        "ordre" => 11
        "nom" => "Side D :"
      ]
      [
        "ordre" => 12
        "nom" => "1. Arabia"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1461 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1480676443 {#1896
      date: 2016-12-02 11:00:43.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769540212 {#1889
      date: 2026-01-27 18:56:52.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-jerry-garcia-david-grisman-mobile-fidelity-sound-lab-mfsl-2-430"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3089
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#1841
    -id: 1089
    -nom: "Jerry Garcia & David Grisman"
    -informationComplementaire: null
    -description: """
      Garcia and Grisman Put on Virtuosic Performance, Make Way Through Pop Standards, Blues Classics, Folk Staples, Bluegrass Jaunts, and More !\r\n
      \r\n
      Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analog form. You will never hear a better-sounding Americana-styled recording.\r\n
      \r\n
      Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist / fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.\r\n
      \r\n
      Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" complete with a section based on a Cuban fold theme is alone enough worth the price of admission to this sensational session. But there's so much more.\r\n
      \r\n
      The quartet delves into Celtic themes "Two Soldiers", jazz-grass "Grateful Dawg", old-world ballads "Russian Lullaby", and Appalachian flavors "Walkin' Boss" with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jerry Garcia (guitar, vocals), David Grisman (mandolin), Jim Kerwin (bass), Joe Craven, percussion (fiddle)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=JWzwTm2NfIE"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-430"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. The Thrill Is Gone"
      ]
      [
        "ordre" => 2
        "nom" => "2. Grateful Dawg"
      ]
      [
        "ordre" => 3
        "nom" => "3. Two Soldiers"
      ]
      [
        "ordre" => 4
        "nom" => "Side B :"
      ]
      [
        "ordre" => 5
        "nom" => "1. Friend of the Devil"
      ]
      [
        "ordre" => 6
        "nom" => "2. Russian Lullaby"
      ]
      [
        "ordre" => 7
        "nom" => "3. Dawg’s Waltz "
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. Walkin’ Boss"
      ]
      [
        "ordre" => 10
        "nom" => "2. Rockin’ Chair"
      ]
      [
        "ordre" => 11
        "nom" => "Side D :"
      ]
      [
        "ordre" => 12
        "nom" => "1. Arabia"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1917 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1461 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2018 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1920 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2006 …}
    -enregistreLe: DateTime @1480676443 {#1896
      date: 2016-12-02 11:00:43.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769540212 {#1889
      date: 2026-01-27 18:56:52.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2012 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-jerry-garcia-david-grisman-mobile-fidelity-sound-lab-mfsl-2-430"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2395 …}
}

[
  "produit" => App\Entity\Produit {#2035
    -id: 423
    -nom: "Pearl (Box Set 2 LP) 45 RPM Ultradisc One-Step"
    -informationComplementaire: null
    -description: """
      MOBILE FIDELITY SOUND LAB, IN ASSOCIATION WITH SME / LEGACY RECORDINGS, TO RELEASE 50TH ANNIVERSARY EDITION OF JANIS JOPLIN PEARL AS AN ULTRADISC ONE-STEP 180 GRAM 45 RPM 2 LP BOX SET !\r\n
      \r\n
      MASTERED FROM THE ORIGINAL MASTER TAPES WITH MOBILE FIDELITY'S ONE-STEP PROCESS, PRESSED AT RTI ON MOFI SUPERVINYL FOR DEFINITIVE SOUND QUALITY, AND PACKAGED WITH FOIL-STAMPED JACKETS !\r\n
      \r\n
      1971 ALBUM SHOWCASES SINGER AT HER PEAK : CHART-TOPPING RECORD INCLUDES HITS "ME AND BOBBY MCGEE", "MERCEDES BENZ", AND "GET IT WHILE YOU CAN" !\r\n
      \r\n
      - This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head !\r\n
      - Mobile Fidelity UD1S, UltraDisc SuperVinyl, 180 Gram Virgin Viny !\r\n
      - AAA 100 % Analogue - Ultradisc One Step Pressing UD1S ! \r\n
      - Half Speed Mastered by Kreig Wunderlich from the Original MasterTape at MFSL !\r\n
      - Numbered Limited Edition 45 RPM !\r\n
      \r\n
      Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer who knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Commemorating Pearl's 50th anniversary in collaboration with SME / Legacy Recordings, Mobile Fidelity's UltraDisc One-Step 180 Gram 45 RPM 2 LP box set presents the iconic album like never before.\r\n
      \r\n
      About Mobile Fidelity Sound Lab and UltraDisc One-Step \r\n
      \r\n
      Mobile Fidelity Sound Lab has been the undisputed leader in audiophile recordings since its inception in 1977. Using only the original master tapes as source material, the company offers faithfully reproduced high-fidelity recordings that bring the listener closer to the absolute truth and emotion of the original performances of the finest albums ever made. Experienced on LP or SACD, Mobile Fidelity software unveils all the detailed information on original master recordings without causing deterioration or adding coloration and other sonic artifacts. Instead of utilizing the industry-standard three-step lacquer process, the label's UltraDisc One-Step (UD1S) technique uses only one step, bypassing two processes of generational loss. The result: Immaculate replicas of the lacquer sourced directly from the original master tape and the greatest-sounding analog reissues available today.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Musiciens/Orchrestre : Janis Joplin (acoustic guitar, vocals), Brad Campbell (bass), John Till (guitar), Ken Pearson (organ), Richard Bell (piano), Bobbie Hall (congas, Bongos), Sandra Crouch (tambourine), Clark Pierson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=lXBn6H2KIZc"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S 013"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Move Over"
      ]
      [
        "ordre" => 2
        "nom" => "2. Cry Baby"
      ]
      [
        "ordre" => 3
        "nom" => "Side B :"
      ]
      [
        "ordre" => 4
        "nom" => "1. A Woman Left Lonely"
      ]
      [
        "ordre" => 5
        "nom" => "2. Half Moon"
      ]
      [
        "ordre" => 6
        "nom" => "3. Buried Alive In the Blues"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. My Baby"
      ]
      [
        "ordre" => 9
        "nom" => "2. Me and Bobby McGee"
      ]
      [
        "ordre" => 10
        "nom" => "Side D :"
      ]
      [
        "ordre" => 11
        "nom" => "1. Mercedes Benz"
      ]
      [
        "ordre" => 12
        "nom" => "2. Trust Me"
      ]
      [
        "ordre" => 13
        "nom" => "3. Get It While You Can"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2046 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2039 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2041 …}
    -enregistreLe: DateTime @1298399351 {#2032
      date: 2011-02-22 18:29:11.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769534162 {#2033
      date: 2026-01-27 17:16:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2043 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pearl-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-ud1s-013"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3203
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2035
    -id: 423
    -nom: "Pearl (Box Set 2 LP) 45 RPM Ultradisc One-Step"
    -informationComplementaire: null
    -description: """
      MOBILE FIDELITY SOUND LAB, IN ASSOCIATION WITH SME / LEGACY RECORDINGS, TO RELEASE 50TH ANNIVERSARY EDITION OF JANIS JOPLIN PEARL AS AN ULTRADISC ONE-STEP 180 GRAM 45 RPM 2 LP BOX SET !\r\n
      \r\n
      MASTERED FROM THE ORIGINAL MASTER TAPES WITH MOBILE FIDELITY'S ONE-STEP PROCESS, PRESSED AT RTI ON MOFI SUPERVINYL FOR DEFINITIVE SOUND QUALITY, AND PACKAGED WITH FOIL-STAMPED JACKETS !\r\n
      \r\n
      1971 ALBUM SHOWCASES SINGER AT HER PEAK : CHART-TOPPING RECORD INCLUDES HITS "ME AND BOBBY MCGEE", "MERCEDES BENZ", AND "GET IT WHILE YOU CAN" !\r\n
      \r\n
      - This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head !\r\n
      - Mobile Fidelity UD1S, UltraDisc SuperVinyl, 180 Gram Virgin Viny !\r\n
      - AAA 100 % Analogue - Ultradisc One Step Pressing UD1S ! \r\n
      - Half Speed Mastered by Kreig Wunderlich from the Original MasterTape at MFSL !\r\n
      - Numbered Limited Edition 45 RPM !\r\n
      \r\n
      Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer who knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Commemorating Pearl's 50th anniversary in collaboration with SME / Legacy Recordings, Mobile Fidelity's UltraDisc One-Step 180 Gram 45 RPM 2 LP box set presents the iconic album like never before.\r\n
      \r\n
      About Mobile Fidelity Sound Lab and UltraDisc One-Step \r\n
      \r\n
      Mobile Fidelity Sound Lab has been the undisputed leader in audiophile recordings since its inception in 1977. Using only the original master tapes as source material, the company offers faithfully reproduced high-fidelity recordings that bring the listener closer to the absolute truth and emotion of the original performances of the finest albums ever made. Experienced on LP or SACD, Mobile Fidelity software unveils all the detailed information on original master recordings without causing deterioration or adding coloration and other sonic artifacts. Instead of utilizing the industry-standard three-step lacquer process, the label's UltraDisc One-Step (UD1S) technique uses only one step, bypassing two processes of generational loss. The result: Immaculate replicas of the lacquer sourced directly from the original master tape and the greatest-sounding analog reissues available today.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Musiciens/Orchrestre : Janis Joplin (acoustic guitar, vocals), Brad Campbell (bass), John Till (guitar), Ken Pearson (organ), Richard Bell (piano), Bobbie Hall (congas, Bongos), Sandra Crouch (tambourine), Clark Pierson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=lXBn6H2KIZc"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S 013"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Move Over"
      ]
      [
        "ordre" => 2
        "nom" => "2. Cry Baby"
      ]
      [
        "ordre" => 3
        "nom" => "Side B :"
      ]
      [
        "ordre" => 4
        "nom" => "1. A Woman Left Lonely"
      ]
      [
        "ordre" => 5
        "nom" => "2. Half Moon"
      ]
      [
        "ordre" => 6
        "nom" => "3. Buried Alive In the Blues"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. My Baby"
      ]
      [
        "ordre" => 9
        "nom" => "2. Me and Bobby McGee"
      ]
      [
        "ordre" => 10
        "nom" => "Side D :"
      ]
      [
        "ordre" => 11
        "nom" => "1. Mercedes Benz"
      ]
      [
        "ordre" => 12
        "nom" => "2. Trust Me"
      ]
      [
        "ordre" => 13
        "nom" => "3. Get It While You Can"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
    -label: App\Entity\Label {#1063 …}
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    -photoProduit: Doctrine\ORM\PersistentCollection {#2046 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2039 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2041 …}
    -enregistreLe: DateTime @1298399351 {#2032
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    }
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    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-pearl-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-ud1s-013"
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[
  "produit" => App\Entity\Produit {#2053
    -id: 863
    -nom: "Pearl"
    -informationComplementaire: "Réédition"
    -description: """
      Joplin Displays Balance of Impeccable Timing, Devastating Vulnerability, and Raw Emotion : Full Tilt Boogie Band, Producer Paul Rothchild Complete Album Steeped in Soul and Loaded With Spirit !\r\n
      \r\n
      Janis Joplin at her peak : Chart-topping Pearl includes hits 'Me and Bobby McGee', 'Mercedes Benz', and 'Get It While You Can'.\r\n
      \r\n
      Mastered from the original master tapes: Mobile Fidelity reissues are definitive-sounding versions of masterpiece Ranked N° 135 on Rolling Stone's 500 Greatest Albums of All Time.\r\n
      \r\n
      Joplin displays impeccable timing, devastating vulnerability, and raw emotion : 1971 album steeped in soul, shaded toward country, and loaded with spirit.\r\n
      \r\n
      Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Mobile Fidelity's hybrid SACD presents the lasting artwork like never before.\r\n
      \r\n
      Mastered from the original master tapes, the iconic audiophile label's 2LP 45 RPM edition takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this sterling reissue reveals increased spaciousness, dynamics, and openness. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic", and her spirit comes to life on this 2 LP set in positively transcendent fashion.\r\n
      \r\n
      While Joplin's electrifying vocal prowess is universally lauded - she's recognized as the greatest white female blues singer the world has ever seen - her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain - the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby", underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment - yet Joplin also reveals a sense of humor and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.\r\n
      \r\n
      Playfully introduced as "a song of great social and political import", the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanor and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Janis Joplin (acoustic guitar, vocals), Brad Campbell (bass), John Till (guitar), Ken Pearson (organ), Richard Bell (piano), Bobbie Hall (congas, Bongos), Sandra Crouch (tambourine), Clark Pierson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=J3LSCMhUDTY"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-454"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Move Over"
      ]
      [
        "ordre" => 2
        "nom" => "2. Cry Baby"
      ]
      [
        "ordre" => 3
        "nom" => "Side B :"
      ]
      [
        "ordre" => 4
        "nom" => "1. A Woman Left Lonely"
      ]
      [
        "ordre" => 5
        "nom" => "2. Half Moon"
      ]
      [
        "ordre" => 6
        "nom" => "3. Buried Alive In the Blues"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. My Baby"
      ]
      [
        "ordre" => 9
        "nom" => "2. Me and Bobby McGee"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Mercedes Benz"
      ]
      [
        "ordre" => 12
        "nom" => "2. Trust Me"
      ]
      [
        "ordre" => 13
        "nom" => "3. Get It While You Can"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2061 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2054 …}
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    }
    -modifierLe: DateTime @1769533789 {#2048
      date: 2026-01-27 17:09:49.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2058 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pearl-mobile-fidelity-sound-lab-mfsl-2-454"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3256
