Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2575
  -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 {#2422 …}
}

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

App\Twig\Components\ListePanier {#2652
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2655 …}
  -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 {#2654 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +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 {#2422 …}
  -formView: Symfony\Component\Form\FormView {#2691 …}
  -form: Symfony\Component\Form\Form {#2841 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1820
    -id: 2946
    -nom: "Quiet Kenny - (2 LP) 45 RPM"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      - Kenny Dorham "Quiet Kenny" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      Quiet Kenny isn't just a highlight of the Prestige catalog; it is a definitive argument for Kenny Dorham's status as a titan of the trumpet. While often overshadowed by his flashier contemporaries, this 1959 session captures Dorham at the absolute peak of his powers, delivering a performance defined by understated elegance and profound emotional depth.\r\n
      \r\n
      Supported by a rock-solid rhythm section featuring Tommy Flanagan, Paul Chambers, and Art Taylor, Dorham navigates a program that balances heartbreaking ballads with sophisticated, original blues. On standards like "My Ideal" and "Alone Together," his tone is intimate and breathy-limning each melody with a vulnerability that few could replicate. Dorham also digs deep into his own compositions, exploring the harmonic richness of "Blue Friday" and "Blue Spring Shuffle".\r\n
      \r\n
      Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings. Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
    -musicienOrchestre: "Kenny Dorham (trumpet), Tommy Flanagan (piano), Paul Chambers (bass), Art Taylor (drums)"
    -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=WzzO9k5CsrA&list=RDWzzO9k5CsrA&start_radio=1"
    -referenceProduit: "Analogue Productions AAPJ 211-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Lotus Blossom"
      ]
      [
        "ordre" => 2
        "nom" => "2. My Ideal"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. Blue Friday"
      ]
      [
        "ordre" => 5
        "nom" => "2. Alone Together"
      ]
      [
        "ordre" => 6
        "nom" => "Side C :"
      ]
      [
        "ordre" => 7
        "nom" => "1. Blue Spring Shuffle"
      ]
      [
        "ordre" => 8
        "nom" => "2. I Had The Craziest Dream"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Old Folks"
      ]
      [
        "ordre" => 11
        "nom" => "2. Mack The Knife"
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2027 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1901 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2015 …}
    -enregistreLe: DateTime @1767942159 {#1875
      date: 2026-01-09 07:02:39.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767942314 {#1868
      date: 2026-01-09 07:05:14.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2021 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-quiet-kenny-2-lp-45-rpm-analogue-productions-aapj-211-45"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3116
  -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 {#2654 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#1820
    -id: 2946
    -nom: "Quiet Kenny - (2 LP) 45 RPM"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      - Kenny Dorham "Quiet Kenny" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      Quiet Kenny isn't just a highlight of the Prestige catalog; it is a definitive argument for Kenny Dorham's status as a titan of the trumpet. While often overshadowed by his flashier contemporaries, this 1959 session captures Dorham at the absolute peak of his powers, delivering a performance defined by understated elegance and profound emotional depth.\r\n
      \r\n
      Supported by a rock-solid rhythm section featuring Tommy Flanagan, Paul Chambers, and Art Taylor, Dorham navigates a program that balances heartbreaking ballads with sophisticated, original blues. On standards like "My Ideal" and "Alone Together," his tone is intimate and breathy-limning each melody with a vulnerability that few could replicate. Dorham also digs deep into his own compositions, exploring the harmonic richness of "Blue Friday" and "Blue Spring Shuffle".\r\n
      \r\n
      Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings. Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
    -musicienOrchestre: "Kenny Dorham (trumpet), Tommy Flanagan (piano), Paul Chambers (bass), Art Taylor (drums)"
    -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=WzzO9k5CsrA&list=RDWzzO9k5CsrA&start_radio=1"
    -referenceProduit: "Analogue Productions AAPJ 211-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Lotus Blossom"
      ]
      [
        "ordre" => 2
        "nom" => "2. My Ideal"
      ]
      [
        "ordre" => 3
        "nom" => "Side B : "
      ]
      [
        "ordre" => 4
        "nom" => "1. Blue Friday"
      ]
      [
        "ordre" => 5
        "nom" => "2. Alone Together"
      ]
      [
        "ordre" => 6
        "nom" => "Side C :"
      ]
      [
        "ordre" => 7
        "nom" => "1. Blue Spring Shuffle"
      ]
      [
        "ordre" => 8
        "nom" => "2. I Had The Craziest Dream"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Old Folks"
      ]
      [
        "ordre" => 11
        "nom" => "2. Mack The Knife"
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1896 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2027 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1901 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2015 …}
    -enregistreLe: DateTime @1767942159 {#1875
      date: 2026-01-09 07:02:39.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767942314 {#1868
      date: 2026-01-09 07:05:14.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2021 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-quiet-kenny-2-lp-45-rpm-analogue-productions-aapj-211-45"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2422 …}
}

[
  "produit" => App\Entity\Produit {#2044
    -id: 2655
    -nom: "The Incredible Jazz Guitar of Wes Montgomery"
    -informationComplementaire: null
    -description: """
      - From the Craft Recordings Original Jazz Classics Series !\r\n
      - Produced on audiophile-quality vinyl from Craft Recordings !\r\n
      - All-analog mastering from the original tapes by Kevin Gray at Cohearent Audio !\r\n
      - Pressed on 180 gram vinyl at RTI !\r\n
      - Presented in tip-on jackets with Obi strip !\r\n
      \r\n
      Considered the pinnacle of Wes Montgomery's career, The Incredible Jazz Guitar of Wes Montgomery is a classic of the jazz genre, and since 2017 has been included in the National Library of Congress' National Recording Registry. This new edition of the album is released as part of the Original Jazz Classics Series and is pressed on 180 gram vinyl at RTI with lacquers cut from the original tapes (AAA) by Kevin Gray at Cohearent Audio and presented in a Stoughton Tip-On Jacket.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Wes Montgomery (guitar), Tommy Flanagan (piano), Percy Heath (bass), Alber "Tootie" Heath (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=S0E5_lU4wsY"
    -referenceProduit: "Concord Craft Recordings 0850"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Airegin"
      ]
      [
        "ordre" => 2
        "nom" => "2. D-Natural Blues"
      ]
      [
        "ordre" => 3
        "nom" => "3. Polka Dots and Moonbeams"
      ]
      [
        "ordre" => 4
        "nom" => "4. Four on Six"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. West Coast Blues"
      ]
      [
        "ordre" => 7
        "nom" => "2. In Your Own Sweet Way"
      ]
      [
        "ordre" => 8
        "nom" => "3. Mr. Walker"
      ]
      [
        "ordre" => 9
        "nom" => "4. Gone With the Wind"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2046 …}
    -label: Proxies\__CG__\App\Entity\Label {#2049 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2058 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2051 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2053 …}
    -enregistreLe: DateTime @1740942679 {#2041
      date: 2025-03-02 19:11:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767881754 {#2042
      date: 2026-01-08 14:15:54.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2055 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-incredible-jazz-guitar-of-wes-montgomery-concord-craft-recordings-0850"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3230
  -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 {#2654 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2044
    -id: 2655
    -nom: "The Incredible Jazz Guitar of Wes Montgomery"
    -informationComplementaire: null
    -description: """
      - From the Craft Recordings Original Jazz Classics Series !\r\n
      - Produced on audiophile-quality vinyl from Craft Recordings !\r\n
      - All-analog mastering from the original tapes by Kevin Gray at Cohearent Audio !\r\n
      - Pressed on 180 gram vinyl at RTI !\r\n
      - Presented in tip-on jackets with Obi strip !\r\n
      \r\n
