Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2430
  -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 {#2277 …}
}

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

App\Twig\Components\ListePanier {#2507
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2510 …}
  -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 {#2509 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#2083 …}
  +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 {#2277 …}
  -formView: Symfony\Component\Form\FormView {#2546 …}
  -form: Symfony\Component\Form\Form {#2696 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1879
    -id: 3023
    -nom: "Trilogy  (Limited Numbered Edition)"
    -informationComplementaire: "Plongez dans "Trilogy", chef-d’œuvre du rock progressif signé Emerson, Lake & Palmer. Entre virtuosité éblouissante, envolées symphoniques et moments de pure émotion, cet album culte de 1972 repousse les frontières du rock."
    -description: """
      Sorti en 1972, "Trilogy" est le troisième album studio du groupe Emerson, Lake & Palmer, et souvent considéré comme l’un des sommets du rock progressif des années 70. À ce stade de leur carrière, le trio atteint un équilibre remarquable entre virtuosité instrumentale, ambition symphonique et accessibilité mélodique.\r\n
      \r\n
      L’album alterne entre compositions épiques et morceaux plus intimistes. Des titres comme “The Endless Enigma” ou “Trilogy” illustrent la dimension progressive du groupe, mêlant structures complexes, changements de rythmes et influences classiques, notamment portées par les claviers flamboyants de Keith Emerson.\r\n
      \r\n
      À l’inverse, “From the Beginning”, chanté et composé par Greg Lake, offre un moment de douceur acoustique devenu l’un des plus grands succès du groupe. La section rythmique, menée par Carl Palmer, apporte une précision et une puissance qui soutiennent les envolées techniques sans jamais perdre en cohérence.\r\n
      \r\n
      Trilogy se distingue aussi par son utilisation pionnière du synthétiseur Moog, contribuant à définir le son du rock progressif. L’album oscille ainsi entre expérimentation audacieuse et sens du morceau, ce qui en fait une œuvre accessible autant qu’exigeante.\r\n
      \r\n
      - Emerson, Lake & Palmer Expand Their Fusion of Rock, Classical, and Jazz Themes on Trilogy : Includes the Hit Ballad “From the Beginning” and Interpretation of Copland’s “Hoedown” !\r\n
      \r\n
      - Mastered at Mobile Fidelity Sound Lab’s Studio and Housed in a Stoughton Gatefold Jacket: Numbered-Edition 180 gram 33 RPM LP of 1972 Album Plays with Spectacular Dynamics and Clarity !\r\n
      \r\n
      - 1/4” / 15 IPS / Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      There’s a reason Greg Lake deemed Trilogy “such an accurate record” when looking back at it decades later. Emerson, Lake & Palmer’s third studio album teems with exacting arrangements, copious overdubs, and multi-hued colors that showcase the band’s willingness to experiment and desire to put everything in its proper place without becoming too self-serious. Expanding by distilling the ferocious power of its debut and epic leanings of the preceding Tarkus into a more accessible whole, Trilogy stands as the most representative example of the ensemble’s trademark styles. \r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Trilogy presents the gold-certified effort in audiophile quality marked by clear, direct, dynamic, and balanced sound.  With black backgrounds, quiet surfaces, and exceptional definition, the collectible reissue brings to fore the visionary depth and virtuosic musicianship on display. \r\n
      \r\n
      Prized characteristics textures, tones, nuances, effects, open spaces that go hand-in-hand with the trio’s songs and interplay are conveyed amid broad soundstages and in specific detail. Newly unveiled degrees of separation, imaging, and timing help make the compositions come across with involving presence and realism. Such sonic signposts extend to the subtle shifts in Lake’s voice on the opening cut, the mistake that prompts Carl Palmer to audibly curse at the beginning of “The Sheriff”, and the thrilling cosmic properties of the Moog synthesizers Keith Emerson employs throughout the record.\r\n
      \r\n
      Abandoning the conceptual nature of its two immediate predecessors, the 1972 work contains familiar threads that distinguish it as an album only ELP could make. The most obvious examples are the compositions. No other band at the time wove classical, rock, jazz, and even proto-metal themes in the manner of ELP. And no collective possessed the equivalent to Emerson, Lake, and Palmer’s individual technique and symmetrical chemistry. \r\n
      \r\n
      Trilogy is a canvas for these features and more, as well as the talents of engineer Eddy Offord, who ended his studio relationship with ELP after this project. All the better to savor this final collaboration between Offord and his English mates. Particularly given the scale-tipping production. It’s no wonder the group stopped performing several cuts live due to its frustration of being unable to replicate many parts onstage. The graduated level of complexity and layering even prompted ELP on the subsequent Brain Salad Surgery to craft songs it could faithfully recreate live. \r\n
      \r\n
      Challenging themselves as players and writers, the members of ELP use Trilogy as a springboard for excursions into adventurous landscapes that require the expert navigation of knotty twists and turns, and the ability to change directions at a moment’s notice. The album-opening trilogy based around “The Endless Enigma” scampers, romps, and swirls as it pushes the boundaries on sophisticated time signatures all the while remaining approachable and melodic. ELP incorporates the sound of everything from church bells to beating hearts and eerie Moog synthesizers into the Trilogy scenery, with “Fugue” functioning as both an elegant breather and transition.\r\n
      \r\n
      The band further taps classical devices for its now-iconic interpretation of Aaron Copland’s “Hoedown”. Spirited and spry, the round-we-go instrumental presents Emerson, Lake, and Palmer at their collective finest via on-point rhythms, balanced attack, and palpable energy. That the group leads into the adaptation with Western-themed storytelling on “The Sheriff” adds to the fun and coherency. And who can resist the band’s brief nod to cartoon music and Emerson’s honky-tonk piano lines during the coda ?\r\n
      \r\n
      As Lake later realized when he declared it his favorite of the group’s albums, Trilogy has it all. Fanfare flourishes and gorgeous minimalism. A Top 40 acoustic ballad “From the Beginning”, three-section title track bolstered by fanciful grooves, and grandiose bolero “Abaddon’s Bolero” appointed with clever modulations and marching structures. And, for the first time, art that depicts the physical likeness of the group itself. \r\n
      \r\n
      Designed by Storm Thorgerson and Aubrey Powell at Hipgnosis after Salvador Dali allegedly demanded a king’s ransom for the job, the portrayal conveys the philosophical and pensive qualities that emerge amid the music and narratives. Or, the visual representation of what Keith Emerson summarized in a period interview as “progressive rock with a lot of regard for the past”.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1835 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass guitar, acoustic & electric guitars, lead vocals), Carl Palmer (drums, percussion)"
    -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=ZHWjtWtMLtg&list=RDZHWjtWtMLtg&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-618"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. The Endless Enigma (Part 1)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Fugue"
      ]
      [
        "ordre" => 3
        "nom" => "3. The Endless Enigma (Part 2)"
      ]
      [
        "ordre" => 4
        "nom" => "4. From the Beginning"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Sheriff 6. Hoedown "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Trilogy"
      ]
      [
        "ordre" => 8
        "nom" => "2. Living Sin"
      ]
      [
        "ordre" => 9
        "nom" => "3. Abaddon’s Bolero"
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2011 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1913 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#1999 …}
    -enregistreLe: DateTime @1773841767 {#1894
      date: 2026-03-18 13:49:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773842147 {#1724
      date: 2026-03-18 13:55:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2005 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-trilogy-limited-numbered-edition-mobile-fidelity-sound-lab-mfsl-1-618"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#2983
  -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 {#2509 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#2083 …}
  +produit: App\Entity\Produit {#1879
    -id: 3023
    -nom: "Trilogy  (Limited Numbered Edition)"
    -informationComplementaire: "Plongez dans "Trilogy", chef-d’œuvre du rock progressif signé Emerson, Lake & Palmer. Entre virtuosité éblouissante, envolées symphoniques et moments de pure émotion, cet album culte de 1972 repousse les frontières du rock."