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2053
    -id: 863
    -nom: "Pearl"
    -informationComplementaire: "Réédition"
    -description: """
      Joplin Displays Balance of Impeccable Timing, Devastating Vulnerability, and Raw Emotion : Full Tilt Boogie Band, Producer Paul Rothchild Complete Album Steeped in Soul and Loaded With Spirit !\r\n
      \r\n
      Janis Joplin at her peak : Chart-topping Pearl includes hits 'Me and Bobby McGee', 'Mercedes Benz', and 'Get It While You Can'.\r\n
      \r\n
      Mastered from the original master tapes: Mobile Fidelity reissues are definitive-sounding versions of masterpiece Ranked N° 135 on Rolling Stone's 500 Greatest Albums of All Time.\r\n
      \r\n
      Joplin displays impeccable timing, devastating vulnerability, and raw emotion : 1971 album steeped in soul, shaded toward country, and loaded with spirit.\r\n
      \r\n
      Janis Joplin wouldn't be denied on Pearl. The powerhouse vocalist had kicked her addictions, teamed with a stupendous band, and partnered with a producer that knew how to best showcase her voice on record. She came to the sessions with an armload of astonishing songs, and a burst of creative energy that mirrored her rejuvenated emotional state and undeniable spirit. You can hear it on every note of the 1971 record. Ranked #135 on Rolling Stone's 500 Greatest Albums of All Time list, Pearl sold more than four million copies and stands as the first female rock superstar's definitive studio work. Mobile Fidelity's hybrid SACD presents the lasting artwork like never before.\r\n
      \r\n
      Mastered from the original master tapes, the iconic audiophile label's 2LP 45 RPM edition takes Joplin and Co.'s stupendous performances to newly transcendent levels. Boasting a fidelity that further magnifies the singer's passion and producer Paul A. Rothchild's clear production, this sterling reissue reveals increased spaciousness, dynamics, and openness. Joplin's husky, strong, and penetrating singing has never sounded so vibrant or made deeper connections. Warm, organic, and free of any artificial ceilings, this version lets you step into Sunset Sound Recorders with the performers, such is the degree of realism and authenticity. Indeed, few, if any words, describe Joplin better than "authentic", and her spirit comes to life on this 2 LP set in positively transcendent fashion.\r\n
      \r\n
      While Joplin's electrifying vocal prowess is universally lauded - she's recognized as the greatest white female blues singer the world has ever seen - her mix of compassion, confidence, and charm play as large a role in attracting listeners and keeping them ensnared more than four decades after her tragic death. And on Pearl, she burrows into deeper stylistic veins, teasing out sides of her persona and craft she'd never previously displayed. Her signature desperation, sadness, and vulnerability remain - the harrowing, lonely wail that begins her soul-ravishing take on Jerry Ragovoy's "Cry Baby", underlined with a Wall of Sound-like piano accompaniment, could only come from a person severely scarred by loss and disappointment - yet Joplin also reveals a sense of humor and beatnik innocence that helped propel the album to the top of the charts for nine straight weeks.\r\n
      \r\n
      Playfully introduced as "a song of great social and political import", the acapella "Mercedes Benz" reflects Joplin's throaty timbre as well as her enhanced, sunnier mood. Similarly, her definitive read of Kris Kristofferson's "Me and Bobby McGee" signals a laidback demeanor and a move into country strains, with the delivery as natural, carefree, and loving as any in the rock canon. As she does throughout the record, Joplin invests her all in the narrative so that there's no line between the performer and the song. She makes everything on Pearl feel autobiographical, and by extension, gut-wrenchingly honest, and devastatingly intimate. Joplin achieved these feats often during her brief career, yet there are differences on Pearl, chiefly among them her balance of impeccable timing and raw emotion. Heart-aching anthems such as "A Woman Left Lonely" offer both grit and control, subtlety and attack, resulting in cathartic releases distinguished with originality, personality, and instinctual passion.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Janis Joplin (acoustic guitar, vocals), Brad Campbell (bass), John Till (guitar), Ken Pearson (organ), Richard Bell (piano), Bobbie Hall (congas, Bongos), Sandra Crouch (tambourine), Clark Pierson (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=J3LSCMhUDTY"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-454"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Move Over"
      ]
      [
        "ordre" => 2
        "nom" => "2. Cry Baby"
      ]
      [
        "ordre" => 3
        "nom" => "Side B :"
      ]
      [
        "ordre" => 4
        "nom" => "1. A Woman Left Lonely"
      ]
      [
        "ordre" => 5
        "nom" => "2. Half Moon"
      ]
      [
        "ordre" => 6
        "nom" => "3. Buried Alive In the Blues"
      ]
      [
        "ordre" => 7
        "nom" => "Side C :"
      ]
      [
        "ordre" => 8
        "nom" => "1. My Baby"
      ]
      [
        "ordre" => 9
        "nom" => "2. Me and Bobby McGee"
      ]
      [
        "ordre" => 10
        "nom" => "Side D : "
      ]
      [
        "ordre" => 11
        "nom" => "1. Mercedes Benz"
      ]
      [
        "ordre" => 12
        "nom" => "2. Trust Me"
      ]
      [
        "ordre" => 13
        "nom" => "3. Get It While You Can"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2037 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2061 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2054 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2056 …}
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    }
    -modifierLe: DateTime @1769533789 {#2048
      date: 2026-01-27 17:09:49.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2058 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pearl-mobile-fidelity-sound-lab-mfsl-2-454"
  }
  +optionPrix: null
  +quantite: 1
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2395 …}
}

[
  "produit" => App\Entity\Produit {#2066
    -id: 2188
    -nom: "Greatest Hits - (Box Set 2 LP) 45 RPM - UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      James Taylor (acoustic & electric guitars, vocals), Danny Kortchmar (electric guitar), Leland Sklar (bass guitar), Craig Doerge (keyboards, piano, electric piano), David Crosby, Graham Nash, Carly Simon (background vocals), Red Rhodes (pedal steel guitar), Michael Brecker (saxophone), Clarence McDonald (keyboards), Victor Feldman (percussion), Russ Kunkel, (drums, percussion).\r\n
      \r\n
      THE DISTILLATION OF EVERYTHING THAT MAKES JAMES TAYLOR SPECIAL IS MADE EVEN BETTER !\r\n
      \r\n
      One of the most commercially successful compilations ever released, James Taylor's Diamond-certified Greatest Hits encapsulates the quintessential characteristics refined acoustic guitar playing, mannered melodies, insightful lyrics, comforting singing – and includes the familiar, honest, emotion-rich songs that made the singer-songwriter an icon. Experience it all with unparalleled detail and intimacy on Mobile Fidelity's limited and numbered UltraDisc One-Step 180 gram 45 RPM (2 LP) box set, mastered from the original master tapes and pressed on MoFi SuperVinyl.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "James Taylor (acoustic & electric guitars, vocals), Danny Kortchmar (electric guitar), Leland Sklar (bass guitar), Craig Doerge (keyboards, piano, electric piano)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=fa8KzA8BYjI"
    -referenceProduit: "Mobile Fidelity Sound Lab UDS1S-031"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Something in the Way She Moves \t"
      ]
      [
        "ordre" => 2
        "nom" => "2. Carolina in My Mind \t"
      ]
      [
        "ordre" => 3
        "nom" => "3. Fire and Rain \t"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Sweet Baby James \t"
      ]
      [
        "ordre" => 6
        "nom" => "2. Country Road \t"
      ]
      [
        "ordre" => 7
        "nom" => "3. You've Got a Friend "
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. Don't Let Me Be Lonely Tonight \t"
      ]
      [
        "ordre" => 10
        "nom" => "2. Walking Man \t"
      ]
      [
        "ordre" => 11
        "nom" => "3. How Sweet It Is (To Be Loved By You) \t"
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Mexico \t"
      ]
      [
        "ordre" => 14
        "nom" => "2. Shower the People \t"
      ]
      [
        "ordre" => 15
        "nom" => "3. Steamroller "
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2068 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2077 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2070 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2072 …}
    -enregistreLe: DateTime @1641114888 {#2063
      date: 2022-01-02 09:14:48.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769532989 {#2064
      date: 2026-01-27 16:56:29.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2074 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-greatest-hits-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-uds1s-031"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3302
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2066
    -id: 2188
    -nom: "Greatest Hits - (Box Set 2 LP) 45 RPM - UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      James Taylor (acoustic & electric guitars, vocals), Danny Kortchmar (electric guitar), Leland Sklar (bass guitar), Craig Doerge (keyboards, piano, electric piano), David Crosby, Graham Nash, Carly Simon (background vocals), Red Rhodes (pedal steel guitar), Michael Brecker (saxophone), Clarence McDonald (keyboards), Victor Feldman (percussion), Russ Kunkel, (drums, percussion).\r\n
      \r\n
      THE DISTILLATION OF EVERYTHING THAT MAKES JAMES TAYLOR SPECIAL IS MADE EVEN BETTER !\r\n
      \r\n
      One of the most commercially successful compilations ever released, James Taylor's Diamond-certified Greatest Hits encapsulates the quintessential characteristics refined acoustic guitar playing, mannered melodies, insightful lyrics, comforting singing – and includes the familiar, honest, emotion-rich songs that made the singer-songwriter an icon. Experience it all with unparalleled detail and intimacy on Mobile Fidelity's limited and numbered UltraDisc One-Step 180 gram 45 RPM (2 LP) box set, mastered from the original master tapes and pressed on MoFi SuperVinyl.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
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      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "James Taylor (acoustic & electric guitars, vocals), Danny Kortchmar (electric guitar), Leland Sklar (bass guitar), Craig Doerge (keyboards, piano, electric piano)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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      [
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        "nom" => "3. Steamroller "
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2068 …}
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[
  "produit" => App\Entity\Produit {#2082
    -id: 2743
    -nom: ""Sex Machine" (2 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      James Brown (vocals), 'Sweet' Charles Sherrell, Bootsy Collins (bass), Johnny Griggs (congas), Catfish Collins, Jimmy Nolen (guitar), Bobby Byrd (organ), St-Clair Pinckney (baritone saxophone), Eldee Williams, Maceo Parker, Robert Chopper McCollough   (tenor saxophone), Fred Wesley (trombone), Clayton Gunnells, Darryl Hassan Jamison, Joseph Davis, Richard Griffith (trumpet), Clyde Stubblefield, John Jabo Starks, Melvin Parker (drums).\r\n
      \r\n
      - Monster 1970 Double Album Presented in Audiophile Sound for the First Time : Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM (2 LP) Set Plays with Explosive Dynamics and Vibrant Immediacy !\r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really ?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 33 RPM (2 LP) set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy : Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.\r\n
      \r\n
      Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.\r\n
      \r\n
      Just how lifelike does this reissue sound ? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes : “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history”.\r\n
      \r\n
      Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn”, the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.\r\n
      \r\n
      As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.\r\n
      \r\n
      Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group as well as two different drummers laid down a nearly 11 minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered”, “I Got the Feeling”, and “Give It Up or Turnit a Loose”. A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn”, each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.\r\n
      \r\n
      Complicated ? Somewhat. Unusual ? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.\r\n
      \r\n
      “Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II)”, one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose”, which provides jolts on the order of sticking your finger into a socket.\r\n
      \r\n
      Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World”.\r\n
      \r\n
      And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn”. Mercy.\r\n
      \r\n
      Ain’t it funky ? Sure ‘nuff.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "James Brown (vocals), 'Sweet' Charles Sherrell, Bootsy Collins (bass), Johnny Griggs (congas), Catfish Collins, Jimmy Nolen (guitar), Bobby Byrd (organ), St-Clair Pinckney (baritone saxophone)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -setBoxMusic: false
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=JOD-M7WZkZQ&list=RDJOD-M7WZkZQ&start_radio=1"
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      ]
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      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2084 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1464 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3353
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2082
    -id: 2743
    -nom: ""Sex Machine" (2 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      James Brown (vocals), 'Sweet' Charles Sherrell, Bootsy Collins (bass), Johnny Griggs (congas), Catfish Collins, Jimmy Nolen (guitar), Bobby Byrd (organ), St-Clair Pinckney (baritone saxophone), Eldee Williams, Maceo Parker, Robert Chopper McCollough   (tenor saxophone), Fred Wesley (trombone), Clayton Gunnells, Darryl Hassan Jamison, Joseph Davis, Richard Griffith (trumpet), Clyde Stubblefield, John Jabo Starks, Melvin Parker (drums).\r\n
      \r\n
      - Monster 1970 Double Album Presented in Audiophile Sound for the First Time : Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM (2 LP) Set Plays with Explosive Dynamics and Vibrant Immediacy !\r\n