      Considered the pinnacle of Wes Montgomery's career, The Incredible Jazz Guitar of Wes Montgomery is a classic of the jazz genre, and since 2017 has been included in the National Library of Congress' National Recording Registry. This new edition of the album is released as part of the Original Jazz Classics Series and is pressed on 180 gram vinyl at RTI with lacquers cut from the original tapes (AAA) by Kevin Gray at Cohearent Audio and presented in a Stoughton Tip-On Jacket.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Wes Montgomery (guitar), Tommy Flanagan (piano), Percy Heath (bass), Alber "Tootie" Heath (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=S0E5_lU4wsY"
    -referenceProduit: "Concord Craft Recordings 0850"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Airegin"
      ]
      [
        "ordre" => 2
        "nom" => "2. D-Natural Blues"
      ]
      [
        "ordre" => 3
        "nom" => "3. Polka Dots and Moonbeams"
      ]
      [
        "ordre" => 4
        "nom" => "4. Four on Six"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. West Coast Blues"
      ]
      [
        "ordre" => 7
        "nom" => "2. In Your Own Sweet Way"
      ]
      [
        "ordre" => 8
        "nom" => "3. Mr. Walker"
      ]
      [
        "ordre" => 9
        "nom" => "4. Gone With the Wind"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2046 …}
    -label: Proxies\__CG__\App\Entity\Label {#2049 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2058 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2051 …}
    -typeMasterTape: null
    -marque: null
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    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2053 …}
    -enregistreLe: DateTime @1740942679 {#2041
      date: 2025-03-02 19:11:19.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767881754 {#2042
      date: 2026-01-08 14:15:54.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2055 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-the-incredible-jazz-guitar-of-wes-montgomery-concord-craft-recordings-0850"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2422 …}
}

[
  "produit" => App\Entity\Produit {#2067
    -id: 2472
    -nom: "Full House – Recorded Live At Tsubo Berkeley, California - (2 LP) 45 RPM"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      - Wes Montgomery "Full House" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      If you ever doubted Wes Montgomery's powers as a live performer, Full House will set your ears straight. Recorded in 1962 in front of a lucky live audience, this is Wes unleashed no studio tricks, no second takes, just raw, elegant fire. His solos aren't just extended they breathe, they climb, they seduce. You can almost hear the guitar blushing.\r\n
      \r\n
      But wait — Wes didn't just bring his A-game, he brought the A-team. Enter Johnny Griffin, aka "The Little Giant", who rips into his tenor sax with the ferocity of a caffeinated tornado. His solos on "Cariba" and "Blue ‘n' Boogie" aren't just impressive they're straight-up volcanic. You don't listen to Griffin you brace yourself for him.\r\n
      \r\n
      And then there's the rhythm section. Oh, just your average trio of jazz legends: Jimmy Cobb (yes, that Jimmy Cobb from Kind of Blue) driving the drums, Paul Chambers holding it down on bass like the heartbeat of heaven, and Wynton Kelly on piano with a touch so smooth it should be illegal. This isn't just a rhythm section it's a Rolls Royce of rhythm.\r\n
      \r\n
      We've given this timeless album the full Analogue Productions treatment: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.\r\n
      \r\n
      Full House captures a one-night-only jazz miracle. No overdubs, no fluff, just brilliance caught in the wild. If you're building a jazz collection and this one isn't in there, well... this is a gap needing to be filled. On Full House you have some truly sparkling live jazz from the classic era.\r\n
      \r\n
      Buy it. Play it loud. Then play it again.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
    -musicienOrchestre: "Wes Montgomery (guitar), Paul Chambers (bass), Wynton Kelly (piano), Johnny Griffin (tenor saxophone), Jimmy Cobb (drums)"
    -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=UrV0fjDCgyQ"
    -referenceProduit: "Analogue Productions AAPJ 214-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. Full House (Album Version / Live At Tsubo / 1962)"
      ]
      [
        "ordre" => 2
        "nom" => "2. I’ve Grown Accustomed To Her Face (Live At Tsubo / 1962)"
      ]
      [
        "ordre" => 3
        "nom" => "3. Blue ’N’ Boogie (Live At Tsubo / 1962)"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. Cariba (Take 2, Album Version)"
      ]
      [
        "ordre" => 7
        "nom" => "2. Come Rain Or Come Shine (Take 2, Album Version)"
      ]
      [
        "ordre" => 8
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  +produit: App\Entity\Produit {#2067
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    -nom: "Full House – Recorded Live At Tsubo Berkeley, California - (2 LP) 45 RPM"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      - Wes Montgomery "Full House" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      If you ever doubted Wes Montgomery's powers as a live performer, Full House will set your ears straight. Recorded in 1962 in front of a lucky live audience, this is Wes unleashed no studio tricks, no second takes, just raw, elegant fire. His solos aren't just extended they breathe, they climb, they seduce. You can almost hear the guitar blushing.\r\n
      \r\n
      But wait — Wes didn't just bring his A-game, he brought the A-team. Enter Johnny Griffin, aka "The Little Giant", who rips into his tenor sax with the ferocity of a caffeinated tornado. His solos on "Cariba" and "Blue ‘n' Boogie" aren't just impressive they're straight-up volcanic. You don't listen to Griffin you brace yourself for him.\r\n
      \r\n
      And then there's the rhythm section. Oh, just your average trio of jazz legends: Jimmy Cobb (yes, that Jimmy Cobb from Kind of Blue) driving the drums, Paul Chambers holding it down on bass like the heartbeat of heaven, and Wynton Kelly on piano with a touch so smooth it should be illegal. This isn't just a rhythm section it's a Rolls Royce of rhythm.\r\n
      \r\n
      We've given this timeless album the full Analogue Productions treatment: Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.\r\n
      \r\n
      Full House captures a one-night-only jazz miracle. No overdubs, no fluff, just brilliance caught in the wild. If you're building a jazz collection and this one isn't in there, well... this is a gap needing to be filled. On Full House you have some truly sparkling live jazz from the classic era.\r\n
      \r\n
      Buy it. Play it loud. Then play it again.
      """
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    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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[
  "produit" => App\Entity\Produit {#2080
    -id: 2944
    -nom: "Kelly Blue - (2 LP) 45 RPM"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      - Wynton Kelly "Kelly Blue" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      For Wynton Kelly, Kelly Blue marked a career highlight. A blueprint for blues-infused hard bop, Kelly Blue is Kelly's definitive statement as a bandleader a swinging, blues-soaked masterclass in touch, taste, and timing. This is the sound of a pianist playing with both finesse and fire.\r\n
      \r\n
      The Pitch (and it swings hard)\r\n
      \r\n
      If you're assembling a jazz collection and Kelly Blue isn't on your shelf, you're basically hosting a dinner party without food. Kelly was the pianist Miles Davis trusted enough to bring into his band and replace Red Garland. Kelly was the ultimate sideman turned understated hero \r\n
      blending gospel fire, blues grit, and bebop elegance into a buttery-smooth flow that made his touch unmistakable. On Kelly Blue, he steps out of the shadow and into the spotlight, where he glows like a well-polished Steinway under stage lights.\r\n
      \r\n
      And Kelly brought friends on this auspicious date. Paul Chambers (bass) So solid, they used him to calibrate metronomes. Jimmy Cobb (drums) Subtle as a whisper, sharp as a whip. And Nat Adderley (cornet), Benny Golson (tenor saxophone), and Bobby Jaspar (flute) Because sometimes, you need a horn section that sounds like they're reciting poetry in perfect harmony. These cats don't just support Kelly they elevate him.\r\n
      \r\n
      Bottom line, Kelly Blue is an essential slice of jazz heaven warm, witty, effortlessly cool.\r\n
      \r\n
      What's Inside ?\r\n
      \r\n
      "Kelly Blue" The blues never felt this fresh. This is the sound of a pianist playing with both finesse and fire.\r\n
      \r\n
      "Softly, As in a Morning Sunrise" A standard, yes. But Kelly makes it his.\r\n
      \r\n
      "Keep It Moving" Exactly what this band does, with grooves slick enough to hydroplane on.\r\n
      \r\n
      Ballads and burners alike - Every track is a reminder that Kelly could do anything at the keys  except be boring. Kelly Blue is the sound of a pianist at the peak of his power, surrounded by friends who know exactly how to keep up. If your jazz collection were a cocktail, this album would be the splash of bourbon that makes everything come together.\r\n
      \r\n
      This is a vinyl LP reissue unmatched. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings ! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.