    -description: """
      Sorti en 1972, "Trilogy" est le troisième album studio du groupe Emerson, Lake & Palmer, et souvent considéré comme l’un des sommets du rock progressif des années 70. À ce stade de leur carrière, le trio atteint un équilibre remarquable entre virtuosité instrumentale, ambition symphonique et accessibilité mélodique.\r\n
      \r\n
      L’album alterne entre compositions épiques et morceaux plus intimistes. Des titres comme “The Endless Enigma” ou “Trilogy” illustrent la dimension progressive du groupe, mêlant structures complexes, changements de rythmes et influences classiques, notamment portées par les claviers flamboyants de Keith Emerson.\r\n
      \r\n
      À l’inverse, “From the Beginning”, chanté et composé par Greg Lake, offre un moment de douceur acoustique devenu l’un des plus grands succès du groupe. La section rythmique, menée par Carl Palmer, apporte une précision et une puissance qui soutiennent les envolées techniques sans jamais perdre en cohérence.\r\n
      \r\n
      Trilogy se distingue aussi par son utilisation pionnière du synthétiseur Moog, contribuant à définir le son du rock progressif. L’album oscille ainsi entre expérimentation audacieuse et sens du morceau, ce qui en fait une œuvre accessible autant qu’exigeante.\r\n
      \r\n
      - Emerson, Lake & Palmer Expand Their Fusion of Rock, Classical, and Jazz Themes on Trilogy : Includes the Hit Ballad “From the Beginning” and Interpretation of Copland’s “Hoedown” !\r\n
      \r\n
      - Mastered at Mobile Fidelity Sound Lab’s Studio and Housed in a Stoughton Gatefold Jacket: Numbered-Edition 180 gram 33 RPM LP of 1972 Album Plays with Spectacular Dynamics and Clarity !\r\n
      \r\n
      - 1/4” / 15 IPS / Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      There’s a reason Greg Lake deemed Trilogy “such an accurate record” when looking back at it decades later. Emerson, Lake & Palmer’s third studio album teems with exacting arrangements, copious overdubs, and multi-hued colors that showcase the band’s willingness to experiment and desire to put everything in its proper place without becoming too self-serious. Expanding by distilling the ferocious power of its debut and epic leanings of the preceding Tarkus into a more accessible whole, Trilogy stands as the most representative example of the ensemble’s trademark styles. \r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Trilogy presents the gold-certified effort in audiophile quality marked by clear, direct, dynamic, and balanced sound.  With black backgrounds, quiet surfaces, and exceptional definition, the collectible reissue brings to fore the visionary depth and virtuosic musicianship on display. \r\n
      \r\n
      Prized characteristics textures, tones, nuances, effects, open spaces that go hand-in-hand with the trio’s songs and interplay are conveyed amid broad soundstages and in specific detail. Newly unveiled degrees of separation, imaging, and timing help make the compositions come across with involving presence and realism. Such sonic signposts extend to the subtle shifts in Lake’s voice on the opening cut, the mistake that prompts Carl Palmer to audibly curse at the beginning of “The Sheriff”, and the thrilling cosmic properties of the Moog synthesizers Keith Emerson employs throughout the record.\r\n
      \r\n
      Abandoning the conceptual nature of its two immediate predecessors, the 1972 work contains familiar threads that distinguish it as an album only ELP could make. The most obvious examples are the compositions. No other band at the time wove classical, rock, jazz, and even proto-metal themes in the manner of ELP. And no collective possessed the equivalent to Emerson, Lake, and Palmer’s individual technique and symmetrical chemistry. \r\n
      \r\n
      Trilogy is a canvas for these features and more, as well as the talents of engineer Eddy Offord, who ended his studio relationship with ELP after this project. All the better to savor this final collaboration between Offord and his English mates. Particularly given the scale-tipping production. It’s no wonder the group stopped performing several cuts live due to its frustration of being unable to replicate many parts onstage. The graduated level of complexity and layering even prompted ELP on the subsequent Brain Salad Surgery to craft songs it could faithfully recreate live. \r\n
      \r\n
      Challenging themselves as players and writers, the members of ELP use Trilogy as a springboard for excursions into adventurous landscapes that require the expert navigation of knotty twists and turns, and the ability to change directions at a moment’s notice. The album-opening trilogy based around “The Endless Enigma” scampers, romps, and swirls as it pushes the boundaries on sophisticated time signatures all the while remaining approachable and melodic. ELP incorporates the sound of everything from church bells to beating hearts and eerie Moog synthesizers into the Trilogy scenery, with “Fugue” functioning as both an elegant breather and transition.\r\n
      \r\n
      The band further taps classical devices for its now-iconic interpretation of Aaron Copland’s “Hoedown”. Spirited and spry, the round-we-go instrumental presents Emerson, Lake, and Palmer at their collective finest via on-point rhythms, balanced attack, and palpable energy. That the group leads into the adaptation with Western-themed storytelling on “The Sheriff” adds to the fun and coherency. And who can resist the band’s brief nod to cartoon music and Emerson’s honky-tonk piano lines during the coda ?\r\n
      \r\n
      As Lake later realized when he declared it his favorite of the group’s albums, Trilogy has it all. Fanfare flourishes and gorgeous minimalism. A Top 40 acoustic ballad “From the Beginning”, three-section title track bolstered by fanciful grooves, and grandiose bolero “Abaddon’s Bolero” appointed with clever modulations and marching structures. And, for the first time, art that depicts the physical likeness of the group itself. \r\n
      \r\n
      Designed by Storm Thorgerson and Aubrey Powell at Hipgnosis after Salvador Dali allegedly demanded a king’s ransom for the job, the portrayal conveys the philosophical and pensive qualities that emerge amid the music and narratives. Or, the visual representation of what Keith Emerson summarized in a period interview as “progressive rock with a lot of regard for the past”.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1835 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass guitar, acoustic & electric guitars, lead vocals), Carl Palmer (drums, percussion)"
    -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=ZHWjtWtMLtg&list=RDZHWjtWtMLtg&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-618"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. The Endless Enigma (Part 1)"
      ]
      [
        "ordre" => 2
        "nom" => "2. Fugue"
      ]
      [
        "ordre" => 3
        "nom" => "3. The Endless Enigma (Part 2)"
      ]
      [
        "ordre" => 4
        "nom" => "4. From the Beginning"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Sheriff 6. Hoedown "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Trilogy"
      ]
      [
        "ordre" => 8
        "nom" => "2. Living Sin"
      ]
      [
        "ordre" => 9
        "nom" => "3. Abaddon’s Bolero"
      ]
      [
        "ordre" => 10
        "nom" => ""
      ]
      [
        "ordre" => 11
        "nom" => ""
      ]
      [
        "ordre" => 12
        "nom" => ""
      ]
      [
        "ordre" => 13
        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2011 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1913 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
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    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#1999 …}
    -enregistreLe: DateTime @1773841767 {#1894
      date: 2026-03-18 13:49:27.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1773842147 {#1724
      date: 2026-03-18 13:55:47.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2005 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-trilogy-limited-numbered-edition-mobile-fidelity-sound-lab-mfsl-1-618"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2277 …}
}

[
  "produit" => App\Entity\Produit {#2028
    -id: 3022
    -nom: "Pictures at an Exhibition"
    -informationComplementaire: "Plongez dans "Pictures at an Exhibition" d’Emerson, Lake & Palmer, une relecture rock audacieuse et virtuose de Moussorgski, un voyage sonore puissant, capté en live, où chaque note repousse les limites entre classique et modernité."