      - 1/4" / 15 IPS analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really ?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.\r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180 gram 33 RPM (2 LP) set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy : Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.\r\n
      \r\n
      Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.\r\n
      \r\n
      Just how lifelike does this reissue sound ? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes : “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history”.\r\n
      \r\n
      Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn”, the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.\r\n
      \r\n
      As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.\r\n
      \r\n
      Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group as well as two different drummers laid down a nearly 11 minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered”, “I Got the Feeling”, and “Give It Up or Turnit a Loose”. A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn”, each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.\r\n
      \r\n
      Complicated ? Somewhat. Unusual ? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.\r\n
      \r\n
      “Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II)”, one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose”, which provides jolts on the order of sticking your finger into a socket.\r\n
      \r\n
      Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World”.\r\n
      \r\n
      And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn”. Mercy.\r\n
      \r\n
      Ain’t it funky ? Sure ‘nuff.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "James Brown (vocals), 'Sweet' Charles Sherrell, Bootsy Collins (bass), Johnny Griggs (congas), Catfish Collins, Jimmy Nolen (guitar), Bobby Byrd (organ), St-Clair Pinckney (baritone saxophone)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -disponible: null
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[
  "produit" => App\Entity\Produit {#2098
    -id: 2195
    -nom: "Folk Singer - (Box Set 2 LP) 45 RPM - UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES AND LIMITED TO 10000 NUMBERED COPIES !\r\n
      \r\n
      Muddy Waters' Folk Singer remains rightly revered as the greatest-sounding blues album ever released and, to date, one of the only bonafide audiophile records in the genre. Originally issued in 1964 by Chess Records, the all-acoustic work has made the rounds as a demonstration disc and benefitted from myriad reissues, all of which sought to improve upon Willie Dixon and Ralph Bass' legendary, subtlety-abundant production while bringing the musicians into your room. More than five decades after Waters, Buddy Guy, and company initially gathered in a Chicago studio in September 1963, those feats (and more) are finally accomplished in definitive, unsurpassed fashion courtesy of Mobile Fidelity.\r\n
      \r\n
      Limited to 10000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM (2 LP) collector's edition pays tribute to the album's merit and enhances the intimate program for generations to come. Playing with reference-setting sonics that more than justify its existence in a field filled with prior audiophile reissues of Folk Singer, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a set that inspired Rolling Stone to deem it the 282nd Greatest Album of All Time and proclaim it "a pioneering 'unplugged' set beloved by blues and folk fans alike".\r\n
      \r\n
      The premium packaging and beautiful presentation of the UD1S Folk Singer pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the iconic photos to the gorgeous finishes.\r\n
      \r\n
      Such potency reveals itself explicitly on a vinyl set afforded uncanny reproduction of Waters' tobacco-stained singing, booming reach, robust acoustic guitar, and instrumental accompanists a Hall of Fame group that comprises a very young Guy, stand-up bassist Dixon, and drummer Francis Clay. Accurately portraying the scale of a human voice remains one of the most difficult tasks to accomplish on a recording. And yet the timbre, richness, and realism of Waters' singing here convey the authority of its inner cavity and considerable depth, allowing notes to individually register all the while pairing with succeeding rhythmic passages in seamless fashion. The presence, feel, and contributions of Waters' esteemed colleagues register, too, with the lifelike nature rivaled only by sitting in a small venue. Indeed, few albums of any style resonate with the reference levels of spaciousness, openness, and "room as an instrument" qualities to the extent of Folk Singer.\r\n
      \r\n
      Because of the production's unassailable reputation, ironically, the actual performances on Folk Singer often get short-changed or overlooked. That's a mistake. While much ado about the record's folk-like character and allegedly new direction surrounded the release, Waters' fourth proper album is nothing but the blues and a direct extension back to his Delta lineage and non-amplified roots. Sincere, emotional, direct, spontaneous, and interpretive, Waters and his mates follow a soulful path, completely skirting any notion of prescribed commercialism or pigeonholed definition. Folk Singer echoes with flexibility, liberty, and the artists' own unsullied visions. It could have happened on a Maxwell Street corner on the streets of Chicago.\r\n
      \r\n
      Or, as Mr. Bass writes in the original liner notes : "Muddy's rich vibrant tones, sometimes pleading, sometimes whispering, occasionally shouting and chanting, tells [sic] us the story of a blues singer or for lack of a better word a folk singer who can't tell you his story the same way more than once, whose interpretation changes as his mood and nostalgia serves him as on that one memorable day I asked Muddy to sing 'The Blues.'" Memorable storytelling, both in the narrative and instrumental form, dominates Folk Singer, from the autobiographical "My Home Is in the Delta" to a cover of the Sonny Boy Williamson staple "Good Morning Little School" to the solo "Feel Like Going Home".\r\n
      \r\n
      Throughout, the nine songs transmit the innate proficiency and learned knowledge of virtuosos as they slowly roll and tumble with unmitigated freedom, informal playfulness, and understated sympathy. Steeped in the ways of the country, Folk Singer registers with a magnetic power and palpable force by keeping quiet, in the process redefining what it means to be loud as well as popular notions of the blues itself. What a ride.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Muddy Waters (guitar, vocals), Buddy Guy (guitar), Willie Dixon (bass), Clifton James (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zgA9_AyhZ_c"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-023"
    -titreMorceau: [
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        "nom" => "1. My Home Is in the Delta"
      ]
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      ]
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        "nom" => "5. You Gonna Need My Help"
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      ]
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        "nom" => "7. Big Leg Woman"
      ]
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        "ordre" => 8
        "nom" => "9. Feel Like Going Home"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2100 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-folk-singer-box-set-2-lp-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-ud1s-023"
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  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
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    -id: 2195
    -nom: "Folk Singer - (Box Set 2 LP) 45 RPM - UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      MASTERED FROM THE ORIGINAL MASTER TAPES AND LIMITED TO 10000 NUMBERED COPIES !\r\n
      \r\n
      Muddy Waters' Folk Singer remains rightly revered as the greatest-sounding blues album ever released and, to date, one of the only bonafide audiophile records in the genre. Originally issued in 1964 by Chess Records, the all-acoustic work has made the rounds as a demonstration disc and benefitted from myriad reissues, all of which sought to improve upon Willie Dixon and Ralph Bass' legendary, subtlety-abundant production while bringing the musicians into your room. More than five decades after Waters, Buddy Guy, and company initially gathered in a Chicago studio in September 1963, those feats (and more) are finally accomplished in definitive, unsurpassed fashion courtesy of Mobile Fidelity.\r\n
      \r\n
      Limited to 10000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM (2 LP) collector's edition pays tribute to the album's merit and enhances the intimate program for generations to come. Playing with reference-setting sonics that more than justify its existence in a field filled with prior audiophile reissues of Folk Singer, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a set that inspired Rolling Stone to deem it the 282nd Greatest Album of All Time and proclaim it "a pioneering 'unplugged' set beloved by blues and folk fans alike".\r\n
      \r\n
      The premium packaging and beautiful presentation of the UD1S Folk Singer pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the iconic photos to the gorgeous finishes.\r\n
      \r\n
      Such potency reveals itself explicitly on a vinyl set afforded uncanny reproduction of Waters' tobacco-stained singing, booming reach, robust acoustic guitar, and instrumental accompanists a Hall of Fame group that comprises a very young Guy, stand-up bassist Dixon, and drummer Francis Clay. Accurately portraying the scale of a human voice remains one of the most difficult tasks to accomplish on a recording. And yet the timbre, richness, and realism of Waters' singing here convey the authority of its inner cavity and considerable depth, allowing notes to individually register all the while pairing with succeeding rhythmic passages in seamless fashion. The presence, feel, and contributions of Waters' esteemed colleagues register, too, with the lifelike nature rivaled only by sitting in a small venue. Indeed, few albums of any style resonate with the reference levels of spaciousness, openness, and "room as an instrument" qualities to the extent of Folk Singer.\r\n
      \r\n
      Because of the production's unassailable reputation, ironically, the actual performances on Folk Singer often get short-changed or overlooked. That's a mistake. While much ado about the record's folk-like character and allegedly new direction surrounded the release, Waters' fourth proper album is nothing but the blues and a direct extension back to his Delta lineage and non-amplified roots. Sincere, emotional, direct, spontaneous, and interpretive, Waters and his mates follow a soulful path, completely skirting any notion of prescribed commercialism or pigeonholed definition. Folk Singer echoes with flexibility, liberty, and the artists' own unsullied visions. It could have happened on a Maxwell Street corner on the streets of Chicago.\r\n
      \r\n
      Or, as Mr. Bass writes in the original liner notes : "Muddy's rich vibrant tones, sometimes pleading, sometimes whispering, occasionally shouting and chanting, tells [sic] us the story of a blues singer or for lack of a better word a folk singer who can't tell you his story the same way more than once, whose interpretation changes as his mood and nostalgia serves him as on that one memorable day I asked Muddy to sing 'The Blues.'" Memorable storytelling, both in the narrative and instrumental form, dominates Folk Singer, from the autobiographical "My Home Is in the Delta" to a cover of the Sonny Boy Williamson staple "Good Morning Little School" to the solo "Feel Like Going Home".\r\n
      \r\n
      Throughout, the nine songs transmit the innate proficiency and learned knowledge of virtuosos as they slowly roll and tumble with unmitigated freedom, informal playfulness, and understated sympathy. Steeped in the ways of the country, Folk Singer registers with a magnetic power and palpable force by keeping quiet, in the process redefining what it means to be loud as well as popular notions of the blues itself. What a ride.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Muddy Waters (guitar, vocals), Buddy Guy (guitar), Willie Dixon (bass), Clifton James (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1132 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zgA9_AyhZ_c"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-023"
    -titreMorceau: [
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        "nom" => "5. You Gonna Need My Help"
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        "ordre" => 5
        "nom" => "6. Cold Weather Blues"
      ]
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        "nom" => "7. Big Leg Woman"
      ]
      [
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        "nom" => "8. Country Boy"
      ]
      [
        "ordre" => 8
        "nom" => "9. Feel Like Going Home"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2100 …}
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    -modifierLe: DateTime @1769356379 {#2096
      date: 2026-01-25 15:52:59.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2116
    -id: 2917
    -nom: "Verities & Balderdash"
    -informationComplementaire: "AVAILABILITY : 28/02/2026 (subject Mobile Fidelity Sound Lab)"
    -description: """
      - The 1974 Folk-Rock Album That Impacted Generations: Harry Chapin’s Verities & Balderdash Features “Cat’s in the Cradle”, Personal Narratives, and Gorgeous Arrangements !\r\n
      - Hear the Singer-Songwriter’s Most Successful Record in Audiophile Sound for the First Time on Vinyl : Mobile Fidelity’s 180 gram 33 RPM LP Is Strictly Limited to 3000 Numbered Copies !\r\n
      - ¼” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.\r\n
      \r\n
      The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record. \r\n
      \r\n
      Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous ?”, helped establish Chapin as one of the country’s most incisive and insightful commentators. \r\n
      \r\n
      Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven”, whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.\r\n
      \r\n
      Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30000 Pounds of Bananas”, a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes. \r\n
      \r\n
      Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist. \r\n
      \r\n
      Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Harry Chapin (acoustic guitar, lead vocals), John Wallace (electric & acoustic guitars), Steve Chapin (keyboards, vocals), Don Gohde –(bass guitar), Howie Fields (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=jmhoOp2fUzg&list=PLI8ijolyvFB2qiwvKZE9IqmToU2R-C-n7"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-614"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Cat’s in the Cradle"
      ]
      [
        "ordre" => 2
        "nom" => "2. I Wanna Learn a Love Song"
      ]
      [
        "ordre" => 3
        "nom" => "3. Shooting Star"
      ]
      [
        "ordre" => 4
        "nom" => "4. 30000 Pounds of Bananas"
      ]
      [
        "ordre" => 5
        "nom" => "5. She Sings Songs Without Words"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. What Made America Famous ?"