      """
    -prixVente: "99.50"
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    -musicienOrchestre: "Wynton Kelly (piano), Nat Adderley (cornet), Benny Golson (tenor saxophone), Paul Chambers (bass), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yJNo9HvfX-8&list=RDyJNo9HvfX-8&start_radio=1"
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  +produit: App\Entity\Produit {#2080
    -id: 2944
    -nom: "Kelly Blue - (2 LP) 45 RPM"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      - Wynton Kelly "Kelly Blue" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      For Wynton Kelly, Kelly Blue marked a career highlight. A blueprint for blues-infused hard bop, Kelly Blue is Kelly's definitive statement as a bandleader a swinging, blues-soaked masterclass in touch, taste, and timing. This is the sound of a pianist playing with both finesse and fire.\r\n
      \r\n
      The Pitch (and it swings hard)\r\n
      \r\n
      If you're assembling a jazz collection and Kelly Blue isn't on your shelf, you're basically hosting a dinner party without food. Kelly was the pianist Miles Davis trusted enough to bring into his band and replace Red Garland. Kelly was the ultimate sideman turned understated hero \r\n
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      \r\n
      And Kelly brought friends on this auspicious date. Paul Chambers (bass) So solid, they used him to calibrate metronomes. Jimmy Cobb (drums) Subtle as a whisper, sharp as a whip. And Nat Adderley (cornet), Benny Golson (tenor saxophone), and Bobby Jaspar (flute) Because sometimes, you need a horn section that sounds like they're reciting poetry in perfect harmony. These cats don't just support Kelly they elevate him.\r\n
      \r\n
      Bottom line, Kelly Blue is an essential slice of jazz heaven warm, witty, effortlessly cool.\r\n
      \r\n
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      \r\n
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      \r\n
      "Keep It Moving" Exactly what this band does, with grooves slick enough to hydroplane on.\r\n
      \r\n
      Ballads and burners alike - Every track is a reminder that Kelly could do anything at the keys  except be boring. Kelly Blue is the sound of a pianist at the peak of his power, surrounded by friends who know exactly how to keep up. If your jazz collection were a cocktail, this album would be the splash of bourbon that makes everything come together.\r\n
      \r\n
      This is a vinyl LP reissue unmatched. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings ! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
    -musicienOrchestre: "Wynton Kelly (piano), Nat Adderley (cornet), Benny Golson (tenor saxophone), Paul Chambers (bass), Jimmy Cobb (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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    -extraitYoutube: "https://www.youtube.com/watch?v=yJNo9HvfX-8&list=RDyJNo9HvfX-8&start_radio=1"
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[
  "produit" => App\Entity\Produit {#2096
    -id: 2942
    -nom: "The Artistry Of Charlie Byrd - (2 LP) 45 RPM"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      - Charlie Byrd "The Guitar Artistry of Charlie Byrd" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      Picture this: it's 1960, and the world is still reeling from the Eisenhower era, poodle skirts, and the faint hum of early rock ‘n' roll trying to steal jazz's thunder. Charlie Byrd's album The Guitar Artistry of Charlie Byrd drops like a perfectly timed rimshot, ready to remind everyone that jazz can be sophisticated, soulful, and swing like nobody's business.\r\n
      \r\n
      It was at Edgewood Studios in Washington, D.C. where Byrd, the Virgina-born guitar wizard, with his trusty unamplified Spanish guitar, plied his magic. Recorded in 1960 and released in 1963 on Riverside Records (after a limited run as Charlie's Choice: Jazz at the Showboat, Vol. 4 on Washington Records' Offbeat imprint), this album is Byrd at his peak, blending jazz's improvisational fire with the refined finesse of classical technique. The tracklist reads like a love letter to versatility: from the peppy "Taking a Chance on Love" to the dreamy "Moonlight in Vermont," and a nod to his idol Django Reinhardt with "Nuages." Oh, and let's not forget "Django", a solo guitar performance that's so intimate, you'll swear Byrd's playing it just for you in your living room.\r\n
      \r\n
      The album's vibe is like a martini smooth, sophisticated, but with a kick that sneaks up on you. AllMusic gave it a glowing 4½ stars, calling it "pleasing," and Byrd's style "clean, beautifully articulated" which is critic-speak for "this is the kind of record you'll spin until your turntable begs for mercy". It's not just background music; it's a conversation between Byrd's fingers and your soul, with every plucked note saying, "Hey, jazz can be classy and cool".\r\n
      \r\n
      Byrd doesn't go it alone here he's got the perfect wingmen. On bass, we have Keter Betts, whose steady, soulful lines are the heartbeat of the trio. Betts, a D.C. jazz staple, keeps things grounded while Byrd's guitar soars. On drums, Buddy Deppenschmidt lays down rhythms so tasteful, you'd think he's seasoning the tracks with pixie dust. Together, they're tighter than a hipster's skinny jeans, creating a sound that's both relaxed and razor-sharp. And that solo "Django" ? That's all Byrd, baby proof he could hold court without a rhythm section and still leave you gobsmacked.\r\n
      \r\n
      The Guitar Artistry of Charlie Byrd didn't top the Billboard charts like Byrd's later bossa nova blockbuster Jazz Samba (1962, with Stan Getz), but it was a sleeper hit in jazz circles. Its initial limited release on Washington Records meant it was like finding a rare Pokémon card for early collectors. When Riverside picked it up in '63, it rode the wave of Byrd's growing fame, especially after he introduced bossa nova to North America. Jazz fans, already smitten with Byrd's genre-hopping genius, snapped it up, and it became a staple in collections for its pure, unadulterated guitar artistry.\r\n
      \r\n
      This reissue brims with superior quality. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.\r\n
      \r\n
      For a jazz music collector, The Guitar Artistry of Charlie Byrd is like a holy grail with a side of hot sauce. It's a masterclass in guitar-driven jazz from a guy who could make nylon strings sing like nobody else. It's the kind of record you'll play to unwind, to impress, or to remind yourself why you fell in love with jazz in the first place.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
    -musicienOrchestre: "Charlie Byrd (guitar), Keter Betts (bass), Buddy Deppenschmidt (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3380
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  +produit: App\Entity\Produit {#2096
    -id: 2942
    -nom: "The Artistry Of Charlie Byrd - (2 LP) 45 RPM"
    -informationComplementaire: "AVAILABILITY : 31/01/2026 (subject Analogue Productions)"
    -description: """
      - Charlie Byrd "The Guitar Artistry of Charlie Byrd" !\r\n
      - Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering !\r\n
      - Double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings !\r\n
      - Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish !\r\n
      \r\n
      Picture this: it's 1960, and the world is still reeling from the Eisenhower era, poodle skirts, and the faint hum of early rock ‘n' roll trying to steal jazz's thunder. Charlie Byrd's album The Guitar Artistry of Charlie Byrd drops like a perfectly timed rimshot, ready to remind everyone that jazz can be sophisticated, soulful, and swing like nobody's business.\r\n
      \r\n
      It was at Edgewood Studios in Washington, D.C. where Byrd, the Virgina-born guitar wizard, with his trusty unamplified Spanish guitar, plied his magic. Recorded in 1960 and released in 1963 on Riverside Records (after a limited run as Charlie's Choice: Jazz at the Showboat, Vol. 4 on Washington Records' Offbeat imprint), this album is Byrd at his peak, blending jazz's improvisational fire with the refined finesse of classical technique. The tracklist reads like a love letter to versatility: from the peppy "Taking a Chance on Love" to the dreamy "Moonlight in Vermont," and a nod to his idol Django Reinhardt with "Nuages." Oh, and let's not forget "Django", a solo guitar performance that's so intimate, you'll swear Byrd's playing it just for you in your living room.\r\n
      \r\n
      The album's vibe is like a martini smooth, sophisticated, but with a kick that sneaks up on you. AllMusic gave it a glowing 4½ stars, calling it "pleasing," and Byrd's style "clean, beautifully articulated" which is critic-speak for "this is the kind of record you'll spin until your turntable begs for mercy". It's not just background music; it's a conversation between Byrd's fingers and your soul, with every plucked note saying, "Hey, jazz can be classy and cool".\r\n
      \r\n
      Byrd doesn't go it alone here he's got the perfect wingmen. On bass, we have Keter Betts, whose steady, soulful lines are the heartbeat of the trio. Betts, a D.C. jazz staple, keeps things grounded while Byrd's guitar soars. On drums, Buddy Deppenschmidt lays down rhythms so tasteful, you'd think he's seasoning the tracks with pixie dust. Together, they're tighter than a hipster's skinny jeans, creating a sound that's both relaxed and razor-sharp. And that solo "Django" ? That's all Byrd, baby proof he could hold court without a rhythm section and still leave you gobsmacked.\r\n
      \r\n
      The Guitar Artistry of Charlie Byrd didn't top the Billboard charts like Byrd's later bossa nova blockbuster Jazz Samba (1962, with Stan Getz), but it was a sleeper hit in jazz circles. Its initial limited release on Washington Records meant it was like finding a rare Pokémon card for early collectors. When Riverside picked it up in '63, it rode the wave of Byrd's growing fame, especially after he introduced bossa nova to North America. Jazz fans, already smitten with Byrd's genre-hopping genius, snapped it up, and it became a staple in collections for its pure, unadulterated guitar artistry.\r\n
      \r\n
      This reissue brims with superior quality. Mastering by Kevin Gray and Steve Hoffman at Acoustech Mastering, double LP cut at 45 RPM and pressed on 180 gram vinyl at Quality Record Pressings! Plus it's housed in a Stoughton Printing Old Style Tip-On gatefold jacket with scuff-resistant matte finish.\r\n
      \r\n
      For a jazz music collector, The Guitar Artistry of Charlie Byrd is like a holy grail with a side of hot sauce. It's a masterclass in guitar-driven jazz from a guy who could make nylon strings sing like nobody else. It's the kind of record you'll play to unwind, to impress, or to remind yourself why you fell in love with jazz in the first place.