    -description: """
      Sorti en 1971, "Pictures at an Exhibition" est l’un des projets les plus audacieux du groupe Emerson, Lake & Palmer. Enregistré en public, l’album propose une relecture complète de l’œuvre du compositeur russe Modest Mussorgsky, transformée en fresque rock progressive.\r\n
      \r\n
      Porté par la virtuosité de Keith Emerson aux claviers (orgue Hammond, Moog), la voix et la sensibilité de Greg Lake, ainsi que la précision impressionnante du batteur Carl Palmer, l’album transcende les frontières entre musique classique et rock.\r\n
      \r\n
      Chaque tableau devient un terrain d’expérimentation sonore : alternance de passages grandioses, improvisations explosives, moments acoustiques plus intimes et envolées électroniques avant-gardistes. Le tout conserve l’esprit narratif de l’œuvre originale tout en y injectant l’énergie brute du live.\r\n
      \r\n
      Plus qu’une simple adaptation, "Pictures at an Exhibition" est une véritable fusion artistique, emblématique de l’ambition et de la créativité du rock progressif des années 70.\r\n
      \r\n
      - Emerson, Lake & Palmer Boldly Reimagine Mussorgsky’s Signature "Suite on Pictures at an Exhibition" : 1971 Live Album is a Groundbreaking Fusion of Classical and Prog-Rock Elements, Features Extraordinary Playing !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Housed in a Stoughton Gatefold Jacket: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Teems with Breadth, Presence, and Dimensionality !\r\n
      \r\n
      - ¼” / 15 IPS Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Emerson, Lake & Palmer were so committed to their visionary interpretation of Modest Mussorgsky’s “Pictures at an Exhibition” that the group recorded it twice. Unsatisfied with the quality of what was supposed to serve as the take for a concert album, ELP booked a different venue to stage another show and paid for production out of their own pocket. Following hours of rehearsals and sound checks, ELP delivered a performance for the ages. Originally issued five months after the band’s sophomore LP Tarkus, Pictures at an Exhibition landed in the Billboard Top Ten and became a linchpin of the prog-rock canon. \r\n
      \r\n
      Mastered at Mobile Fidelity Sound Lab’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, the fabled album comes to life with spectacular dimensionality, breadth, and detail on this numbered-edition 180 gram 33 RPM LP. Featuring dead-quiet surfaces, it doubles as an admission ticket that never expires to the band's March 26, 1971 date at Newcastle City Hall. The primary difference from not being there in person? The levels of clarity, presence, and separation are such that you'll immediately be grateful nobody is impeding your view or gabbing beside you as you soak in one of the most celebrated crossover experiments in history. \r\n
      \r\n
      What you will hear is cut from the best-possible source, and just might be the master. Mobile Fidelity Sound Lab engineers observed that the tape box that contained the source tape is marked “Masters” but cannot definitively confirm that is the case given the tape had no splices or other indications that can be taken as absolute proof that this was a master. As such, the label erred on the side of caution when it came to provenance. The sonic results, however, are definitive. \r\n
      \r\n
      Drop the needle and immerse yourself in this daring, extremely successful reimagining of a piano suite conceived in 1874 by Mussorgsky. ELP had been familiar with the classical piece since the group formed. Keyboardist Keith Emerson had attended an orchestral performance of the work and acquired the score, then floated the idea to his mates that they should adopt at least parts of Pictures at an Exhibition in their live shows. The band soon embraced the challenge of adapting the entire composition for the stage. Once it completed sessions for its sophomore LP, Tarkus, the trio decided to record it for official release. \r\n
      \r\n
      Bolstered by three original additions to the suite and a “Nutrocker” encore that’s a playful rock ‘n’ roll take on Tchaikovsky’s “Nutcracker”, Pictures at an Exhibition simultaneously blurs lines between genres and epitomizes the trio’s virtuosity and verve. Adopting four of the original 10 parts and the two transitory promenade sections, the effort surges with energy, cohesiveness, and extraordinary musicianship. This aural tour of works displayed at a St. Petersburg academy by painter Viktor Hartmann is at once celebratory, theatrical, moody, and glorious. \r\n
      \r\n
      Fans who heard it broadcast in its entirety on a New York radio station immediately realized its merits. Their loud clamor for an official release Atlantic Records had delayed the album due to disagreements with the band regarding how it would be promoted and priced ultimately led to Pictures at an Exhibition streeting in November 1971, further distinguished by William Neal’s artwork and his depictions of oil paintings with imagery connected to ELP.\r\n
      \r\n
      Incorporating four of the 10 movements featured in Mussorgsky’s original suite as well as the recurring “Promenade” theme, ELP’s version of the 1874 composition begins, as it should, with remarkable fanfare. Emerson commences with a pipe organ solo that threatens to make your internal organs vibrate. The fireworks have begun. Fuzz bass, Moog synthesizer, and Hammond organ lay the foundation for the tension-rife “The Gnome” and, minutes later, Greg Lake steers the procession in a different direction via tender acoustic-guitar patterns on the medieval-themed “The Sage”. ELP is feeling it. And how.\r\n
      \r\n
      The trio casts “The Old Castle” as a fast-tempo romp, cedes the spotlight to Emerson on “Blues Variation”, and ups the pace and chase during “The Hut of Baba Yaga”. ELP tint “The Curse of Baba Yaba” with an aptly threatening atmosphere, a trait Palmer underscores with a menacing beat and Emerson increases with his wailing-siren Moog passages. Firing on all proverbial cylinders, the collective finishes its Mussorgsky interpretation with “The Great Gates of Kiev”, an ecstatic gesture that exudes fulfillment, joy, and relief. What a rush.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1835 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass, guitar, acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -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=QeLzdxjF2Xs&list=RDQeLzdxjF2Xs&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-617"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 2
        "nom" => "2. The Gnome"
      ]
      [
        "ordre" => 3
        "nom" => "3. Promenade"
      ]
      [
        "ordre" => 4
        "nom" => "4. The Sage"
      ]
      [
        "ordre" => 5
        "nom" => "5. The Old Castle"
      ]
      [
        "ordre" => 6
        "nom" => "6. Blues Variation "
      ]
      [
        "ordre" => 7
        "nom" => "Side B : "
      ]
      [
        "ordre" => 8
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 9
        "nom" => "2. The Hut of Baba Yaga"
      ]
      [
        "ordre" => 10
        "nom" => "3. The Curse of Baba Yaga"
      ]
      [
        "ordre" => 11
        "nom" => "4. The Hut of Baba Yaga"
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      [
        "ordre" => 12
        "nom" => "5. The Great Gates of Kiev"
      ]
      [
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        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2036 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2029 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2031 …}
    -enregistreLe: DateTime @1773784509 {#2025
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    }
    -modifierLe: DateTime @1773785705 {#2026
      date: 2026-03-17 22:15:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2033 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pictures-at-an-exhibition-mobile-fidelity-sound-lab-mfsl-1-617"
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]

App\Twig\Components\GestionPanierFavoriComponents {#3074
  -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 {#2509 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#2083 …}
  +produit: App\Entity\Produit {#2028
    -id: 3022
    -nom: "Pictures at an Exhibition"
    -informationComplementaire: "Plongez dans "Pictures at an Exhibition" d’Emerson, Lake & Palmer, une relecture rock audacieuse et virtuose de Moussorgski, un voyage sonore puissant, capté en live, où chaque note repousse les limites entre classique et modernité."