      ]
      [
        "ordre" => 8
        "nom" => "2. Vacancy"
      ]
      [
        "ordre" => 9
        "nom" => "3. Halfway to Heaven"
      ]
      [
        "ordre" => 10
        "nom" => "4. Six String Orchestra"
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2118 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1461 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2127 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2120 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2122 …}
    -enregistreLe: DateTime @1766487068 {#2112
      date: 2025-12-23 10:51:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769190353 {#2111
      date: 2026-01-23 17:45:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2124 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-verities-balderdash-mobile-fidelity-sound-lab-mfsl-1-614"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3455
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2116
    -id: 2917
    -nom: "Verities & Balderdash"
    -informationComplementaire: "AVAILABILITY : 28/02/2026 (subject Mobile Fidelity Sound Lab)"
    -description: """
      - The 1974 Folk-Rock Album That Impacted Generations: Harry Chapin’s Verities & Balderdash Features “Cat’s in the Cradle”, Personal Narratives, and Gorgeous Arrangements !\r\n
      - Hear the Singer-Songwriter’s Most Successful Record in Audiophile Sound for the First Time on Vinyl : Mobile Fidelity’s 180 gram 33 RPM LP Is Strictly Limited to 3000 Numbered Copies !\r\n
      - ¼” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work. \r\n
      \r\n
      Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.\r\n
      \r\n
      The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record. \r\n
      \r\n
      Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous ?”, helped establish Chapin as one of the country’s most incisive and insightful commentators. \r\n
      \r\n
      Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven”, whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.\r\n
      \r\n
      Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30000 Pounds of Bananas”, a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes. \r\n
      \r\n
      Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist. \r\n
      \r\n
      Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1822 …}
    -musicienOrchestre: "Harry Chapin (acoustic guitar, lead vocals), John Wallace (electric & acoustic guitars), Steve Chapin (keyboards, vocals), Don Gohde –(bass guitar), Howie Fields (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=jmhoOp2fUzg&list=PLI8ijolyvFB2qiwvKZE9IqmToU2R-C-n7"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-614"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Cat’s in the Cradle"
      ]
      [
        "ordre" => 2
        "nom" => "2. I Wanna Learn a Love Song"
      ]
      [
        "ordre" => 3
        "nom" => "3. Shooting Star"
      ]
      [
        "ordre" => 4
        "nom" => "4. 30000 Pounds of Bananas"
      ]
      [
        "ordre" => 5
        "nom" => "5. She Sings Songs Without Words"
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. What Made America Famous ?"
      ]
      [
        "ordre" => 8
        "nom" => "2. Vacancy"
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        "ordre" => 9
        "nom" => "3. Halfway to Heaven"
      ]
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        "nom" => "4. Six String Orchestra"
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2118 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1461 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2127 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2120 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2122 …}
    -enregistreLe: DateTime @1766487068 {#2112
      date: 2025-12-23 10:51:08.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769190353 {#2111
      date: 2026-01-23 17:45:53.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2124 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-verities-balderdash-mobile-fidelity-sound-lab-mfsl-1-614"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2395 …}
}

[
  "produit" => App\Entity\Produit {#2132
    -id: 2898
    -nom: "Fleetwood Mac - Box Set (2 LP) 180 gram 45 RPM UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      - Fleetwood Mac Comes into Its Own with Lindsey Buckingham and Stevie Nicks : Self-Titled Record Ranked 182nd Greatest Album of All Time by Rolling Stone, Includes “Landslide” and “Rhiannon” !\r\n
      - Hear the 1975 Blockbuster in Reference Sound : Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 7500 Numbered Copies and Features Extraordinary Definition !\r\n
      -  1/4” / 30 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      A veteran band with waning prospects, personnel churn, and management issues. A largely unknown duo whose eponymous debut flopped. An impromptu meeting in a supermarket that led to a fact-finding trip to Sound City Studios. The backstory behind Fleetwood Mac’s self-titled album is nearly as incredible as the music on the 1975 recording a blockbuster that altered pop-rock history, and found newcomers Lindsey Buckingham and Stevie Nicks permanently changing the profile and popularity of the British ensemble.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and strictly limited to 7500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of the nine-times-platinum effort plays with reference-level transparency, dynamics, and detail. Benefitting from stellar groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the California studio with arresting presence, tube-like warmth, and sumptuous tonality.\r\n
      \r\n
      Honoring the striking elements that make Fleetwood Mac a generations-spanning favorite, the industry-leading presentation of this UD1S version confirms the reissue's definitive standing. Housed in a gorgeous slipcase, it features premium foil-stamped jackets and faithful-to-the-original graphics. This keepsake is for listeners who want to immerse themselves in everything involved with the album, including the recognizable cover art positioning Mick Fleetwood and John McVie before a doorway as well as a crystal ball showing their reflection. The hand-drawn script depicting the band's name is now inextricably associated with the quintet’s “White Album” and identity.\r\n
      \r\n
      Shepherded by producer Keith Olsen, Fleetwood Mac used its studio time to cultivate and establish intra-band roles. The innate chemistry among the five musicians can be heard here in stunning clarity, the taut albeit flexible rhythms distinguished with palpable grip, the blended vocals and airy harmonies benefitting from seemingly unlimited frequency extension. The thrilling results speak to the band’s bond as well as healthy tension that led to recordings that more than five decades later remain revered for their exceptional realism, openness, textures, imaging, and soundstaging. And that says nothing about the freshness of the songs themselves.\r\n
      \r\n
      Six of those tunes were written or co-written by Buckingham or Nicks, who lent the band reeling from the departure of guitarist Bob Welch a diversity, soulfulness, and breadth it lacked in the past. Then again, the romantically involved partners weren’t exactly burning up the charts on their own. Their Buckingham Nicks LP was largely ignored upon release and found the twosome questioning their futures. But fate has a weird way of operating, and rather than recruiting another six-string blues virtuoso into the mix, Fleetwood Mac called an audible. \r\n
      \r\n
      Prompted to visit Sound City Studios after telling someone in a grocery store he needed a place to record Fleetwood Mac’s tenth album, Fleetwood heard Buckingham Nicks played back by Olsen as a demonstration of the studio’s capabilities. Unable to forget what he heard, the drummer soon invited Buckingham to join his band. Displaying his now-famous reluctance to cede any creative control, Buckingham initially hedged before accepting on one condition : He and Nicks came as a package. \r\n
      \r\n
      That agreement stands as one of the most significant career-altering moves any band ever made. Suffice it to say Nicks’ Plan B “we can always quit”, she reasoned to Buckingham stayed on the backburner. After rehearsing together for just ten days and sussing out potential roles, the new iteration of Fleetwood Mac entered Sound City in January 1975 and laid down the tracks for the showstopper Rolling Stone ranks as the 182nd Greatest Album of All Time.\r\n
      \r\n
      In many ways, Fleetwood Mac got far more than they bargained for in taking on the American duo. Buckingham and Nicks arrived loaded for bear. “Monday Morning”, “Rhiannon”, and “I’m So Afraid” had already been workshopped and penciled in for a second Buckingham-Nicks record. “Crystal” was re-purposed and re-imagined after its original inclusion of Buckingham Nicks. \r\n
      \r\n
      Nicks also brought another recently penned song to the sessions, a beautiful gem none other than “Landslide”. McVie later admitted that the quality of material triggered a competitive spirit within her and inspired her to take her own songwriting to another level. “Warm Ways”, “Say You Love Me”, and “Over My Head” underscore that determination. Ditto her collaboration with Buckingham on “World Turning”. \r\n
      \r\n
      Constituting the old Fleetwood Mac in name only, Fleetwood Mac is the sound and style of an entirely new entity, a rebirth, and a reward for perseverance and a little bit of chance fortune. Above all, however, the album which peaked at No. 1 on Billboard more than a year after its street date towers as a testament to then-novel combinations of hook-laden power pop, mystical folk, cool R&B, melodic rock ‘n’ roll and a wondrous balance of perfection and pragmatism, delicate and deliberate, mellow and maverick.\r\n
      \r\n
      Indeed, from the ocean-swept breeziness of the opening “Monday Morning” through the optimistic vibes of the building “Over My Head” to the stacked structure of the closing “I’m So Afraid”, Fleetwood Mac contains not a single dull moment or wasted note. In short order, the band would attain even greater commercial success with the subsequent Rumours. Yet the restless energy, innovative spirit, breath-of-fresh-air newness, and across-the-board fantastic performances of Fleetwood Mac would never be surpassed.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Mick Fleetwood (drums, percussion), John McVie (bass guitar), Christine McVie (keyboards, synthesizer, lead & backing vocals), Lindsey Buckingham (guitars, banjo, lead & backing vocals), Stevie Nicks (lead & backing vocals, tambourine)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=0xGPi-Al3zQ&list=RDEMLs3blA1ExxaZ9gmnDGyznw&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S2-065"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Monday Morning"
      ]
      [
        "ordre" => 2
        "nom" => "2. Warm Ways"
      ]
      [
        "ordre" => 3
        "nom" => "3. Blue Letter"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Rhiannon"
      ]
      [
        "ordre" => 6
        "nom" => "2. Over My Head"
      ]
      [
        "ordre" => 7
        "nom" => "3. Crystal"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. Say You Love Me"
      ]
      [
        "ordre" => 10
        "nom" => "2. Landslide"
      ]
      [
        "ordre" => 11
        "nom" => "3. World Turning"
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
        "nom" => "1. Sugar Daddy"
      ]
      [
        "ordre" => 14
        "nom" => "2. I’m So Afraid"
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
      [
        "ordre" => 16
        "nom" => ""
      ]
      [
        "ordre" => 17
        "nom" => ""
      ]
      [
        "ordre" => 18
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2134 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2143 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2136 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2138 …}
    -enregistreLe: DateTime @1762196150 {#2129
      date: 2025-11-03 18:55:50.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769190182 {#2130
      date: 2026-01-23 17:43:02.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2140 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-fleetwood-mac-box-set-2-lp-180-gram-45-rpm-ultradisc-one-step-mobile-fidelity-sound-lab-mfsl-45ud1s2-065"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3506
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2132
    -id: 2898
    -nom: "Fleetwood Mac - Box Set (2 LP) 180 gram 45 RPM UltraDisc One-Step"
    -informationComplementaire: null
    -description: """
      - Fleetwood Mac Comes into Its Own with Lindsey Buckingham and Stevie Nicks : Self-Titled Record Ranked 182nd Greatest Album of All Time by Rolling Stone, Includes “Landslide” and “Rhiannon” !\r\n