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1801 …}
    -musicienOrchestre: "Charlie Byrd (guitar), Keter Betts (bass), Buddy Deppenschmidt (drums)"
    -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=vURkd24H43A&list=PLoERbxXMyKwaGhjk2gRoqsLNXDsqo5gjt"
    -referenceProduit: "Analogue Productions AAPJ 209-45"
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        "nom" => "4. Nuages"
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2098 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -slug: "vinyles-the-artistry-of-charlie-byrd-2-lp-45-rpm-analogue-productions-aapj-209-45"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2422 …}
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[
  "produit" => App\Entity\Produit {#2112
    -id: 2184
    -nom: "Sketches of spain - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba), James Buffington (fender Rhodes, french Horn), Eddie Caine (flugelhorn, flute), Paul Chambers (bass), Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet), Harold Feldman (clarinet, flute, oboe), Dick Hixon, Frank Rehak (trombone), Elvin Jones, Jose Mangual (percussion), Jack Knitzer (bassoon), Romeo Penque (oboe), Janet Putnam (harp), Jimmy cobb (drums).\r\n
      \r\n
      DEFINITIVE MOBILE FIDELITY ULTRADISC ONE-STEP SET INCLUDES OPULENT BOX, FOIL-STAMPED JACKETS, AND MOFI SUPERVINYL LPS PRESSED AT RTI !\r\n
      \r\n
      Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that resonates more than six decades after its original release.\r\n
      \r\n
      A crucial part of the next phase of Mobile Fidelity's Miles Davis restoration series, the 1960 landmark has been afforded the ultimate white-gloves treatment. Mastered from the original master tapes and pressed on dead-quiet MoFi SuperVinyl at RTI, the label's exquisite UltraDisc One-Step 45 RPM 180 gram 2 LP box set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. Listeners can now hear the full perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with unprecedented definition and detail.\r\n
      \r\n
      The premium packaging and beautiful presentation of the numbered, limited-edition UD1S Sketches of Spain pressing befit the record's historical importance. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. Aurally and visually, this UD1S set exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain ?\r\n
      \r\n
      Whether it is the somber mood piece "Concierto de Aranjuez (Adagio)", renowned for Davis' flugelhorn performance, or the folktale-based "Solea", Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took every available measure to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18 piece orchestra. The results are as breathtaking as the music.\r\n
      \r\n
      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain : color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues in the 21st century to draw praise from the entire music community.\r\n
      \r\n
      Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken" jazz in a new direction, the Grammy Award-winning effort has never sounded or looked better.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=qljvoFTcNrg"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-038"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "1. Concierto de Aranjuez (Adagio)"
      ]
      [
        "ordre" => 1
        "nom" => "2. Will O' the Wisp"
      ]
      [
        "ordre" => 2
        "nom" => "3. The Pan Piper"
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      [
        "ordre" => 3
        "nom" => "4. Saeta"
      ]
      [
        "ordre" => 4
        "nom" => "5. Solea"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2114 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3431
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2654 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2112
    -id: 2184
    -nom: "Sketches of spain - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba), James Buffington (fender Rhodes, french Horn), Eddie Caine (flugelhorn, flute), Paul Chambers (bass), Johnny Coles, Bernie Glow, Taft Jordan, Louis Mucci, Ernie Royal (trumpet), Harold Feldman (clarinet, flute, oboe), Dick Hixon, Frank Rehak (trombone), Elvin Jones, Jose Mangual (percussion), Jack Knitzer (bassoon), Romeo Penque (oboe), Janet Putnam (harp), Jimmy cobb (drums).\r\n
      \r\n
      DEFINITIVE MOBILE FIDELITY ULTRADISC ONE-STEP SET INCLUDES OPULENT BOX, FOIL-STAMPED JACKETS, AND MOFI SUPERVINYL LPS PRESSED AT RTI !\r\n
      \r\n
      Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that resonates more than six decades after its original release.\r\n
      \r\n
      A crucial part of the next phase of Mobile Fidelity's Miles Davis restoration series, the 1960 landmark has been afforded the ultimate white-gloves treatment. Mastered from the original master tapes and pressed on dead-quiet MoFi SuperVinyl at RTI, the label's exquisite UltraDisc One-Step 45 RPM 180 gram 2 LP box set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. Listeners can now hear the full perspective long deserved by the woodwinds, strings, and percussion, all of which come alive with unprecedented definition and detail.\r\n
      \r\n
      The premium packaging and beautiful presentation of the numbered, limited-edition UD1S Sketches of Spain pressing befit the record's historical importance. Housed in a deluxe box, the reissue features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. Aurally and visually, this UD1S set exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain ?\r\n
      \r\n
      Whether it is the somber mood piece "Concierto de Aranjuez (Adagio)", renowned for Davis' flugelhorn performance, or the folktale-based "Solea", Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took every available measure to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18 piece orchestra. The results are as breathtaking as the music.\r\n
      \r\n
      Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain : color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues in the 21st century to draw praise from the entire music community.\r\n
      \r\n
      Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken" jazz in a new direction, the Grammy Award-winning effort has never sounded or looked better.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Miles Davis (trumpet, Flageolet, Flugelhorn), Danny Bank (bass, clarinet, bass clarinet), Billy Barber, Jimmy McAllister (tuba), John Barrows, Earl Chapin, Tony Miranda, Joe Singer (french Horn), Al Block (flute, oboe, tuba)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=qljvoFTcNrg"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-038"
    -titreMorceau: [
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      ]
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        "ordre" => 2
        "nom" => "3. The Pan Piper"
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      [
        "ordre" => 3
        "nom" => "4. Saeta"
      ]
      [
        "ordre" => 4
        "nom" => "5. Solea"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2114 …}
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      date: 2025-12-31 22:12:55.0 UTC (+00:00)
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    -slug: "vinyles-sketches-of-spain-ultradisc-one-step-box-set-2-lp-45-rpm-mobile-fidelity-sound-lab-ud1s-038"
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2422 …}
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[
  "produit" => App\Entity\Produit {#2131
    -id: 2553
    -nom: "Heavy Sounds"
    -informationComplementaire: null
    -description: """
      - Elvin Jones And Richard Davis "Heavy Sounds"180 gram vinyl !\r\n
      - Verve By Request Series Monthly releases from Verve Label Group's jazz catalog !\r\n
      - Handpicked rarities and fan favorites include out-of-print titles and first-ever vinyl pressings !\r\n
      \r\n
      Recorded for Impulse in 1967, a session originally intended to be a trio date morphed into an 11 ½ minute duet on "Summertime" between drummer Jones and bassist Davis when the guitarist did not appear. The following day, saxophonist Frank Foster and pianist Billy Greene joined in to round out the rest of the cuts including "Elvin's Guitar Blues," which features Jones' only recorded guitar performance. Verve By Request Series features 180 gram vinyl, pressed at Third Man in Detroit.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Elvin Jones (drums), Richard Davis (bass), Billy Greene (piano), Frank Foster (tenor saxophone)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=mIuYqJYQt2w"
    -referenceProduit: "Verve Records 5542"
    -titreMorceau: [
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        "ordre" => 0
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App\Twig\Components\GestionPanierFavoriComponents {#3482
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
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  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2654 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2131
    -id: 2553
    -nom: "Heavy Sounds"
    -informationComplementaire: null
    -description: """
      - Elvin Jones And Richard Davis "Heavy Sounds"180 gram vinyl !\r\n
      - Verve By Request Series Monthly releases from Verve Label Group's jazz catalog !\r\n
      - Handpicked rarities and fan favorites include out-of-print titles and first-ever vinyl pressings !\r\n
      \r\n
      Recorded for Impulse in 1967, a session originally intended to be a trio date morphed into an 11 ½ minute duet on "Summertime" between drummer Jones and bassist Davis when the guitarist did not appear. The following day, saxophonist Frank Foster and pianist Billy Greene joined in to round out the rest of the cuts including "Elvin's Guitar Blues," which features Jones' only recorded guitar performance. Verve By Request Series features 180 gram vinyl, pressed at Third Man in Detroit.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Elvin Jones (drums), Richard Davis (bass), Billy Greene (piano), Frank Foster (tenor saxophone)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=mIuYqJYQt2w"
    -referenceProduit: "Verve Records 5542"
    -titreMorceau: [
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        "nom" => "Side A : "
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        "nom" => "1. Raunchy Rita"
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        "nom" => "3. M. E."