    -description: """
      Sorti en 1971, "Pictures at an Exhibition" est l’un des projets les plus audacieux du groupe Emerson, Lake & Palmer. Enregistré en public, l’album propose une relecture complète de l’œuvre du compositeur russe Modest Mussorgsky, transformée en fresque rock progressive.\r\n
      \r\n
      Porté par la virtuosité de Keith Emerson aux claviers (orgue Hammond, Moog), la voix et la sensibilité de Greg Lake, ainsi que la précision impressionnante du batteur Carl Palmer, l’album transcende les frontières entre musique classique et rock.\r\n
      \r\n
      Chaque tableau devient un terrain d’expérimentation sonore : alternance de passages grandioses, improvisations explosives, moments acoustiques plus intimes et envolées électroniques avant-gardistes. Le tout conserve l’esprit narratif de l’œuvre originale tout en y injectant l’énergie brute du live.\r\n
      \r\n
      Plus qu’une simple adaptation, "Pictures at an Exhibition" est une véritable fusion artistique, emblématique de l’ambition et de la créativité du rock progressif des années 70.\r\n
      \r\n
      - Emerson, Lake & Palmer Boldly Reimagine Mussorgsky’s Signature "Suite on Pictures at an Exhibition" : 1971 Live Album is a Groundbreaking Fusion of Classical and Prog-Rock Elements, Features Extraordinary Playing !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Housed in a Stoughton Gatefold Jacket: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Teems with Breadth, Presence, and Dimensionality !\r\n
      \r\n
      - ¼” / 15 IPS Dolby A analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Emerson, Lake & Palmer were so committed to their visionary interpretation of Modest Mussorgsky’s “Pictures at an Exhibition” that the group recorded it twice. Unsatisfied with the quality of what was supposed to serve as the take for a concert album, ELP booked a different venue to stage another show and paid for production out of their own pocket. Following hours of rehearsals and sound checks, ELP delivered a performance for the ages. Originally issued five months after the band’s sophomore LP Tarkus, Pictures at an Exhibition landed in the Billboard Top Ten and became a linchpin of the prog-rock canon. \r\n
      \r\n
      Mastered at Mobile Fidelity Sound Lab’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, the fabled album comes to life with spectacular dimensionality, breadth, and detail on this numbered-edition 180 gram 33 RPM LP. Featuring dead-quiet surfaces, it doubles as an admission ticket that never expires to the band's March 26, 1971 date at Newcastle City Hall. The primary difference from not being there in person? The levels of clarity, presence, and separation are such that you'll immediately be grateful nobody is impeding your view or gabbing beside you as you soak in one of the most celebrated crossover experiments in history. \r\n
      \r\n
      What you will hear is cut from the best-possible source, and just might be the master. Mobile Fidelity Sound Lab engineers observed that the tape box that contained the source tape is marked “Masters” but cannot definitively confirm that is the case given the tape had no splices or other indications that can be taken as absolute proof that this was a master. As such, the label erred on the side of caution when it came to provenance. The sonic results, however, are definitive. \r\n
      \r\n
      Drop the needle and immerse yourself in this daring, extremely successful reimagining of a piano suite conceived in 1874 by Mussorgsky. ELP had been familiar with the classical piece since the group formed. Keyboardist Keith Emerson had attended an orchestral performance of the work and acquired the score, then floated the idea to his mates that they should adopt at least parts of Pictures at an Exhibition in their live shows. The band soon embraced the challenge of adapting the entire composition for the stage. Once it completed sessions for its sophomore LP, Tarkus, the trio decided to record it for official release. \r\n
      \r\n
      Bolstered by three original additions to the suite and a “Nutrocker” encore that’s a playful rock ‘n’ roll take on Tchaikovsky’s “Nutcracker”, Pictures at an Exhibition simultaneously blurs lines between genres and epitomizes the trio’s virtuosity and verve. Adopting four of the original 10 parts and the two transitory promenade sections, the effort surges with energy, cohesiveness, and extraordinary musicianship. This aural tour of works displayed at a St. Petersburg academy by painter Viktor Hartmann is at once celebratory, theatrical, moody, and glorious. \r\n
      \r\n
      Fans who heard it broadcast in its entirety on a New York radio station immediately realized its merits. Their loud clamor for an official release Atlantic Records had delayed the album due to disagreements with the band regarding how it would be promoted and priced ultimately led to Pictures at an Exhibition streeting in November 1971, further distinguished by William Neal’s artwork and his depictions of oil paintings with imagery connected to ELP.\r\n
      \r\n
      Incorporating four of the 10 movements featured in Mussorgsky’s original suite as well as the recurring “Promenade” theme, ELP’s version of the 1874 composition begins, as it should, with remarkable fanfare. Emerson commences with a pipe organ solo that threatens to make your internal organs vibrate. The fireworks have begun. Fuzz bass, Moog synthesizer, and Hammond organ lay the foundation for the tension-rife “The Gnome” and, minutes later, Greg Lake steers the procession in a different direction via tender acoustic-guitar patterns on the medieval-themed “The Sage”. ELP is feeling it. And how.\r\n
      \r\n
      The trio casts “The Old Castle” as a fast-tempo romp, cedes the spotlight to Emerson on “Blues Variation”, and ups the pace and chase during “The Hut of Baba Yaga”. ELP tint “The Curse of Baba Yaba” with an aptly threatening atmosphere, a trait Palmer underscores with a menacing beat and Emerson increases with his wailing-siren Moog passages. Firing on all proverbial cylinders, the collective finishes its Mussorgsky interpretation with “The Great Gates of Kiev”, an ecstatic gesture that exudes fulfillment, joy, and relief. What a rush.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1835 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer), Greg Lake (bass, guitar, acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -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=QeLzdxjF2Xs&list=RDQeLzdxjF2Xs&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-617"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 2
        "nom" => "2. The Gnome"
      ]
      [
        "ordre" => 3
        "nom" => "3. Promenade"
      ]
      [
        "ordre" => 4
        "nom" => "4. The Sage"
      ]
      [
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        "nom" => "5. The Old Castle"
      ]
      [
        "ordre" => 6
        "nom" => "6. Blues Variation "
      ]
      [
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        "nom" => "Side B : "
      ]
      [
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        "nom" => "1. Promenade"
      ]
      [
        "ordre" => 9
        "nom" => "2. The Hut of Baba Yaga"
      ]
      [
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        "nom" => "3. The Curse of Baba Yaga"
      ]
      [
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        "nom" => "4. The Hut of Baba Yaga"
      ]
      [