      - Hear the 1975 Blockbuster in Reference Sound : Mobile Fidelity’s UltraDisc One-Step 180 gram 45 RPM (2 LP) Box Set Is Strictly Limited to 7500 Numbered Copies and Features Extraordinary Definition !\r\n
      -  1/4” / 30 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      A veteran band with waning prospects, personnel churn, and management issues. A largely unknown duo whose eponymous debut flopped. An impromptu meeting in a supermarket that led to a fact-finding trip to Sound City Studios. The backstory behind Fleetwood Mac’s self-titled album is nearly as incredible as the music on the 1975 recording a blockbuster that altered pop-rock history, and found newcomers Lindsey Buckingham and Stevie Nicks permanently changing the profile and popularity of the British ensemble.\r\n
      \r\n
      Sourced from the original analog master tapes, pressed at Fidelity Record Pressing in California, and strictly limited to 7500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 45 RPM (2 LP) box set of the nine-times-platinum effort plays with reference-level transparency, dynamics, and detail. Benefitting from stellar groove definition, an ultra-low noise floor, and dead-quiet surfaces, this vinyl edition captures what went down in the California studio with arresting presence, tube-like warmth, and sumptuous tonality.\r\n
      \r\n
      Honoring the striking elements that make Fleetwood Mac a generations-spanning favorite, the industry-leading presentation of this UD1S version confirms the reissue's definitive standing. Housed in a gorgeous slipcase, it features premium foil-stamped jackets and faithful-to-the-original graphics. This keepsake is for listeners who want to immerse themselves in everything involved with the album, including the recognizable cover art positioning Mick Fleetwood and John McVie before a doorway as well as a crystal ball showing their reflection. The hand-drawn script depicting the band's name is now inextricably associated with the quintet’s “White Album” and identity.\r\n
      \r\n
      Shepherded by producer Keith Olsen, Fleetwood Mac used its studio time to cultivate and establish intra-band roles. The innate chemistry among the five musicians can be heard here in stunning clarity, the taut albeit flexible rhythms distinguished with palpable grip, the blended vocals and airy harmonies benefitting from seemingly unlimited frequency extension. The thrilling results speak to the band’s bond as well as healthy tension that led to recordings that more than five decades later remain revered for their exceptional realism, openness, textures, imaging, and soundstaging. And that says nothing about the freshness of the songs themselves.\r\n
      \r\n
      Six of those tunes were written or co-written by Buckingham or Nicks, who lent the band reeling from the departure of guitarist Bob Welch a diversity, soulfulness, and breadth it lacked in the past. Then again, the romantically involved partners weren’t exactly burning up the charts on their own. Their Buckingham Nicks LP was largely ignored upon release and found the twosome questioning their futures. But fate has a weird way of operating, and rather than recruiting another six-string blues virtuoso into the mix, Fleetwood Mac called an audible. \r\n
      \r\n
      Prompted to visit Sound City Studios after telling someone in a grocery store he needed a place to record Fleetwood Mac’s tenth album, Fleetwood heard Buckingham Nicks played back by Olsen as a demonstration of the studio’s capabilities. Unable to forget what he heard, the drummer soon invited Buckingham to join his band. Displaying his now-famous reluctance to cede any creative control, Buckingham initially hedged before accepting on one condition : He and Nicks came as a package. \r\n
      \r\n
      That agreement stands as one of the most significant career-altering moves any band ever made. Suffice it to say Nicks’ Plan B “we can always quit”, she reasoned to Buckingham stayed on the backburner. After rehearsing together for just ten days and sussing out potential roles, the new iteration of Fleetwood Mac entered Sound City in January 1975 and laid down the tracks for the showstopper Rolling Stone ranks as the 182nd Greatest Album of All Time.\r\n
      \r\n
      In many ways, Fleetwood Mac got far more than they bargained for in taking on the American duo. Buckingham and Nicks arrived loaded for bear. “Monday Morning”, “Rhiannon”, and “I’m So Afraid” had already been workshopped and penciled in for a second Buckingham-Nicks record. “Crystal” was re-purposed and re-imagined after its original inclusion of Buckingham Nicks. \r\n
      \r\n
      Nicks also brought another recently penned song to the sessions, a beautiful gem none other than “Landslide”. McVie later admitted that the quality of material triggered a competitive spirit within her and inspired her to take her own songwriting to another level. “Warm Ways”, “Say You Love Me”, and “Over My Head” underscore that determination. Ditto her collaboration with Buckingham on “World Turning”. \r\n
      \r\n
      Constituting the old Fleetwood Mac in name only, Fleetwood Mac is the sound and style of an entirely new entity, a rebirth, and a reward for perseverance and a little bit of chance fortune. Above all, however, the album which peaked at No. 1 on Billboard more than a year after its street date towers as a testament to then-novel combinations of hook-laden power pop, mystical folk, cool R&B, melodic rock ‘n’ roll and a wondrous balance of perfection and pragmatism, delicate and deliberate, mellow and maverick.\r\n
      \r\n
      Indeed, from the ocean-swept breeziness of the opening “Monday Morning” through the optimistic vibes of the building “Over My Head” to the stacked structure of the closing “I’m So Afraid”, Fleetwood Mac contains not a single dull moment or wasted note. In short order, the band would attain even greater commercial success with the subsequent Rumours. Yet the restless energy, innovative spirit, breath-of-fresh-air newness, and across-the-board fantastic performances of Fleetwood Mac would never be surpassed.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Mick Fleetwood (drums, percussion), John McVie (bass guitar), Christine McVie (keyboards, synthesizer, lead & backing vocals), Lindsey Buckingham (guitars, banjo, lead & backing vocals), Stevie Nicks (lead & backing vocals, tambourine)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=0xGPi-Al3zQ&list=RDEMLs3blA1ExxaZ9gmnDGyznw&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S2-065"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Monday Morning"
      ]
      [
        "ordre" => 2
        "nom" => "2. Warm Ways"
      ]
      [
        "ordre" => 3
        "nom" => "3. Blue Letter"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Rhiannon"
      ]
      [
        "ordre" => 6
        "nom" => "2. Over My Head"
      ]
      [
        "ordre" => 7
        "nom" => "3. Crystal"
      ]
      [
        "ordre" => 8
        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "1. Say You Love Me"
      ]
      [
        "ordre" => 10
        "nom" => "2. Landslide"
      ]
      [
        "ordre" => 11
        "nom" => "3. World Turning"
      ]
      [
        "ordre" => 12
        "nom" => "Side D : "
      ]
      [
        "ordre" => 13
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2134 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
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    -modifierLe: DateTime @1769190182 {#2130
      date: 2026-01-23 17:43:02.0 UTC (+00:00)
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    -disponible: null
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  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2395 …}
}

[
  "produit" => App\Entity\Produit {#2148
    -id: 2800
    -nom: "Workingman's Dead  (Numbered Limited Edition)"
    -informationComplementaire: null
    -description: """
      - Grateful Dead's Workingman's Dead on numbered, limited edition 180 gram 45 RPM LP !\r\n
      - 1/4" / 15 IPS / Dolby A analog master direct to lathe !\r\n
      - Ranked N° 264 on Rolling Stone's list of the 500 Greatest Albums of All Time !\r\n
      - Airy harmonies, simple structures, concise arrangements anchor songs !\r\n
      \r\n
      Workingman's Dead defies the erroneous belief that the Grateful Dead never attained brilliance in the recording studio. Forever prized for natural sonics, Workingman's Dead attains audiophile reference status courtesy of this 45 RPM 180 gram double LP. As flawless as any rustic album ever released, the 1970 set now brims with soaring harmonies, organic execution, intertwined textures, and uncomplicated structures.\r\n
      \r\n
      Workingman's Dead acts as a retreat from chaos and uncertainty, its songs emblems of simpler times and pleas for compassion in the face of hardship. Lyricist Robert Hunter said he aimed to capture the vintage elements of late 1940s country-and-western jukebox singles as well as old blues classics. In that vein, fare such as the Bakersfield-leaning "Cumberland Blues", pastoral ballad "Dire Wolf", and bluesy "Easy Wind" hit the mark. Leader Jerry Garcia's occasional pedal-steel underpinnings arrive as a bonus.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jerry Garcia (lead guitar, pedal steel guitar, vocals), Bob Weir (rhythm guitar, vocals), Phil Lesh (bass guitar, vocals), Ron "Pigpen" McKernan (harmonica, organ, vocals), Bill Kreutzmann, Mickey Hart (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
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    -extraitYoutube: "https://www.youtube.com/watch?v=yD1naKNQuF4&list=PLCoNeSDAIpTTX54ypx226T-ssMZi9ELY5"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-428"
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        "nom" => ""
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2150 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2159 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2152 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2154 …}
    -enregistreLe: DateTime @1756658627 {#2145
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    }
    -modifierLe: DateTime @1769160344 {#2146
      date: 2026-01-23 09:25:44.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2156 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-workingman-s-dead-numbered-limited-edition-mobile-fidelity-sound-lab-mfsl-2-428"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3557
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2148
    -id: 2800
    -nom: "Workingman's Dead  (Numbered Limited Edition)"
    -informationComplementaire: null
    -description: """
      - Grateful Dead's Workingman's Dead on numbered, limited edition 180 gram 45 RPM LP !\r\n
      - 1/4" / 15 IPS / Dolby A analog master direct to lathe !\r\n
      - Ranked N° 264 on Rolling Stone's list of the 500 Greatest Albums of All Time !\r\n
      - Airy harmonies, simple structures, concise arrangements anchor songs !\r\n
      \r\n
      Workingman's Dead defies the erroneous belief that the Grateful Dead never attained brilliance in the recording studio. Forever prized for natural sonics, Workingman's Dead attains audiophile reference status courtesy of this 45 RPM 180 gram double LP. As flawless as any rustic album ever released, the 1970 set now brims with soaring harmonies, organic execution, intertwined textures, and uncomplicated structures.\r\n
      \r\n
      Workingman's Dead acts as a retreat from chaos and uncertainty, its songs emblems of simpler times and pleas for compassion in the face of hardship. Lyricist Robert Hunter said he aimed to capture the vintage elements of late 1940s country-and-western jukebox singles as well as old blues classics. In that vein, fare such as the Bakersfield-leaning "Cumberland Blues", pastoral ballad "Dire Wolf", and bluesy "Easy Wind" hit the mark. Leader Jerry Garcia's occasional pedal-steel underpinnings arrive as a bonus.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Jerry Garcia (lead guitar, pedal steel guitar, vocals), Bob Weir (rhythm guitar, vocals), Phil Lesh (bass guitar, vocals), Ron "Pigpen" McKernan (harmonica, organ, vocals), Bill Kreutzmann, Mickey Hart (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
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    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yD1naKNQuF4&list=PLCoNeSDAIpTTX54ypx226T-ssMZi9ELY5"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-428"
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        "nom" => "Side D : "
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        "nom" => "7. Easy Wind"
      ]
      [
        "ordre" => 11
        "nom" => "8. Casey Jones"
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        "nom" => ""
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      [
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2150 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2159 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2152 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2154 …}