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        "nom" => "Side B : "
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      [
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        "nom" => "1. Summertime"
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      [
        "ordre" => 6
        "nom" => "2. Elvin's Guitar Blues"
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      [
        "ordre" => 7
        "nom" => "3. Here's That Rainy Day"
      ]
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2133 …}
    -label: Proxies\__CG__\App\Entity\Label {#2136 …}
    -style: App\Entity\Style {#1063 …}
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      date: 2025-12-31 21:52:23.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2142 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-heavy-sounds-verve-records-5542"
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  +optionPrix: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2422 …}
}

[
  "produit" => App\Entity\Produit {#2150
    -id: 1620
    -nom: "Kind of Blue  (45 RPM 200 Gram Clarity Vinyl)"
    -informationComplementaire: null
    -description: """
      - Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl !\r\n
      - Definitive limited run reissue Ultra High Quality Record !\r\n
      - 45 RPM double LP release limited to 25000 copies !\r\n
      - Best-selling album in jazz history; mastered by Bernie Grundman from the original 3 track master tapes !\r\n
      - Pressed at Quality Record Pressings using Clarity Vinyl !\r\n
      - Purest possible pressing and most visually stunning presentation and packaging !\r\n
      - Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history !\r\n
      - Video Should New Vinyl Collectors Buy the 45 RPM UHQR Miles Davis Kind of Blue ? Click here !\r\n
      \r\n
      "Kassem's new edition-also stamped in an edition of 25000 is from the same master, pressed on the same type of vinyl (but not "hand pressed" this time, which actually results in greater pressing consistency, plus now there's a good chance everyone who orders will get their copy in a reasonable time period), packed in the same fancy box. The only difference is that the music is on two LPs, cut at 45 RPM, meaning the grooves are much wider. All things equal, this should make for finer detail, an airier ambience, more lifelike sound generally. And that's what you get here. Take the passage from my Stereophile review and step it up a few notches: "finer touches... even more stunningly clear...still more layers...the ecstatic beauty..." Everything is more present, more brassy, woody, or metallic, depending on the instrument. There's a more palpable sense of a human being blowing through a mouthpiece, plucking a string, coaxing a keyboard, or tapping a snare drum. There is more of a sense that you are with the musicians in the studio. In short, take any account you've read-or any memory you treasure-of this album's sonic glories, and embellish every admiring adjective with more, more, better, better." - Music = 11/11; Sound = 11/11 Fred Kaplan, TrackingAngle.com. To read Kaplan's full review, click here.\r\n
      \r\n
      Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording a five track masterpiece of melancholy mood and melody.\r\n
      \r\n
      It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader."\r\n
      \r\n
      Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Blue where it belongs : the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of every single record.\r\n
      \r\n
      The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.\r\n
      \r\n
      For this 45 RPM 2 LP edition we've set the bar for excellence higher. Lifelike distinct detail that was palpable enough in 33 1/3 RPM is holographic at 45. Four glorious sides of 200 gram vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. There's also a 20 page booklet with updated session photos and liner notes by Robert Palmer and Ashley Kahn. Plus, we've included photos of legendary mastering engineer Bernie Grundman's mastering notes from this release.\r\n
      \r\n
      Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick", Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them". Kind of Blue is, in a sense, all melody and atmosphere.\r\n
      \r\n
      None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\r\n
      \r\n
      Miles remained proud of the album, performing at least two of its tracks "So What" and "All Blues" for years after, until his musical path took him in a different direction.\r\n
      \r\n
      History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\r\n
      \r\n
      A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3 track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What", "Freddie Freeloader" and "Blue in Green", making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records or their latter-day parent, Sony Music on a CD reissue in the late '90s.\r\n
      \r\n
      Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Miles Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Paul Chambers (double bass), Bill Evan, Wynton Kelly (piano), Jimmy Cobb (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: true
    -extraitYoutube: "https://www.youtube.com/watch?v=TpMzD8Q1fQg&list=RDTpMzD8Q1fQg&start_radio=1"
    -referenceProduit: "Analogue Productions AUHQR 0004-45"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A : "
      ]
      [
        "ordre" => 1
        "nom" => "1. So What"
      ]
      [
        "ordre" => 2
        "nom" => "Side B : "
      ]
      [
        "ordre" => 3
        "nom" => "1. Freddie Freeloader"
      ]
      [
        "ordre" => 4
        "nom" => "2. Blue In Green"
      ]
      [
        "ordre" => 5
        "nom" => "Side C : "
      ]
      [
        "ordre" => 6
        "nom" => "1. All Blues"
      ]
      [
        "ordre" => 7
        "nom" => "Side D : "
      ]
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        "ordre" => 8
        "nom" => "1. Flamenco Sketches"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2114 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
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    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2153 …}
    -enregistreLe: DateTime @1553763942 {#2147
      date: 2019-03-28 09:05:42.0 UTC (+00:00)
    }
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      date: 2025-12-31 21:41:23.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-kind-of-blue-45-rpm-200-gram-clarity-vinyl-analogue-productions-auhqr-0004-45"
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App\Twig\Components\GestionPanierFavoriComponents {#3535
  -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 {#2654 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2150
    -id: 1620
    -nom: "Kind of Blue  (45 RPM 200 Gram Clarity Vinyl)"
    -informationComplementaire: null
    -description: """
      - Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl !\r\n
      - Definitive limited run reissue Ultra High Quality Record !\r\n
      - 45 RPM double LP release limited to 25000 copies !\r\n
      - Best-selling album in jazz history; mastered by Bernie Grundman from the original 3 track master tapes !\r\n
      - Pressed at Quality Record Pressings using Clarity Vinyl !\r\n
      - Purest possible pressing and most visually stunning presentation and packaging !\r\n
      - Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history !\r\n
      - Video Should New Vinyl Collectors Buy the 45 RPM UHQR Miles Davis Kind of Blue ? Click here !\r\n
      \r\n
      "Kassem's new edition-also stamped in an edition of 25000 is from the same master, pressed on the same type of vinyl (but not "hand pressed" this time, which actually results in greater pressing consistency, plus now there's a good chance everyone who orders will get their copy in a reasonable time period), packed in the same fancy box. The only difference is that the music is on two LPs, cut at 45 RPM, meaning the grooves are much wider. All things equal, this should make for finer detail, an airier ambience, more lifelike sound generally. And that's what you get here. Take the passage from my Stereophile review and step it up a few notches: "finer touches... even more stunningly clear...still more layers...the ecstatic beauty..." Everything is more present, more brassy, woody, or metallic, depending on the instrument. There's a more palpable sense of a human being blowing through a mouthpiece, plucking a string, coaxing a keyboard, or tapping a snare drum. There is more of a sense that you are with the musicians in the studio. In short, take any account you've read-or any memory you treasure-of this album's sonic glories, and embellish every admiring adjective with more, more, better, better." - Music = 11/11; Sound = 11/11 Fred Kaplan, TrackingAngle.com. To read Kaplan's full review, click here.\r\n
      \r\n
      Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording a five track masterpiece of melancholy mood and melody.\r\n
      \r\n
      It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wynton Kelly playing piano on "Freddy the Freeloader."\r\n
      \r\n
      Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Blue where it belongs : the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of every single record.\r\n
      \r\n
      The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.\r\n
      \r\n
      For this 45 RPM 2 LP edition we've set the bar for excellence higher. Lifelike distinct detail that was palpable enough in 33 1/3 RPM is holographic at 45. Four glorious sides of 200 gram vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. There's also a 20 page booklet with updated session photos and liner notes by Robert Palmer and Ashley Kahn. Plus, we've included photos of legendary mastering engineer Bernie Grundman's mastering notes from this release.\r\n
      \r\n
      Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick", Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them". Kind of Blue is, in a sense, all melody and atmosphere.\r\n
      \r\n
      None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.\r\n
      \r\n
      Miles remained proud of the album, performing at least two of its tracks "So What" and "All Blues" for years after, until his musical path took him in a different direction.\r\n
      \r\n
      History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.\r\n
      \r\n
      A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3 track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What", "Freddie Freeloader" and "Blue in Green", making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records or their latter-day parent, Sony Music on a CD reissue in the late '90s.\r\n
      \r\n
      Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.