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        "nom" => "5. The Great Gates of Kiev"
      ]
      [
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        "nom" => ""
      ]
      [
        "ordre" => 14
        "nom" => ""
      ]
      [
        "ordre" => 15
        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2036 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2029 …}
    -typeMasterTape: null
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    -typeMateriel: null
    -produitTestePar: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2031 …}
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    }
    -modifierLe: DateTime @1773785705 {#2026
      date: 2026-03-17 22:15:05.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2033 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-pictures-at-an-exhibition-mobile-fidelity-sound-lab-mfsl-1-617"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2277 …}
}

[
  "produit" => App\Entity\Produit {#2041
    -id: 3013
    -nom: "Brain Salad Surgery"
    -informationComplementaire: null
    -description: """
      - A Most Amazing Show : Emerson, Lake & Palmer’s Brain Salad Surgery Established Prog-Rock Standards, Features the Epic “Karn Evil 9” Suite and Visionary Rendition of Ginastera Piano Concerto !\r\n
      \r\n
      - Experience the 1973 Album in Audiophile Sound and Enjoy the Immersive Feel of the Original Double Gatefold Packaging: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Reveals the Copious Details, Textures, and Depth of the Exceptional Production !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "Welcome back, my friends, to the show that never ends". \r\n
      \r\n
      Famously uttered by bassist-guitarist Greg Lake, those words encapsulate the theatricality, thrills, breadth, and fascination surrounding Brain Salad Surgery Emerson, Lake & Palmer's fourth studio album. Originally released in late 1973, it finds the trio taking front-to-back control of its situation and incorporating several studio firsts. The platinum-certified effort also stands as one of the greatest prog-rock feats in history. Its cohesive blend of musicianship, songwriting, and production set a standard that, decades later, remains revered amid fans and critics alike. \r\n
      \r\n
      Sourced from the original analog master tapes, housed in a deluxe double gatefold Stoughton jacket complete with a fold-out die-cut insert, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Brain Salad Surgery presents the record Emerson, Lake & Palmer member Carl Palmer deemed his favorite in audiophile sound. Clear, dynamic, and balanced, this collectible version honors the meticulous approaches that informed the playing and recording of the record.  \r\n
      \r\n
      Featuring black backgrounds and quiet surfaces, Mobile Fidelity’s reissue brings to light the epic scope, tonal depth, and high degree of virtuosity on display. Key characteristics textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first copy, you’ll relish the presence, separation, imaging, and solidity that help make every passage come across as the group intended.  \r\n
      \r\n
      That care extends to the faithful reproduction of the original coveted packaging. Designed by iconic artist H.R. Giger, the cover visually combines an industrial machine with the top half of a human skull along with the now-recognizable ELP logo. A circular screen attached to the right panel opens to reveal another painting that shows a female face, braided hair, and lobotomy scars. On the inside panels, a portrait-style photo of each ELP member is seen within the circular space in Giger’s biomechanical illustration. \r\n
      \r\n
      Chosen for its foreboding look, an aesthetic Keith Emerson felt conveyed the vibe of his band’s music, Giger’s paintings are one aspect of many on Brain Salad Surgery that Emerson, Lake & Palmer ensured adhered to its exacting standards. To optimize the process of making an album from start to finish, the collective established its own label, Manticore Records. Emerson, Lake & Palmer also went whole hog on its rehearsal facilities. \r\n
      \r\n
      After the trio became frustrated by its inability to recreate large swaths of Trilogy recorded on 24 track consoles and filled with overdubs in the live environment, it committed to following an approach that would allow it to develop Brain Salad Surgery in organic fashion. To do so, it needed a space where it could play and write without constraints, and test out the material until it was satisfied. The solution : Emerson, Lake & Palmer purchased a cinema, removed the seats, and transformed it into a practice space.  \r\n
      \r\n
      When it came to the session work, Emerson, Lake & Palmer began at Olympic Studios and continued later that summer at Advision Studios. At the latter, the group became the first to use the then-cutting-edge polyphonic synthesizer in the context of a recording. You can hear it on “Jerusalem”, the band’s take on composer Hubert Parry’s choral adaptation of a William Blake poem. Another remarkable novelty : Palmer’s proto-electronic drums in the middle section of “Toccata”, which became a reality after the crew placed a microphone in each drum in order to trigger a synthesizer. \r\n
      \r\n
      All that results on “Toccata” the group’s thrilling interpretation of Alberto Ginastera’s first piano concerto symbolizes the cacophony, ambition, and brazenness coursing through the record. To state the obvious, Emerson, Lake & Palmer’s prodigious talents as instrumentalists were a given by the time Brain Salad Surgery arrived and quickly ascended to the top quadrant of the US and UK charts. But it’s doubtful the three friends ever played more collaboratively and inspired as they do here. \r\n
      \r\n
      You could write a thesis on “Karn Evil 9” alone. Nearly 30 minutes long and co-written by King Crimson co-founder Peter Sinfield, the prescient tale involving humans and computers evolves over three distinct movements. It finds the band pulling out all the stops, from Emerson’s Minimoog solo that mimics the character of a steelpan to the ferocious collective interplay that helps send the piece out with a flourish. \r\n
      \r\n
      Amid such elevated rock-fusion circumstance on Brain Salad Surgery, the group has the foresight to include a beautiful moment of contrast in the form of the ballad “Still.... You Turn Me On” as fine an example as any of Lake’s ability as a poetic songwriter and finessed guitarist. Emerson contributes atmospheric backgrounds via harpsichord and accordion; Palmer simply rattles a tambourine. Though not technically representative of the other fare on the record, the tune is archetypal of period Emerson, Lake & Palmer in how it demonstrates how far the group could swing from one extreme to another and do so with absolute conviction. \r\n
      \r\n
      A most amazing show, indeed. Step inside, step inside.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1813 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, Moog synthesizer, piano),  Greg Lake (bass guitar, acoustic & electric guitars, vocals), Carl Palmer (drums, percussion), Peter Sinfield, John Hendricks (lyrics), Pete Gage (backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zfqyuba-BlA&list=RDzfqyuba-BlA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-619"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Jerusalem"
      ]
      [
        "ordre" => 2
        "nom" => "2. Toccata 3."