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    }
    -modifierLe: DateTime @1769160344 {#2146
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -slug: "vinyles-workingman-s-dead-numbered-limited-edition-mobile-fidelity-sound-lab-mfsl-2-428"
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[
  "produit" => App\Entity\Produit {#2164
    -id: 2225
    -nom: "Thriller - UltraDisc One-Step (Box Set 1 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Michael Jackson (vocals), David Williams, Dean Parks, Paul Jackson, Steve Lukather (guitar), Greg Phillinganes, James Ingram, Louis Johnson, Steven Ray (handclaps), Anthony Marinelli, Bill Wolfer, Brian Banks, David Foster, David Paich, Greg Smith, Michael Boddicker, Rod Temperton, Steve Porcaro (synthesizer), Greg Phillinganes, James Ingram, Tom Bahler (keyboards),  David Paich (piano), Larry Williams (saxophone, flute), Bill Reichenbach (trombone), Gary Grant, Jerry Hey (trumpet, flugelhorn), Louis Johnson, Louis Johnson, Steve Lukather (bass), Becky Lopez, Bunny Hull, Howard Hewett, James Ingram, Janet Jackson, Julia Waters, LaToya Jackson, Maxine Waters, Oren Waters  (backing vocals), Paulinho Da Costa (percussion), Jeff Porcaro, Ndugu Chancler (drums)\r\n
      \r\n
      Putting into perspective the incalculable impact and pioneering significance of the best-selling album of all time Michael Jackson's "Thriller" has never been easy. Though Thriller lays claim to mind-boggling statistics that serve as reminders of how pervasive and indispensable it remains to music snobs and casual listeners alike, its essence always traces back to the greatness, power, and scope of the music. Now, as it celebrates its 40th anniversary, the record that reimagined pop; united audiences; made strides towards achieving racial equality; established the video as an artistic and commercial format; and taught the world how to dance sounds even more invigorating than it did during the advent of the Walkman.\r\n
      \r\n
      Mastered from the original analog master tapes, pressed at RTI, and limited to 40000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 33 RPM LP set does for Thriller what Jackson's unforgettable appearance on the "Motown 25" TV special in 1983 did for his career: It makes the music personal, human, desirable, relatable, imaginative the definition of cool. This extraordinary reissue does so by presenting the songs in lifelike fashion, zeroing in on the fundamentals with laser focus, and magnifying the brilliance of the production, arrangements, and vocals in ways that let everyone experience Thriller as if hearing the album for the first time.\r\n
      \r\n
      Surpassing the sonics of earlier reissues and pressings, Mobile Fidelity's 180 gram LP set strips away prior limitations and provides a clear, dynamic view of a landmark that crashed through every conceivable barrier and permanently transformed music, culture, and society. The expanse and depth of the soundstage, range of detail, percussive textures, air around the vocals, and natural decay of notes come through with demonstration-grade realism.\r\n
      \r\n
      The gorgeous packaging of the Thriller UD1S pressing befits the album's select status. Housed in an open-ended slipcase, the set features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, this reissue exists as a curatorial artifact meant to be preserved and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.\r\n
      \r\n
      Given that no album released during the past four decades even approaches the magnitude of Thriller, everything about it remains important. Numbers even the "40" tied to its anniversary – don't even tell half the story. The 1982 blockbuster has sold more than 34 million copies in the U.S.; globally, it has moved upwards of 70 million units. Thriller dominated the 1984 Grammy Awards, winning a record-breaking eight trophies and sweeping every major category. It repeated the feat at the American Music Awards. Seven of its nine songs were released as singles; each charted in the Top 10. Perhaps most astonishingly, Thriller topped the Top 200 Albums chart for 37 weeks during a 59 week stretch. Fast forward 24 years, and the album was the biggest-selling catalog title of 2008.\r\n
      \r\n
      The record's unimpeachable accolades and archival standing help provide another frame of reference. Acclaimed upon arrival, Thriller topped The Village Voice's comprehensive Pazz & Jop poll in 1983. Included in both the Library of Congress' National Recording Registry and the Grammy Hall of Fame, Thriller was ranked by the Rock and Roll Hall of Fame at N° 3 on its Definitive 200 Albums of All Time. Rolling Stone named it the 12th Greatest Album of All Time. TIME deemed it "the greatest pop album of all time". The Independent called it "the most inspiring album of all time".\r\n
      \r\n
      hriller proved as influential as it did inspiring. Its unparalleled success, dazzling style, and sleek architecture changed every facet of culture and entertainment. The reverberations echoed throughout society. Thriller crossed over to mainstream channels and white audiences with a degree that no Black musician managed in decades (if ever); prompted MTV to give Black artists a widespread platform; elevated choreography and dance to higher-level artforms; shattered long-standing racial boundaries; and reconceptualized music via a genre- and color-blind blend of fleet pop, funk, disco, soul, and rock sent up with cinematic panache, oversized ambition, and dynamic energy.\r\n
      \r\n
      Its effect on multitudes of subsequent artists cannot be overstated. Thriller opened up a new galaxy in which Prince soon strolled. It's the same universe that Usher, Maxwell, and Jamiroquai joined in the ‘90s and that contemporary headliners like Beyonce, Justin Timberlake, and Bruno Mars orbit today. Their style-blurring identities, R&B-rooted foundations, and interdisciplinary approaches directly link to those on Thriller. Notably, the album's first single "The Girl Is Mine", a duet and co-write with Beatles legend Paul McCartney captured the record's unwillingness to cater to a specific race, generation, class, or style. Eddie Van Halen at the time, the world's premier rock guitarist performed a similar bridge role by supplying the electrifying solo on "Beat It".\r\n
      \r\n
      Jackson, Quincy Jones, and company do the rest. Drop the needle on any track on Thriller and the insatiable desire to move takes hold. So do sensations of familiarity, pleasure, fun, and soulfulness. Be it the breathless, bass-laden swagger of the Moonwalking "Billie Jean"; horn-accented, post-disco slide of the gossip critique "Wanna Be Startin' Somethin'"; rousing tempo of the lush, sequin-adorned "P. Y. T. (Pretty Young Thing)"; gentle balladry and liquid vocal phrasing of "Human Nature"; vivid hybrid of funk-disco and horror-film drama of the title track; or streetwise strut and rhythmic fantasia of "Beat It," Thriller never lets up.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Michael Jackson (vocals), David Williams, Dean Parks, Paul Jackson, Steve Lukather (guitar), Greg Phillinganes, James Ingram, Louis Johnson, Steven Ray (handclaps)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=sOnqjkJTMaA"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S 042"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Wanna Be Startin' Somethin'"
      ]
      [
        "ordre" => 1
        "nom" => "2. Baby Be Mine"
      ]
      [
        "ordre" => 2
        "nom" => "3. The Girl Is Mine"
      ]
      [
        "ordre" => 3
        "nom" => "4. Thriller"
      ]
      [
        "ordre" => 4
        "nom" => "5. Beat It"
      ]
      [
        "ordre" => 5
        "nom" => "6. Billie Jean"
      ]
      [
        "ordre" => 6
        "nom" => "7. Human Nature"
      ]
      [
        "ordre" => 7
        "nom" => "8. P.Y.T. (Pretty Young Thing)"
      ]
      [
        "ordre" => 8
        "nom" => "9. The Lady in My Life"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2166 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2175 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2168 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2170 …}
    -enregistreLe: DateTime @1652767898 {#2161
      date: 2022-05-17 06:11:38.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769107293 {#2162
      date: 2026-01-22 18:41:33.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2172 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-thriller-ultradisc-one-step-box-set-1-lp-33-rpm-mobile-fidelity-sound-lab-ud1s-042"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3608
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2164
    -id: 2225
    -nom: "Thriller - UltraDisc One-Step (Box Set 1 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Michael Jackson (vocals), David Williams, Dean Parks, Paul Jackson, Steve Lukather (guitar), Greg Phillinganes, James Ingram, Louis Johnson, Steven Ray (handclaps), Anthony Marinelli, Bill Wolfer, Brian Banks, David Foster, David Paich, Greg Smith, Michael Boddicker, Rod Temperton, Steve Porcaro (synthesizer), Greg Phillinganes, James Ingram, Tom Bahler (keyboards),  David Paich (piano), Larry Williams (saxophone, flute), Bill Reichenbach (trombone), Gary Grant, Jerry Hey (trumpet, flugelhorn), Louis Johnson, Louis Johnson, Steve Lukather (bass), Becky Lopez, Bunny Hull, Howard Hewett, James Ingram, Janet Jackson, Julia Waters, LaToya Jackson, Maxine Waters, Oren Waters  (backing vocals), Paulinho Da Costa (percussion), Jeff Porcaro, Ndugu Chancler (drums)\r\n
      \r\n
      Putting into perspective the incalculable impact and pioneering significance of the best-selling album of all time Michael Jackson's "Thriller" has never been easy. Though Thriller lays claim to mind-boggling statistics that serve as reminders of how pervasive and indispensable it remains to music snobs and casual listeners alike, its essence always traces back to the greatness, power, and scope of the music. Now, as it celebrates its 40th anniversary, the record that reimagined pop; united audiences; made strides towards achieving racial equality; established the video as an artistic and commercial format; and taught the world how to dance sounds even more invigorating than it did during the advent of the Walkman.\r\n
      \r\n
      Mastered from the original analog master tapes, pressed at RTI, and limited to 40000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180 gram 33 RPM LP set does for Thriller what Jackson's unforgettable appearance on the "Motown 25" TV special in 1983 did for his career: It makes the music personal, human, desirable, relatable, imaginative the definition of cool. This extraordinary reissue does so by presenting the songs in lifelike fashion, zeroing in on the fundamentals with laser focus, and magnifying the brilliance of the production, arrangements, and vocals in ways that let everyone experience Thriller as if hearing the album for the first time.\r\n
      \r\n
      Surpassing the sonics of earlier reissues and pressings, Mobile Fidelity's 180 gram LP set strips away prior limitations and provides a clear, dynamic view of a landmark that crashed through every conceivable barrier and permanently transformed music, culture, and society. The expanse and depth of the soundstage, range of detail, percussive textures, air around the vocals, and natural decay of notes come through with demonstration-grade realism.\r\n
      \r\n
      The gorgeous packaging of the Thriller UD1S pressing befits the album's select status. Housed in an open-ended slipcase, the set features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the recording. Aurally and visually, this reissue exists as a curatorial artifact meant to be preserved and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.\r\n
      \r\n
      Given that no album released during the past four decades even approaches the magnitude of Thriller, everything about it remains important. Numbers even the "40" tied to its anniversary – don't even tell half the story. The 1982 blockbuster has sold more than 34 million copies in the U.S.; globally, it has moved upwards of 70 million units. Thriller dominated the 1984 Grammy Awards, winning a record-breaking eight trophies and sweeping every major category. It repeated the feat at the American Music Awards. Seven of its nine songs were released as singles; each charted in the Top 10. Perhaps most astonishingly, Thriller topped the Top 200 Albums chart for 37 weeks during a 59 week stretch. Fast forward 24 years, and the album was the biggest-selling catalog title of 2008.\r\n
      \r\n
      The record's unimpeachable accolades and archival standing help provide another frame of reference. Acclaimed upon arrival, Thriller topped The Village Voice's comprehensive Pazz & Jop poll in 1983. Included in both the Library of Congress' National Recording Registry and the Grammy Hall of Fame, Thriller was ranked by the Rock and Roll Hall of Fame at N° 3 on its Definitive 200 Albums of All Time. Rolling Stone named it the 12th Greatest Album of All Time. TIME deemed it "the greatest pop album of all time". The Independent called it "the most inspiring album of all time".\r\n