      """
    -prixVente: "249.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Miles Davis (trumpet), Julian "Cannonball" Adderley (alto sax), John Coltrane (tenor sax), Paul Chambers (double bass), Bill Evan, Wynton Kelly (piano), Jimmy Cobb (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: true
    -extraitYoutube: "https://www.youtube.com/watch?v=TpMzD8Q1fQg&list=RDTpMzD8Q1fQg&start_radio=1"
    -referenceProduit: "Analogue Productions AUHQR 0004-45"
    -titreMorceau: [
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        "nom" => "Side C : "
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      [
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        "nom" => "1. All Blues"
      ]
      [
        "ordre" => 7
        "nom" => "Side D : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Flamenco Sketches"
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2114 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
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}

[
  "produit" => App\Entity\Produit {#2163
    -id: 2185
    -nom: "Bitches Brew - UltraDisc One-Step (Box Set 2 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
      THE AURAL MOUNT RUSHMORE OF JAZZ FUSION: MASTERED FROM THE ORIGINAL MASTER TAPES, PRESSED AT RTI ON MOFI SUPERVINYL, AND HOUSED IN A LAVISH BOX !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than 50 years later, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's UltraDisc One-Step 180 gram 2 LP vinyl box set.\r\n
      \r\n
      Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly numbered and limited, this definitive reissue enhances every element of a double album that established new possibilities for studio recording techniques. You'll hear wider and deeper soundstages, more separation between instruments, and a drastically broadened dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint abstract canvases on par with those of Axis : Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew pressing befit such extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense is spared. Aurally and visually, it exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything surrounding the album, from the images to the finishes. And this is one effort where every last detail matters.\r\n
      Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remains Bitches Brew.\r\n
      Don't miss the rare opportunity to experience the album at its full potential, a dream fully realized by Mobile Fidelity.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-039"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "1. Pharaoh's Dance"
      ]
      [
        "ordre" => 1
        "nom" => "2. Bitches Brew"
      ]
      [
        "ordre" => 2
        "nom" => "3. Spanish Key"
      ]
      [
        "ordre" => 3
        "nom" => "4. John McLaughlin"
      ]
      [
        "ordre" => 4
        "nom" => "5. Miles Runs the Voodoo Down"
      ]
      [
        "ordre" => 5
        "nom" => "6. Sanctuary"
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        "ordre" => 6
        "nom" => "Side A :"
      ]
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        "ordre" => 7
        "nom" => "Side B :"
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        "nom" => "Side C :"
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        "ordre" => 9
        "nom" => "Side D : "
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2114 …}
    -label: Proxies\__CG__\App\Entity\Label {#2117 …}
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    -modifierLe: DateTime @1767215067 {#2161
      date: 2025-12-31 21:04:27.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -infoMasterTape: null
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App\Twig\Components\GestionPanierFavoriComponents {#3583
  -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 {#2654 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2163
    -id: 2185
    -nom: "Bitches Brew - UltraDisc One-Step (Box Set 2 LP) 33 RPM"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano), Jim Riley (percussion), Charles Alias, Jack DeJohnette, Lenny White (drums).\r\n
      \r\n
      THE AURAL MOUNT RUSHMORE OF JAZZ FUSION: MASTERED FROM THE ORIGINAL MASTER TAPES, PRESSED AT RTI ON MOFI SUPERVINYL, AND HOUSED IN A LAVISH BOX !\r\n
      \r\n
      "Listen to This". As the original working title for Bitches Brew, the instruction and invitation resonates to this day as the best way to approach a record that shattered conventions, altered music history, and, more than 50 years later, still sounds far ahead of its time. The aural Mount Rushmore of jazz fusion, Bitches Brew is rightly ranked by virtually every significant press outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity's UltraDisc One-Step 180 gram 2 LP vinyl box set.\r\n
      \r\n
      Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly numbered and limited, this definitive reissue enhances every element of a double album that established new possibilities for studio recording techniques. You'll hear wider and deeper soundstages, more separation between instruments, and a drastically broadened dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.\r\n
      \r\n
      Davis conceived Bitches Brew by having the musicians stand in a semi-circle, where he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Here, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint abstract canvases on par with those of Axis : Bold As Love and Abraxas. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.\r\n
      \r\n
      Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew pressing befit such extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense is spared. Aurally and visually, it exists as a curatorial artifact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything surrounding the album, from the images to the finishes. And this is one effort where every last detail matters.\r\n
      Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to "put together the greatest rock and roll band you ever heard" on Bitches Brew. Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.\r\n
      \r\n
      Conceptually, Davis described Bitches Brew as "a novel without words" and "an incredible journey of pain, joy, sorrow, hate, passion, and love." The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought the very principles with which Davis conceived the everlasting beauty and fascination that remains Bitches Brew.\r\n
      Don't miss the rare opportunity to experience the album at its full potential, a dream fully realized by Mobile Fidelity.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior\r\n
      \r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.\r\n
      \r\n
      MoFi SuperVinyl\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Miles Davis (trumpet), Wayne Shorter (soprano saxophone), Dave Holland (bass), Bennie Maupin (bass clarinet), Harvey Brooks (bass Fender), John McLaughlin (electric guitar), Chick Corea, Joe Zawinul, Larry Young (electric piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: true
    -extraitYoutube: "https://www.youtube.com/watch?v=vUVXMWOWaS8"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S-039"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "1. Pharaoh's Dance"
      ]
      [
        "ordre" => 1
        "nom" => "2. Bitches Brew"
      ]
      [
        "ordre" => 2
        "nom" => "3. Spanish Key"
      ]
      [
        "ordre" => 3
        "nom" => "4. John McLaughlin"
      ]
      [
        "ordre" => 4
        "nom" => "5. Miles Runs the Voodoo Down"
      ]
      [
        "ordre" => 5
        "nom" => "6. Sanctuary"
      ]
      [
        "ordre" => 6
        "nom" => "Side A :"
      ]
      [
        "ordre" => 7
        "nom" => "Side B :"
      ]
      [
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        "nom" => "Side C :"
      ]
      [
        "ordre" => 9
        "nom" => "Side D : "
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2114 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2164 …}
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    -enregistreLe: DateTime @1640935072 {#2160
      date: 2021-12-31 07:17:52.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1767215067 {#2161
      date: 2025-12-31 21:04:27.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2168 …}
    -disponible: null
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  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2422 …}
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[
  "produit" => App\Entity\Produit {#2176
    -id: 2922
    -nom: "Bumpin'"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Wes Montgomery (guitar), Bob Cranshaw (bass), Helcio Milito or Grady Tate (drums), Candido Camero (bongo, conga), Roger Kellaway (piano), Harold Coletta, David Schwartz (viola), Arnold Eidus, Lewis Eley, Paul Gershman, Louis Haber, Julius Held, Harry Lookofsky, Jos. Malignaggi, Gene Orloff, Sol Shapiro (violin), George Ricci, Charles McCracken\t(cello), Margaret Ross\t(harp).\r\n
      \r\n
      - Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      - Monthly releases highlighting the world's most historic and best jazz records !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original master tape !\r\n
      - 180 gram LPs pressed at Quality Record Pressings !\r\n
      - Stoughton Printing gatefold old-style tip-on jackets !\r\n
      - Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      Wes Montgomery's first album to reach the Billboard charts, Bumpin' showcases his exceptional command of the guitar with the support of an orchestra arranged and conducted by Don Sebesky. The rhythm section of Roger Kellaway (piano), Bob Cranshaw (bass) and Grady Tate (drums) add fire to and drive the orchestra. With a top-notch selection of compositions from Dizzy Gillespie, Johnny Mandel, John Francis Burke, and Montgomery himself, Bumpin' takes the listener on a majestic journey each time it spins.\r\n
      \r\n
      Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180 gram vinyl in deluxe gatefold packaging.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Wes Montgomery (guitar), Bob Cranshaw (bass), Helcio Milito or Grady Tate (drums), Candido Camero (bongo, conga), Roger Kellaway (piano), Harold Coletta, David Schwartz (viola)..."