      ]
      [
        "ordre" => 3
        "nom" => "Still.... You Turn Me On"
      ]
      [
        "ordre" => 4
        "nom" => "4. Benny the Bouncer"
      ]
      [
        "ordre" => 5
        "nom" => "5. Karn Evil 9 : 1st Impression - Part 1 "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Karn Evil 9 : 1st Impression - Part 2"
      ]
      [
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        "nom" => "2. Karn Evil 9 : 2nd Impression"
      ]
      [
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        "nom" => "3. Karn Evil 9 : 3rd Impression"
      ]
      [
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        "nom" => "4. Andrew White Ted Dunbar Buster Williams Billy Hart Mtume Songai"
      ]
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      [
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      [
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        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1472 …}
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    -modifierLe: DateTime @1773213946 {#2039
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2046 …}
    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-brain-salad-surgery-mobile-fidelity-sound-lab-mfsl-1-619"
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App\Twig\Components\GestionPanierFavoriComponents {#3122
  -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 {#2509 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#2083 …}
  +produit: App\Entity\Produit {#2041
    -id: 3013
    -nom: "Brain Salad Surgery"
    -informationComplementaire: null
    -description: """
      - A Most Amazing Show : Emerson, Lake & Palmer’s Brain Salad Surgery Established Prog-Rock Standards, Features the Epic “Karn Evil 9” Suite and Visionary Rendition of Ginastera Piano Concerto !\r\n
      \r\n
      - Experience the 1973 Album in Audiophile Sound and Enjoy the Immersive Feel of the Original Double Gatefold Packaging: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Reveals the Copious Details, Textures, and Depth of the Exceptional Production !\r\n
      \r\n
      - 1/4” / 15 IPS Dolby A analog master to DSD 256 to analog console to lathe !\r\n
      \r\n
      "Welcome back, my friends, to the show that never ends". \r\n
      \r\n
      Famously uttered by bassist-guitarist Greg Lake, those words encapsulate the theatricality, thrills, breadth, and fascination surrounding Brain Salad Surgery Emerson, Lake & Palmer's fourth studio album. Originally released in late 1973, it finds the trio taking front-to-back control of its situation and incorporating several studio firsts. The platinum-certified effort also stands as one of the greatest prog-rock feats in history. Its cohesive blend of musicianship, songwriting, and production set a standard that, decades later, remains revered amid fans and critics alike. \r\n
      \r\n
      Sourced from the original analog master tapes, housed in a deluxe double gatefold Stoughton jacket complete with a fold-out die-cut insert, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Brain Salad Surgery presents the record Emerson, Lake & Palmer member Carl Palmer deemed his favorite in audiophile sound. Clear, dynamic, and balanced, this collectible version honors the meticulous approaches that informed the playing and recording of the record.  \r\n
      \r\n
      Featuring black backgrounds and quiet surfaces, Mobile Fidelity’s reissue brings to light the epic scope, tonal depth, and high degree of virtuosity on display. Key characteristics textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first copy, you’ll relish the presence, separation, imaging, and solidity that help make every passage come across as the group intended.  \r\n
      \r\n
      That care extends to the faithful reproduction of the original coveted packaging. Designed by iconic artist H.R. Giger, the cover visually combines an industrial machine with the top half of a human skull along with the now-recognizable ELP logo. A circular screen attached to the right panel opens to reveal another painting that shows a female face, braided hair, and lobotomy scars. On the inside panels, a portrait-style photo of each ELP member is seen within the circular space in Giger’s biomechanical illustration. \r\n
      \r\n
      Chosen for its foreboding look, an aesthetic Keith Emerson felt conveyed the vibe of his band’s music, Giger’s paintings are one aspect of many on Brain Salad Surgery that Emerson, Lake & Palmer ensured adhered to its exacting standards. To optimize the process of making an album from start to finish, the collective established its own label, Manticore Records. Emerson, Lake & Palmer also went whole hog on its rehearsal facilities. \r\n
      \r\n
      After the trio became frustrated by its inability to recreate large swaths of Trilogy recorded on 24 track consoles and filled with overdubs in the live environment, it committed to following an approach that would allow it to develop Brain Salad Surgery in organic fashion. To do so, it needed a space where it could play and write without constraints, and test out the material until it was satisfied. The solution : Emerson, Lake & Palmer purchased a cinema, removed the seats, and transformed it into a practice space.  \r\n
      \r\n
      When it came to the session work, Emerson, Lake & Palmer began at Olympic Studios and continued later that summer at Advision Studios. At the latter, the group became the first to use the then-cutting-edge polyphonic synthesizer in the context of a recording. You can hear it on “Jerusalem”, the band’s take on composer Hubert Parry’s choral adaptation of a William Blake poem. Another remarkable novelty : Palmer’s proto-electronic drums in the middle section of “Toccata”, which became a reality after the crew placed a microphone in each drum in order to trigger a synthesizer. \r\n
      \r\n
      All that results on “Toccata” the group’s thrilling interpretation of Alberto Ginastera’s first piano concerto symbolizes the cacophony, ambition, and brazenness coursing through the record. To state the obvious, Emerson, Lake & Palmer’s prodigious talents as instrumentalists were a given by the time Brain Salad Surgery arrived and quickly ascended to the top quadrant of the US and UK charts. But it’s doubtful the three friends ever played more collaboratively and inspired as they do here. \r\n
      \r\n
      You could write a thesis on “Karn Evil 9” alone. Nearly 30 minutes long and co-written by King Crimson co-founder Peter Sinfield, the prescient tale involving humans and computers evolves over three distinct movements. It finds the band pulling out all the stops, from Emerson’s Minimoog solo that mimics the character of a steelpan to the ferocious collective interplay that helps send the piece out with a flourish. \r\n
      \r\n
      Amid such elevated rock-fusion circumstance on Brain Salad Surgery, the group has the foresight to include a beautiful moment of contrast in the form of the ballad “Still.... You Turn Me On” as fine an example as any of Lake’s ability as a poetic songwriter and finessed guitarist. Emerson contributes atmospheric backgrounds via harpsichord and accordion; Palmer simply rattles a tambourine. Though not technically representative of the other fare on the record, the tune is archetypal of period Emerson, Lake & Palmer in how it demonstrates how far the group could swing from one extreme to another and do so with absolute conviction. \r\n
      \r\n
      A most amazing show, indeed. Step inside, step inside.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1813 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, Moog synthesizer, piano),  Greg Lake (bass guitar, acoustic & electric guitars, vocals), Carl Palmer (drums, percussion), Peter Sinfield, John Hendricks (lyrics), Pete Gage (backing vocals)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: true
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=zfqyuba-BlA&list=RDzfqyuba-BlA&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-619"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
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      [
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        "nom" => "1. Jerusalem"
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      [
        "ordre" => 2
        "nom" => "2. Toccata 3."