      \r\n
      hriller proved as influential as it did inspiring. Its unparalleled success, dazzling style, and sleek architecture changed every facet of culture and entertainment. The reverberations echoed throughout society. Thriller crossed over to mainstream channels and white audiences with a degree that no Black musician managed in decades (if ever); prompted MTV to give Black artists a widespread platform; elevated choreography and dance to higher-level artforms; shattered long-standing racial boundaries; and reconceptualized music via a genre- and color-blind blend of fleet pop, funk, disco, soul, and rock sent up with cinematic panache, oversized ambition, and dynamic energy.\r\n
      \r\n
      Its effect on multitudes of subsequent artists cannot be overstated. Thriller opened up a new galaxy in which Prince soon strolled. It's the same universe that Usher, Maxwell, and Jamiroquai joined in the ‘90s and that contemporary headliners like Beyonce, Justin Timberlake, and Bruno Mars orbit today. Their style-blurring identities, R&B-rooted foundations, and interdisciplinary approaches directly link to those on Thriller. Notably, the album's first single "The Girl Is Mine", a duet and co-write with Beatles legend Paul McCartney captured the record's unwillingness to cater to a specific race, generation, class, or style. Eddie Van Halen at the time, the world's premier rock guitarist performed a similar bridge role by supplying the electrifying solo on "Beat It".\r\n
      \r\n
      Jackson, Quincy Jones, and company do the rest. Drop the needle on any track on Thriller and the insatiable desire to move takes hold. So do sensations of familiarity, pleasure, fun, and soulfulness. Be it the breathless, bass-laden swagger of the Moonwalking "Billie Jean"; horn-accented, post-disco slide of the gossip critique "Wanna Be Startin' Somethin'"; rousing tempo of the lush, sequin-adorned "P. Y. T. (Pretty Young Thing)"; gentle balladry and liquid vocal phrasing of "Human Nature"; vivid hybrid of funk-disco and horror-film drama of the title track; or streetwise strut and rhythmic fantasia of "Beat It," Thriller never lets up.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
      """
    -prixVente: "199.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Michael Jackson (vocals), David Williams, Dean Parks, Paul Jackson, Steve Lukather (guitar), Greg Phillinganes, James Ingram, Louis Johnson, Steven Ray (handclaps)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=sOnqjkJTMaA"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S 042"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Wanna Be Startin' Somethin'"
      ]
      [
        "ordre" => 1
        "nom" => "2. Baby Be Mine"
      ]
      [
        "ordre" => 2
        "nom" => "3. The Girl Is Mine"
      ]
      [
        "ordre" => 3
        "nom" => "4. Thriller"
      ]
      [
        "ordre" => 4
        "nom" => "5. Beat It"
      ]
      [
        "ordre" => 5
        "nom" => "6. Billie Jean"
      ]
      [
        "ordre" => 6
        "nom" => "7. Human Nature"
      ]
      [
        "ordre" => 7
        "nom" => "8. P.Y.T. (Pretty Young Thing)"
      ]
      [
        "ordre" => 8
        "nom" => "9. The Lady in My Life"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2166 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
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[
  "produit" => App\Entity\Produit {#2180
    -id: 2845
    -nom: "Dangerous  (Limited Numbered Edition)"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Michael Jackson (lead & backing vocals), Teddy Riley (keyboards, synthesizers, drum programming), Bill Bottrell (guitars, keyboards, drum programming), Steve Porcaro, Michael Boddicker (synthesizer), Greg Phillinganes (keyboards, synthesizer), Bryan Loren (keyboards, drum programming), Slash, Steve Stevens (guitar), Paul Jackson Jr. (rhythm guitar), Brad Buxer (keyboards), John Barnes (keyboards, synthesizer), Andrae Crouch Choir (gospel choir), Siedah Garrett, Rose Banks,   (backing vocals), Teddy Campbell (percussion).\r\n
      \r\n
      - Michael Jackson "Dangerous" !\r\n
      - RIAA Certified 8 x platinum-selling album features "Black or White", and eight other singles !\r\n
      - 180 gram 331/3 RPM (2 LP) plays with superb clarity, detail and presence !\r\n
      - Pressed at Fidelity Record Pressings for superior sound !\r\n
      \r\n
      Dangerous saw Michael Jackson go in a new direction. The strategy paid off when the 1991 release debuted at N° 1 on the Billboard 200 and sold more than 25 million copies worldwide by September 1994. Global sales now near 40 million.\r\n
      \r\n
      Sourced from the original masters, pressed at Fidelity Record Pressing in California, and housed in a Stoughton Printing gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 33 1/3 RPM (2 LP) set presents Dangerous in audiophile-quality sound for the first time. Jackson's signature vocals come across with incredible transparency and presence, along with the fullness of his range and the soaring heights of his falsetto. You'll also enjoy expansive soundstages, ample instrumental separation, black backgrounds, and broad dynamics.\r\n
      \r\n
      Featuring 14 songs, Dangerous includes hits such as "Black or White", "In the Closet", "Remember the Time", "Jam", and "Heal the World". Each of the album's nine singles was supported by a unique Michael Jackson short film, later compiled in Dangerous : The Short Films (1993).\r\n
      \r\n
      Provenance info :\r\n
      \r\n
      "Jam", "Why You Wanna Trip on Me", "In the Closet", "She Drives Me Wild", "Remember the Time", "Can't Let Her Get Away", and "Dangerous" - 1/2" / 30 IPS analog master with Dolby SR noise reduction to DSD 256 to analog console to lathe.\r\n
      \r\n
      "Heal the World" and "Keep the Faith" -  Mitsubishi X-86 HS 1/4" 48 kHz 16-bit digital format to DSD 256 to analog console to lathe.\r\n
      \r\n
      "Black or White", "Who Is It", and "Give in to Me" - 1/2" 30 IPS analog master to DSD 256 to analog console to lathe.\r\n
      \r\n
      "Will You Be There" and "Gone Too Soon" - 1/4" 30 IPS analog master with Dolby SR noise reduction to DSD 256 to analog console to lathe.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Michael Jackson (lead & backing vocals), Teddy Riley (keyboards, synthesizers, drum programming), Bill Bottrell (guitars, keyboards, drum programming), Steve Porcaro, Michael Boddicker (synthesizer)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=m3snPmZJkn8"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-571"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Jam"
      ]
      [
        "ordre" => 2
        "nom" => "2. Why You Wanna Trip on Me"
      ]
      [
        "ordre" => 3
        "nom" => "3. In the Closet"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. She Drives Me Wild"
      ]
      [
        "ordre" => 6
        "nom" => "2. Remember the Time"
      ]
      [
        "ordre" => 7
        "nom" => "3. Can’t Let Her Get Away"
      ]
      [
        "ordre" => 8
        "nom" => "4. Heal the World"
      ]
      [
        "ordre" => 9
        "nom" => "Side C :"
      ]
      [
        "ordre" => 10
        "nom" => "1. Black or White"
      ]
      [
        "ordre" => 11
        "nom" => "2. Who Is It"
      ]
      [
        "ordre" => 12
        "nom" => "3. Give in to Me"
      ]
      [
        "ordre" => 13
        "nom" => "Side D : "
      ]
      [
        "ordre" => 14
        "nom" => "1. Will You Be There"
      ]
      [
        "ordre" => 15
        "nom" => "2. Keep the Faith"
      ]
      [
        "ordre" => 16
        "nom" => "3. Gone Too Soon"
      ]
      [
        "ordre" => 17
        "nom" => "4. Dangerous"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2166 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2188 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2181 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2183 …}
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      date: 2025-09-23 09:03:22.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1769106775 {#2178
      date: 2026-01-22 18:32:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2185 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-dangerous-limited-numbered-edition-mobile-fidelity-sound-lab-2-571"
  }
  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3661
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2180
    -id: 2845
    -nom: "Dangerous  (Limited Numbered Edition)"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Michael Jackson (lead & backing vocals), Teddy Riley (keyboards, synthesizers, drum programming), Bill Bottrell (guitars, keyboards, drum programming), Steve Porcaro, Michael Boddicker (synthesizer), Greg Phillinganes (keyboards, synthesizer), Bryan Loren (keyboards, drum programming), Slash, Steve Stevens (guitar), Paul Jackson Jr. (rhythm guitar), Brad Buxer (keyboards), John Barnes (keyboards, synthesizer), Andrae Crouch Choir (gospel choir), Siedah Garrett, Rose Banks,   (backing vocals), Teddy Campbell (percussion).\r\n
      \r\n
      - Michael Jackson "Dangerous" !\r\n
      - RIAA Certified 8 x platinum-selling album features "Black or White", and eight other singles !\r\n
      - 180 gram 331/3 RPM (2 LP) plays with superb clarity, detail and presence !\r\n
      - Pressed at Fidelity Record Pressings for superior sound !\r\n
      \r\n
      Dangerous saw Michael Jackson go in a new direction. The strategy paid off when the 1991 release debuted at N° 1 on the Billboard 200 and sold more than 25 million copies worldwide by September 1994. Global sales now near 40 million.\r\n
      \r\n
      Sourced from the original masters, pressed at Fidelity Record Pressing in California, and housed in a Stoughton Printing gatefold jacket, Mobile Fidelity's numbered-edition 180 gram 33 1/3 RPM (2 LP) set presents Dangerous in audiophile-quality sound for the first time. Jackson's signature vocals come across with incredible transparency and presence, along with the fullness of his range and the soaring heights of his falsetto. You'll also enjoy expansive soundstages, ample instrumental separation, black backgrounds, and broad dynamics.\r\n
      \r\n
      Featuring 14 songs, Dangerous includes hits such as "Black or White", "In the Closet", "Remember the Time", "Jam", and "Heal the World". Each of the album's nine singles was supported by a unique Michael Jackson short film, later compiled in Dangerous : The Short Films (1993).\r\n
      \r\n
      Provenance info :\r\n
      \r\n
      "Jam", "Why You Wanna Trip on Me", "In the Closet", "She Drives Me Wild", "Remember the Time", "Can't Let Her Get Away", and "Dangerous" - 1/2" / 30 IPS analog master with Dolby SR noise reduction to DSD 256 to analog console to lathe.\r\n
      \r\n
      "Heal the World" and "Keep the Faith" -  Mitsubishi X-86 HS 1/4" 48 kHz 16-bit digital format to DSD 256 to analog console to lathe.\r\n
      \r\n
      "Black or White", "Who Is It", and "Give in to Me" - 1/2" 30 IPS analog master to DSD 256 to analog console to lathe.\r\n
      \r\n
      "Will You Be There" and "Gone Too Soon" - 1/4" 30 IPS analog master with Dolby SR noise reduction to DSD 256 to analog console to lathe.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Michael Jackson (lead & backing vocals), Teddy Riley (keyboards, synthesizers, drum programming), Bill Bottrell (guitars, keyboards, drum programming), Steve Porcaro, Michael Boddicker (synthesizer)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=m3snPmZJkn8"
    -referenceProduit: "Mobile Fidelity Sound Lab 2-571"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Jam"
      ]
      [
        "ordre" => 2
        "nom" => "2. Why You Wanna Trip on Me"
      ]
      [
        "ordre" => 3
        "nom" => "3. In the Closet"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. She Drives Me Wild"
      ]
      [
        "ordre" => 6
        "nom" => "2. Remember the Time"
      ]
      [
        "ordre" => 7
        "nom" => "3. Can’t Let Her Get Away"
      ]
      [
        "ordre" => 8
        "nom" => "4. Heal the World"
      ]
      [
        "ordre" => 9
        "nom" => "Side C :"
      ]
      [
        "ordre" => 10
        "nom" => "1. Black or White"
      ]
      [
        "ordre" => 11
        "nom" => "2. Who Is It"
      ]
      [
        "ordre" => 12
        "nom" => "3. Give in to Me"
      ]
      [
        "ordre" => 13
        "nom" => "Side D : "
      ]
      [
        "ordre" => 14
        "nom" => "1. Will You Be There"
      ]
      [
        "ordre" => 15
        "nom" => "2. Keep the Faith"
      ]
      [
        "ordre" => 16
        "nom" => "3. Gone Too Soon"
      ]
      [
        "ordre" => 17
        "nom" => "4. Dangerous"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2166 …}