    -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: null
    -referenceProduit: "Acoustic Sounds Series 8845"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Bumpin’"
      ]
      [
        "ordre" => 2
        "nom" => "2. Tear It Down"
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      [
        "ordre" => 3
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        "nom" => "4. Con Alma"
      ]
      [
        "ordre" => 5
        "nom" => "Side B : "
      ]
      [
        "ordre" => 6
        "nom" => "1. Love Theme From 'The Sandpiper' The Shadow Of Your Smile"
      ]
      [
        "ordre" => 7
        "nom" => "2. Mi Cosa"
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      [
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        "nom" => "3. Here’s The Rainy Day"
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      [
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        "nom" => ""
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      [
        "ordre" => 11
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2046 …}
    -label: Proxies\__CG__\App\Entity\Label {#2178 …}
    -style: App\Entity\Style {#1063 …}
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    }
    -modifierLe: DateTime @1766932040 {#2174
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    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2184 …}
    -disponible: null
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    -slug: "vinyles-bumpin-acoustic-sounds-series-8845"
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App\Twig\Components\GestionPanierFavoriComponents {#3631
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  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2654 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2176
    -id: 2922
    -nom: "Bumpin'"
    -informationComplementaire: null
    -description: """
      Musicians : \r\n
      Wes Montgomery (guitar), Bob Cranshaw (bass), Helcio Milito or Grady Tate (drums), Candido Camero (bongo, conga), Roger Kellaway (piano), Harold Coletta, David Schwartz (viola), Arnold Eidus, Lewis Eley, Paul Gershman, Louis Haber, Julius Held, Harry Lookofsky, Jos. Malignaggi, Gene Orloff, Sol Shapiro (violin), George Ricci, Charles McCracken\t(cello), Margaret Ross\t(harp).\r\n
      \r\n
      - Acoustic Sounds Series reissues from Verve/Universal Music Enterprises !\r\n
      - Monthly releases highlighting the world's most historic and best jazz records !\r\n
      - Mastered by Matthew Lutthans at The Mastering Lab from the original master tape !\r\n
      - 180 gram LPs pressed at Quality Record Pressings !\r\n
      - Stoughton Printing gatefold old-style tip-on jackets !\r\n
      - Series supervised by Chad Kassem CEO of Acoustic Sounds !\r\n
      \r\n
      Wes Montgomery's first album to reach the Billboard charts, Bumpin' showcases his exceptional command of the guitar with the support of an orchestra arranged and conducted by Don Sebesky. The rhythm section of Roger Kellaway (piano), Bob Cranshaw (bass) and Grady Tate (drums) add fire to and drive the orchestra. With a top-notch selection of compositions from Dizzy Gillespie, Johnny Mandel, John Francis Burke, and Montgomery himself, Bumpin' takes the listener on a majestic journey each time it spins.\r\n
      \r\n
      Verve's Acoustic Sounds Series features transfers from analog tapes and remastered 180 gram vinyl in deluxe gatefold packaging.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Wes Montgomery (guitar), Bob Cranshaw (bass), Helcio Milito or Grady Tate (drums), Candido Camero (bongo, conga), Roger Kellaway (piano), Harold Coletta, David Schwartz (viola)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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        "nom" => ""
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    -artiste: Proxies\__CG__\App\Entity\Artiste {#2046 …}
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    -modifierLe: DateTime @1766932040 {#2174
      date: 2025-12-28 14:27:20.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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}

[
  "produit" => App\Entity\Produit {#2194
    -id: 2921
    -nom: "Archie Shepp - Four For Trane"
    -informationComplementaire: null
    -description: """
      - Verve Vault Series 180 gram Vinyl LP !\r\n
      - Cut from Original Analog Tapes by Ryan K. Smith at Sterling Sound !\r\n
      - Pressed at Optimal !\r\n
      - Gatefold Jacket !\r\n
      \r\n
      Four for Trane, released in 1964 on Impulse! Records, was saxophonist Archie Shepp's first major studio statement and remains one of his most influential albums. Co-produced by John Coltrane and recorded at Rudy Van Gelder's Englewood Cliffs studio, the set presents Shepp performing four Coltrane compositions alongside Shepp's own "Rufus". Rather than offering faithful renditions, Shepp and arranger Roswell Rudd reimagine Coltrane's material with bold ensemble voicings, fluctuating time signatures, and unfettered improvisation.\r\n
      \r\n
      The quintet Shepp on tenor saxophone, Rudd on trombone, Alan Shorter on flugelhorn, Reggie Workman on bass, and Charles Moffett on drums bridges the intensity of free jazz with the formal rigor of post-bop. Four for Trane signaled his arrival as a vital and progressive voice within the new wave of 1960s jazz. The Verve Vault Series is always mastered from analog tapes and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Archie Shepp (tenor saxophone), John Tchicai (alto saxophone), Reggie Workman (bass), Alan Shorter (flugelhorn), Roswell Rudd (trombone), Charles Moffett (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=xGo8ZJIRTHk&list=RDxGo8ZJIRTHk&start_radio=1"
    -referenceProduit: "Verve Records 5789"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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        "nom" => "1.Syeeda's Song Flute"
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2196 …}
    -label: Proxies\__CG__\App\Entity\Label {#2199 …}
    -style: App\Entity\Style {#1063 …}
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    -morceauMP3: Doctrine\ORM\PersistentCollection {#2201 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2203 …}
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    }
    -modifierLe: DateTime @1766930579 {#2189
      date: 2025-12-28 14:02:59.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2205 …}
    -disponible: null
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    -slug: "vinyles-archie-shepp-four-for-trane-verve-records-5789"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3677
  -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 {#2654 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2194
    -id: 2921
    -nom: "Archie Shepp - Four For Trane"
    -informationComplementaire: null
    -description: """
      - Verve Vault Series 180 gram Vinyl LP !\r\n
      - Cut from Original Analog Tapes by Ryan K. Smith at Sterling Sound !\r\n
      - Pressed at Optimal !\r\n
      - Gatefold Jacket !\r\n
      \r\n
      Four for Trane, released in 1964 on Impulse! Records, was saxophonist Archie Shepp's first major studio statement and remains one of his most influential albums. Co-produced by John Coltrane and recorded at Rudy Van Gelder's Englewood Cliffs studio, the set presents Shepp performing four Coltrane compositions alongside Shepp's own "Rufus". Rather than offering faithful renditions, Shepp and arranger Roswell Rudd reimagine Coltrane's material with bold ensemble voicings, fluctuating time signatures, and unfettered improvisation.\r\n
      \r\n
      The quintet Shepp on tenor saxophone, Rudd on trombone, Alan Shorter on flugelhorn, Reggie Workman on bass, and Charles Moffett on drums bridges the intensity of free jazz with the formal rigor of post-bop. Four for Trane signaled his arrival as a vital and progressive voice within the new wave of 1960s jazz. The Verve Vault Series is always mastered from analog tapes and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Archie Shepp (tenor saxophone), John Tchicai (alto saxophone), Reggie Workman (bass), Alan Shorter (flugelhorn), Roswell Rudd (trombone), Charles Moffett (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=xGo8ZJIRTHk&list=RDxGo8ZJIRTHk&start_radio=1"