      ]
      [
        "ordre" => 3
        "nom" => "Still.... You Turn Me On"
      ]
      [
        "ordre" => 4
        "nom" => "4. Benny the Bouncer"
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        "ordre" => 5
        "nom" => "5. Karn Evil 9 : 1st Impression - Part 1 "
      ]
      [
        "ordre" => 6
        "nom" => "Side B : "
      ]
      [
        "ordre" => 7
        "nom" => "1. Karn Evil 9 : 1st Impression - Part 2"
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      [
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        "nom" => "2. Karn Evil 9 : 2nd Impression"
      ]
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        "nom" => "3. Karn Evil 9 : 3rd Impression"
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      [
        "ordre" => 10
        "nom" => "4. Andrew White Ted Dunbar Buster Williams Billy Hart Mtume Songai"
      ]
      [
        "ordre" => 11
        "nom" => ""
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        "nom" => ""
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      [
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        "nom" => ""
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    ]
    -artiste: App\Entity\Artiste {#1063 …}
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    }
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      date: 2026-03-11 07:25:46.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -infoMasterTape: null
    -slug: "vinyles-brain-salad-surgery-mobile-fidelity-sound-lab-mfsl-1-619"
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[
  "produit" => App\Entity\Produit {#2056
    -id: 3012
    -nom: "Tarkus  (Limited Numbered Edition)"
    -informationComplementaire: null
    -description: """
      - Emerson, Lake & Palmer Push Creative Boundaries on Tarkus, 1971 Prog Staple Features Theatrical Title Track, Diverse Arrangements, and Iconic Armadillo-Themed Cover Art !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Pressed at Fidelity Record Pressing: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Plays with Rich, Detailed Sound and Exceptional Definition !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Tarkus likely remains the only album in existence that links jazz luminary Dave Brubeck, Russian composer Sergei Prokofiev, recording engineer Eddy Offord, Argentine composer Alberto Ginastera, American genius Frank Zappa, and German multi-hyphenate Johann Sebastian Bach. At once diverse, ambitious, and complex, Emerson, Lake & Palmer’s sophomore statement proved fantastically successful and accessible. It reached No. 1 on the UK Albums Chart and, in the U.S., climbed into the Top 10. The 1971 effort also propelled the British group to the forefront of the concert scene and became instantly identifiable via its now-iconic cover art.\r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Tarkus presents the gold-certified effort in audiophile sound. Clear, dynamic, and balanced, the collectible edition honors the fastidious approaches that informed the playing and recording of the record. With black backgrounds, dead-quiet surfaces, and exceptional definition, this reissue brings to light the tonal depth and virtuosic musicianship on display. \r\n
      \r\n
      Traits textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with finite detail. You’ll relish the separation, imaging, and timing that help make every song come across with involving presence and realism. These sonic signposts extend to the snorkel-tube-inspired Moog synthesizer on “Aquatarkus”, the St. Mark’s Church pipe organ on “The Only Way (Hymn)”, and the improvisational jamming and hollering on the lighthearted rave-up “Are You Ready Eddy ?”.\r\n
      \r\n
      Anchored by the theatrical title track a nearly 21 minute-long epic that charts the life of the armadillo creature from birth to the aftermath of his defeat in a battle with a manticore Tarkus briefly created a rift in the supergroup’s then-thriving chemistry. The reason : The architecture and direction keyboardist Keith Emerson pursued with “Tarkus”. \r\n
      \r\n
      Based on 10/8 and 5/4 time signatures, the dexterous suite initially frustrated guitarist-singer Greg Lake, who soon came around to both playing on it and writing its anti-war narrative. A seven-part journey in which peacefulness and violence, calm and clamor, and flourishes and marches unfold within the sonically metaphorical framework, “Tarkus” looms as one of the finest prog compositions ever performed. \r\n
      \r\n
      The album’s second half prominently displays Emerson, Lake & Palmer’s expansive range with concise songs and, in two spots, its sense of humor. Made and sequenced on Tarkus to give listeners a breather after the demanding opener, “Jeremy Bender” unfolds with honky-tonk pianos and percussive hand claps. An homage to Brubeck’s “Count Down”, the tumbling “Bitches Crystal” doubles as a showcase for Emerson’s impeccable piano skills. The keyboardist also takes center stage on “The Only Way (Hymn)”, which folds bold religious contemplation with a segue into the jazz-fueled instrumental “Infinite Space”. \r\n
      \r\n
      Free of drum solos, acoustic ballads, and cerebral interludes, Tarkus differs from its equally esteemed predecessor but finds Emerson, Lake & Palmer again hitting on all cylinders as a band seemingly capable of playing any style at any pace. Reflecting on the album more than 40 years later, Emerson rightly stated : “It offers a lot for the advancement of musicians. If anyone wants to get into progressive rock music... provides the elements. You’ve got a lot going on with Tarkus”.\r\n
      \r\n
      That extends to William Neal’s vibrant cover art. Born out of a somewhat innocuous doodle, the final design which memorably omits the band’s name, contains the skeletal remains of an eaten lizard, and famously features a red-eyed armadillo transformed into a hybrid tank replete with guns and treads reflects the title track’s storyline and dovetails with Neal’s other narrative-associated drawings in the sleeve. From the first to the last note, from the cover to the final illustration, Tarkus is the complete package.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1835 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer),  Greg Lake (bass guitar, guitar, electric & acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -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=uiP239pFac0&list=RDuiP239pFac0&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-577"
    -titreMorceau: [
      [
        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. Tarkus"
      ]
      [
        "ordre" => 2
        "nom" => "I. Eruption -"
      ]
      [
        "ordre" => 3
        "nom" => "II. Stones of Years -"
      ]
      [
        "ordre" => 4
        "nom" => "III. Iconoclast -"
      ]
      [
        "ordre" => 5
        "nom" => "IV. Mass -"
      ]
      [
        "ordre" => 6
        "nom" => "V. Manticore -"
      ]
      [
        "ordre" => 7
        "nom" => "VI. Battlefield -"
      ]
      [
        "ordre" => 8
        "nom" => "VII. Aquatarkus "
      ]
      [
        "ordre" => 9
        "nom" => "Side B : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Jeremy Bender"
      ]
      [
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        "nom" => "2. Bitches Crystal"
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      [
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        "nom" => "3. The Only Way (Hymn)"
      ]
      [
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        "nom" => "4. Infinite Space (Conclusion)"
      ]
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      ]
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        "nom" => "6. Are You Ready Eddy ?"