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      date: 2026-01-22 18:32:55.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2193
    -id: 1327
    -nom: "Miles Smiles - SuperVinyl LP"
    -informationComplementaire: null
    -description: """
      The clarity afforded by history proves Miles Davis' second great quintet vying for the unofficial honor of being the finest small jazz combo to ever record to tape. Originally released in 1966, Miles Smiles is largely responsible for the feat, as it commences a series of five groundbreaking albums chronologically rounded out by Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro – guided not by chordal patterns but open responses to melodies. Music would never again be the same. Neither will experiencing Miles Smiles once you hear this definitive-sounding vinyl reissue.\r\n
      \r\n
      - FIRST IN A SERIES OF MODAL ALBUMS THAT CHANGED JAZZ : MILES SMILES FEATURES THE MOST BRILLIANT PLAYING OF MILES DAVIS' SECOND GREAT QUINTET, BURSTS WITH VITALITY AND SPIRIT\r\n
      - Sourced from the Original Master Tapes: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM SuperVinyl LP Plays with Reference-Setting Sound, Features Stunning Transparency !\r\n
      - 1/4” / 15 IPS / Dolby SR analog remix master to DSD 256 to analog console to lathe !\r\n
      \r\n
      The clarity afforded by history proves Miles Davis' Second Great Quintet vying for the unofficial honor of being the finest small jazz combo to ever record to tape. Originally released in 1967, Miles Smiles is largely responsible for the feat, as it commences a series of five groundbreaking albums chronologically rounded out by Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro guided not by chordal patterns but open responses to melodies. Music would never again be the same. Neither will Miles Smiles once you hear this reference-setting pressing.\r\n
      \r\n
      Sourced from the original master tapes and pressed at Fidelity Record Pressing on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180 gram 33 RPM SuperVinyl LP takes the landmark effort into new sonic territory. Davis and company play against backgrounds that serve to illuminate every detail, texture, and nuance. Realistic separation and plentiful air allow instruments to fully blossom, effectively taking you into Columbia's 30th Street Studio to watch the sessions transpire before your eyes. MoFi’s SuperVinyl profile means the noise floor is practically nonexistent, an advantage that works in tandem with the formula’s pristine transparency, stunningly quiet surfaces, and superb groove definition to bring you “there.”\r\n
      \r\n
      Like the other Davis titles in Mobile Fidelity's reissue series, this collectible version puts a premium on tonality and preservation of notes, which arc and decay with uncanny realism. The brilliance of Teo Macero's original production springs forth from every passage. Experience this standard-setting record burst with a verve, energy, and spirit you can feel. Davis and Wayne Shorter's horns crackle with electricity. Ron Carter's bass attains unprecedented fluidity and dimensionality. Tony Williams' drums pop, splash, and swing with terrific fervor. Herbie Hancock's 88s dance with a communal dynamic.\r\n
      \r\n
      Despite all the headway the ensemble made on its subsequent albums, many jazz cognoscenti and Davis diehards believe the Grammy-nominated Miles Smiles remains the apex of the group’s time together. The evidence is found within the thrills, adventurousness, and curiosities tied to each composition. Accessible and unpredictable, songs reflect an ever-changing mentality, edgy moodiness, and triumphant will with each corner the band rounds a new opportunity to integrate and interact, anticipate and respond, investigate open spaces and establish contagious, broad, striding grooves.\r\n
      \r\n
      For Davis and the music world at large the importance of Miles Smiles cannot be overstated. "The synthesis of complete abstraction with more or less straightforward blues-playing was to sustain [Davis] right through the darkness of the 1970s bands to the later period", write experts Richard Cook and Brian Morton. To their point, everyone from DownBeat to Q to TIME have deemed "Footprints" as one of the greatest compositions of the 20th century.\r\n
      \r\n
      Everywhere you turn, genius abounds on Miles Smiles. Right out of the starting gate, "Orbits" swirls with hard-driving rhythms and Davis' untethered soloing. "Delores" likewise steams and cooks, retaining a tuneful allure all the while speaking with a streetwise swagger. Anchored in part by Hancock's radiant piano lines, the ballad "Circle" moves gently and expresses a romantic elegance via its superb lyrical poise.\r\n
      \r\n
      Throughout Miles Smiles, the band simply has and does it all. There’s also Williams displaying newfound power with his move to heavier sticks; Hancock, via Davis’ direction, playing chords only with his right hand to free up the left to get creative; Shorter juggling time signatures and driving the band forward; and Davis… Well, one close listen to this reference version, and you’ll hear his indescribable genius and want to try and chart it yourself.
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Ron Carter (bass), Herbie Hancock (piano), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=5SKymH9fO1s"
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    -titreMorceau: [
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      ]
      [
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        "nom" => "2. Freedom Jazz Dance"
      ]
      [
        "ordre" => 7
        "nom" => "3. Ginger Bread Boy"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2195 …}
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    }
    -modifierLe: DateTime @1769103676 {#2191
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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]

App\Twig\Components\GestionPanierFavoriComponents {#3707
  -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 {#2627 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1804 …}
  +produit: App\Entity\Produit {#2193
    -id: 1327
    -nom: "Miles Smiles - SuperVinyl LP"
    -informationComplementaire: null
    -description: """
      The clarity afforded by history proves Miles Davis' second great quintet vying for the unofficial honor of being the finest small jazz combo to ever record to tape. Originally released in 1966, Miles Smiles is largely responsible for the feat, as it commences a series of five groundbreaking albums chronologically rounded out by Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro – guided not by chordal patterns but open responses to melodies. Music would never again be the same. Neither will experiencing Miles Smiles once you hear this definitive-sounding vinyl reissue.\r\n
      \r\n
      - FIRST IN A SERIES OF MODAL ALBUMS THAT CHANGED JAZZ : MILES SMILES FEATURES THE MOST BRILLIANT PLAYING OF MILES DAVIS' SECOND GREAT QUINTET, BURSTS WITH VITALITY AND SPIRIT\r\n
      - Sourced from the Original Master Tapes: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM SuperVinyl LP Plays with Reference-Setting Sound, Features Stunning Transparency !\r\n
      - 1/4” / 15 IPS / Dolby SR analog remix master to DSD 256 to analog console to lathe !\r\n
      \r\n
      The clarity afforded by history proves Miles Davis' Second Great Quintet vying for the unofficial honor of being the finest small jazz combo to ever record to tape. Originally released in 1967, Miles Smiles is largely responsible for the feat, as it commences a series of five groundbreaking albums chronologically rounded out by Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro guided not by chordal patterns but open responses to melodies. Music would never again be the same. Neither will Miles Smiles once you hear this reference-setting pressing.\r\n
      \r\n
      Sourced from the original master tapes and pressed at Fidelity Record Pressing on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180 gram 33 RPM SuperVinyl LP takes the landmark effort into new sonic territory. Davis and company play against backgrounds that serve to illuminate every detail, texture, and nuance. Realistic separation and plentiful air allow instruments to fully blossom, effectively taking you into Columbia's 30th Street Studio to watch the sessions transpire before your eyes. MoFi’s SuperVinyl profile means the noise floor is practically nonexistent, an advantage that works in tandem with the formula’s pristine transparency, stunningly quiet surfaces, and superb groove definition to bring you “there.”\r\n
      \r\n
      Like the other Davis titles in Mobile Fidelity's reissue series, this collectible version puts a premium on tonality and preservation of notes, which arc and decay with uncanny realism. The brilliance of Teo Macero's original production springs forth from every passage. Experience this standard-setting record burst with a verve, energy, and spirit you can feel. Davis and Wayne Shorter's horns crackle with electricity. Ron Carter's bass attains unprecedented fluidity and dimensionality. Tony Williams' drums pop, splash, and swing with terrific fervor. Herbie Hancock's 88s dance with a communal dynamic.\r\n
      \r\n
      Despite all the headway the ensemble made on its subsequent albums, many jazz cognoscenti and Davis diehards believe the Grammy-nominated Miles Smiles remains the apex of the group’s time together. The evidence is found within the thrills, adventurousness, and curiosities tied to each composition. Accessible and unpredictable, songs reflect an ever-changing mentality, edgy moodiness, and triumphant will with each corner the band rounds a new opportunity to integrate and interact, anticipate and respond, investigate open spaces and establish contagious, broad, striding grooves.\r\n
      \r\n
      For Davis and the music world at large the importance of Miles Smiles cannot be overstated. "The synthesis of complete abstraction with more or less straightforward blues-playing was to sustain [Davis] right through the darkness of the 1970s bands to the later period", write experts Richard Cook and Brian Morton. To their point, everyone from DownBeat to Q to TIME have deemed "Footprints" as one of the greatest compositions of the 20th century.\r\n
      \r\n
      Everywhere you turn, genius abounds on Miles Smiles. Right out of the starting gate, "Orbits" swirls with hard-driving rhythms and Davis' untethered soloing. "Delores" likewise steams and cooks, retaining a tuneful allure all the while speaking with a streetwise swagger. Anchored in part by Hancock's radiant piano lines, the ballad "Circle" moves gently and expresses a romantic elegance via its superb lyrical poise.\r\n
      \r\n
      Throughout Miles Smiles, the band simply has and does it all. There’s also Williams displaying newfound power with his move to heavier sticks; Hancock, via Davis’ direction, playing chords only with his right hand to free up the left to get creative; Shorter juggling time signatures and driving the band forward; and Davis… Well, one close listen to this reference version, and you’ll hear his indescribable genius and want to try and chart it yourself.
      """
    -prixVente: "89.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1885 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Ron Carter (bass), Herbie Hancock (piano), Tony Williams (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=5SKymH9fO1s"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSV1-515"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
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        "ordre" => 1
        "nom" => "1. Orbits"
      ]
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        "nom" => "2. Circle"
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      [
        "ordre" => 3
        "nom" => "3. Footprint"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Dolores"
      ]
      [
        "ordre" => 6
        "nom" => "2. Freedom Jazz Dance"
      ]
      [
        "ordre" => 7
        "nom" => "3. Ginger Bread Boy"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2195 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2204 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2197 …}
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    }
    -modifierLe: DateTime @1769103676 {#2191
      date: 2026-01-22 17:41:16.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2201 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-miles-smiles-supervinyl-lp-mobile-fidelity-sound-lab-mfsv1-515"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2395 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3908
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2395 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3909 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3957 …}
  +isValidated: false
  +validatedFields: []
}