    -referenceProduit: "Verve Records 5789"
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        "nom" => "1. Cousin Mary"
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      [
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        "nom" => ""
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    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2196 …}
    -label: Proxies\__CG__\App\Entity\Label {#2199 …}
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    }
    -modifierLe: DateTime @1766930579 {#2189
      date: 2025-12-28 14:02:59.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2205 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-archie-shepp-four-for-trane-verve-records-5789"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2422 …}
}

[
  "produit" => App\Entity\Produit {#2215
    -id: 2920
    -nom: "Percussion Bitter Sweet"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Max Roach (drums), Art Davis (bass), Carlos "Patato" Valeler (congas), Carlos "Totico" Eugenio (cowbell), Eric Dolphy (flute, alto saxophone, bass clarinet), Mal Waldron (piano), Clifford Jordan (tenor saxophone), Julian Priester (trombone), Booker Little\t(trumpet), Abbey Lincoln (vocals).\r\n
      \r\n
      - Verve Vault Series 180 gram Vinyl LP !\r\n
      - Cut from Original Analog Tapes by Ryan K. Smith at Sterling Sound !\r\n
      - Pressed at Optimal !\r\n
      - Gatefold Jacket !\r\n
      \r\n
      Percussion Bitter Sweet, released in 1961 on Impulse! Records, is one of preeminent jazz drummer Max Roach's most politically charged and musically expansive recordings.\r\n
      \r\n
      Recorded over a number of days in August in 1961, the album reflects Roach's deepening engagement with themes of social justice and Pan-African identity. The ensemble features Booker Little, Julian Priester, Eric Dolphy, Mal Waldron, Abbey Lincoln, and more, alongside Roach's own commanding blend of cymbal textures, mallets, and explosive rhythmic detail. The inclusion of vocalist Lincoln Roach's artistic and political partner at the time adds urgency and emotional power to the project's most pointed statements.\r\n
      \r\n
      While not formally structured as a suite, the album's six tracks move fluidly between spiritual lament, militant swing, and improvisational abstraction. The opening piece, "Garvey's Ghost", sets the tone with Afro-Caribbean rhythmic undercurrents, while "Mendacity" takes aim at hypocrisy with biting horn lines and Lincoln's dramatic delivery. Elsewhere, "Mama" and "Praise for a Martyr" explore personal and collective grief through dynamic interplay and modal intensity.\r\n
      \r\n
      The Verve Vault series is always mastered from analog tapes and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Max Roach (drums), Art Davis (bass), Carlos "Patato" Valeler (congas), Carlos "Totico" Eugenio (cowbell), Eric Dolphy (flute, alto saxophone, bass clarinet), Mal Waldron (piano)..."
    -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=SYVROlfIXDQ&list=RDSYVROlfIXDQ&start_radio=1"
    -referenceProduit: "Verve Records 5966"
    -titreMorceau: [
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        "nom" => "1. Garvey's Ghost"
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      [
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        "nom" => "1. Praise For A Martyr"
      ]
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        "nom" => "3. Man From South Africa"
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        "nom" => ""
      ]
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        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2217 …}
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    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2229 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2224 …}
    -enregistreLe: DateTime @1766913870 {#2211
      date: 2025-12-28 09:24:30.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1766913999 {#2210
      date: 2025-12-28 09:26:39.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2226 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-percussion-bitter-sweet-verve-records-5966"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3728
  -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 {#2654 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1783 …}
  +produit: App\Entity\Produit {#2215
    -id: 2920
    -nom: "Percussion Bitter Sweet"
    -informationComplementaire: null
    -description: """
      Musicians :\r\n
      Max Roach (drums), Art Davis (bass), Carlos "Patato" Valeler (congas), Carlos "Totico" Eugenio (cowbell), Eric Dolphy (flute, alto saxophone, bass clarinet), Mal Waldron (piano), Clifford Jordan (tenor saxophone), Julian Priester (trombone), Booker Little\t(trumpet), Abbey Lincoln (vocals).\r\n
      \r\n
      - Verve Vault Series 180 gram Vinyl LP !\r\n
      - Cut from Original Analog Tapes by Ryan K. Smith at Sterling Sound !\r\n
      - Pressed at Optimal !\r\n
      - Gatefold Jacket !\r\n
      \r\n
      Percussion Bitter Sweet, released in 1961 on Impulse! Records, is one of preeminent jazz drummer Max Roach's most politically charged and musically expansive recordings.\r\n
      \r\n
      Recorded over a number of days in August in 1961, the album reflects Roach's deepening engagement with themes of social justice and Pan-African identity. The ensemble features Booker Little, Julian Priester, Eric Dolphy, Mal Waldron, Abbey Lincoln, and more, alongside Roach's own commanding blend of cymbal textures, mallets, and explosive rhythmic detail. The inclusion of vocalist Lincoln Roach's artistic and political partner at the time adds urgency and emotional power to the project's most pointed statements.\r\n
      \r\n
      While not formally structured as a suite, the album's six tracks move fluidly between spiritual lament, militant swing, and improvisational abstraction. The opening piece, "Garvey's Ghost", sets the tone with Afro-Caribbean rhythmic undercurrents, while "Mendacity" takes aim at hypocrisy with biting horn lines and Lincoln's dramatic delivery. Elsewhere, "Mama" and "Praise for a Martyr" explore personal and collective grief through dynamic interplay and modal intensity.\r\n
      \r\n
      The Verve Vault series is always mastered from analog tapes and pressed on 180 gram vinyl at Optimal.
      """
    -prixVente: "38.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1864 …}
    -musicienOrchestre: "Max Roach (drums), Art Davis (bass), Carlos "Patato" Valeler (congas), Carlos "Totico" Eugenio (cowbell), Eric Dolphy (flute, alto saxophone, bass clarinet), Mal Waldron (piano)..."
    -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=SYVROlfIXDQ&list=RDSYVROlfIXDQ&start_radio=1"
    -referenceProduit: "Verve Records 5966"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Garvey's Ghost"
      ]
      [
        "ordre" => 2
        "nom" => "2. Mama"
      ]
      [
        "ordre" => 3
        "nom" => "3. Tender Warriors"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. Praise For A Martyr"
      ]
      [
        "ordre" => 6
        "nom" => "2. Mendacity"
      ]
      [
        "ordre" => 7
        "nom" => "3. Man From South Africa"
      ]
      [
        "ordre" => 8
        "nom" => ""
      ]
      [
        "ordre" => 9
        "nom" => ""
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2217 …}
    -label: Proxies\__CG__\App\Entity\Label {#2220 …}
    -style: App\Entity\Style {#1063 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2229 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2222 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2224 …}
    -enregistreLe: DateTime @1766913870 {#2211
      date: 2025-12-28 09:24:30.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1766913999 {#2210
      date: 2025-12-28 09:26:39.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2226 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-percussion-bitter-sweet-verve-records-5966"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2422 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3929
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2422 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3930 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3978 …}
  +isValidated: false
  +validatedFields: []
}