      ]
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        "nom" => ""
      ]
      [
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        "nom" => ""
      ]
      [
        "ordre" => 18
        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2064 …}
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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    -disponible: null
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    -slug: "vinyles-tarkus-limited-numbered-edition-mobile-fidelity-sound-lab-mfsl-1-577"
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App\Twig\Components\GestionPanierFavoriComponents {#3170
  -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 {#2509 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#2083 …}
  +produit: App\Entity\Produit {#2056
    -id: 3012
    -nom: "Tarkus  (Limited Numbered Edition)"
    -informationComplementaire: null
    -description: """
      - Emerson, Lake & Palmer Push Creative Boundaries on Tarkus, 1971 Prog Staple Features Theatrical Title Track, Diverse Arrangements, and Iconic Armadillo-Themed Cover Art !\r\n
      \r\n
      - Mastered at MoFi’s California Studio and Pressed at Fidelity Record Pressing: Mobile Fidelity’s Numbered-Edition 180 gram 33 RPM LP Plays with Rich, Detailed Sound and Exceptional Definition !\r\n
      \r\n
      - 1/4" / 15 IPS analog copy to DSD 256 to analog console to lathe !\r\n
      \r\n
      Tarkus likely remains the only album in existence that links jazz luminary Dave Brubeck, Russian composer Sergei Prokofiev, recording engineer Eddy Offord, Argentine composer Alberto Ginastera, American genius Frank Zappa, and German multi-hyphenate Johann Sebastian Bach. At once diverse, ambitious, and complex, Emerson, Lake & Palmer’s sophomore statement proved fantastically successful and accessible. It reached No. 1 on the UK Albums Chart and, in the U.S., climbed into the Top 10. The 1971 effort also propelled the British group to the forefront of the concert scene and became instantly identifiable via its now-iconic cover art.\r\n
      \r\n
      Mastered at MoFi’s California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180 gram 33 RPM LP of Tarkus presents the gold-certified effort in audiophile sound. Clear, dynamic, and balanced, the collectible edition honors the fastidious approaches that informed the playing and recording of the record. With black backgrounds, dead-quiet surfaces, and exceptional definition, this reissue brings to light the tonal depth and virtuosic musicianship on display. \r\n
      \r\n
      Traits textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with finite detail. You’ll relish the separation, imaging, and timing that help make every song come across with involving presence and realism. These sonic signposts extend to the snorkel-tube-inspired Moog synthesizer on “Aquatarkus”, the St. Mark’s Church pipe organ on “The Only Way (Hymn)”, and the improvisational jamming and hollering on the lighthearted rave-up “Are You Ready Eddy ?”.\r\n
      \r\n
      Anchored by the theatrical title track a nearly 21 minute-long epic that charts the life of the armadillo creature from birth to the aftermath of his defeat in a battle with a manticore Tarkus briefly created a rift in the supergroup’s then-thriving chemistry. The reason : The architecture and direction keyboardist Keith Emerson pursued with “Tarkus”. \r\n
      \r\n
      Based on 10/8 and 5/4 time signatures, the dexterous suite initially frustrated guitarist-singer Greg Lake, who soon came around to both playing on it and writing its anti-war narrative. A seven-part journey in which peacefulness and violence, calm and clamor, and flourishes and marches unfold within the sonically metaphorical framework, “Tarkus” looms as one of the finest prog compositions ever performed. \r\n
      \r\n
      The album’s second half prominently displays Emerson, Lake & Palmer’s expansive range with concise songs and, in two spots, its sense of humor. Made and sequenced on Tarkus to give listeners a breather after the demanding opener, “Jeremy Bender” unfolds with honky-tonk pianos and percussive hand claps. An homage to Brubeck’s “Count Down”, the tumbling “Bitches Crystal” doubles as a showcase for Emerson’s impeccable piano skills. The keyboardist also takes center stage on “The Only Way (Hymn)”, which folds bold religious contemplation with a segue into the jazz-fueled instrumental “Infinite Space”. \r\n
      \r\n
      Free of drum solos, acoustic ballads, and cerebral interludes, Tarkus differs from its equally esteemed predecessor but finds Emerson, Lake & Palmer again hitting on all cylinders as a band seemingly capable of playing any style at any pace. Reflecting on the album more than 40 years later, Emerson rightly stated : “It offers a lot for the advancement of musicians. If anyone wants to get into progressive rock music... provides the elements. You’ve got a lot going on with Tarkus”.\r\n
      \r\n
      That extends to William Neal’s vibrant cover art. Born out of a somewhat innocuous doodle, the final design which memorably omits the band’s name, contains the skeletal remains of an eaten lizard, and famously features a red-eyed armadillo transformed into a hybrid tank replete with guns and treads reflects the title track’s storyline and dovetails with Neal’s other narrative-associated drawings in the sleeve. From the first to the last note, from the cover to the final illustration, Tarkus is the complete package.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1835 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, piano, Moog synthesizer),  Greg Lake (bass guitar, guitar, electric & acoustic guitar, vocals), Carl Palmer (drums, percussion)"
    -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=uiP239pFac0&list=RDuiP239pFac0&start_radio=1"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 1-577"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
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        "ordre" => 1
        "nom" => "1. Tarkus"
      ]
      [
        "ordre" => 2
        "nom" => "I. Eruption -"
      ]
      [
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        "nom" => "II. Stones of Years -"
      ]
      [
        "ordre" => 4
        "nom" => "III. Iconoclast -"
      ]
      [
        "ordre" => 5
        "nom" => "IV. Mass -"
      ]
      [
        "ordre" => 6
        "nom" => "V. Manticore -"
      ]
      [
        "ordre" => 7
        "nom" => "VI. Battlefield -"
      ]
      [
        "ordre" => 8
        "nom" => "VII. Aquatarkus "
      ]
      [
        "ordre" => 9
        "nom" => "Side B : "
      ]
      [
        "ordre" => 10
        "nom" => "1. Jeremy Bender"
      ]
      [
        "ordre" => 11
        "nom" => "2. Bitches Crystal"
      ]
      [
        "ordre" => 12
        "nom" => "3. The Only Way (Hymn)"
      ]
      [
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        "nom" => "4. Infinite Space (Conclusion)"
      ]
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        "nom" => "5. A Time and a Place"
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        "nom" => "6. Are You Ready Eddy ?"
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        "nom" => ""
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        "nom" => ""
      ]
    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
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      date: 2026-03-08 08:46:45.0 UTC (+00:00)
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
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[
  "produit" => App\Entity\Produit {#2071
    -id: 2799
    -nom: "Emerson, Lake & Palmer  (Limited Numbered Edition)"
    -informationComplementaire: null
    -description: """
      - Emerson, Lake & Palmer "Emerson, Lake & Palmer" !\r\n
      - Supergroup takes hold with an extraordinary blend of vision and verve, lays foundation of progressive rock !\r\n
      - 180 gram 331/3 RPM (2 LP) brings to light the 1970 album's epic scope, tonal depth\r\n
      - 1/4" 15 ips analog copy to DSD 256 to analog console to lathe !\r\n
      - Pressed at Fidelity Record Pressings for superior sound !\r\n
      \r\n
      Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio's chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP's prowess was obvious from the start. The band's self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.\r\n
      \r\n
      Mastered at MoFi's California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180 gram 33 1/3 RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.\r\n
      \r\n
      Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio's compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you've owned multiple copies of this touchstone or seeking out your first version, you'll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.\r\n
      \r\n
      Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn't prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad "Lucky Man", whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.\r\n
      \r\n
      Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is "best heard as a whole" matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion's share of headlines for his ability on keys clavinet, Moog, piano, Hammond organ, and pipe organ included Greg Lake's aptitude on guitar and bass, along with well as Carl Palmer's monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.\r\n
      \r\n
      That extends to the radical reinterpretation of Bela Bartok's "The Barbarian" that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout "Knife-Edge", which reimagines music by Leos Janacek and J.S. Bach - and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.\r\n
      \r\n
      And did someone say "drumming" ? Check out Palmer's monster salvo on "Tank", a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite "The Three Fates". Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don't hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.\r\n
      \r\n
      Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1835 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, Moog synthesizer, piano),  Greg Lake (bass guitar, acoustic & electric guitar, lead vocals), Carl Palmer (drums, percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
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    -extraitYoutube: "https://www.youtube.com/watch?v=Ao8VE79zjrk&list=PLhSg_4fG0FIyPico_S5XQ4XdQiBWdSwhV"
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    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1472 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2074 …}
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    -modifierLe: DateTime @1765369768 {#2066
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    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2076 …}
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  "detaillePage" => false
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App\Twig\Components\GestionPanierFavoriComponents {#3218
  -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 {#2509 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#2083 …}
  +produit: App\Entity\Produit {#2071
    -id: 2799
    -nom: "Emerson, Lake & Palmer  (Limited Numbered Edition)"
    -informationComplementaire: null
    -description: """
      - Emerson, Lake & Palmer "Emerson, Lake & Palmer" !\r\n
      - Supergroup takes hold with an extraordinary blend of vision and verve, lays foundation of progressive rock !\r\n
      - 180 gram 331/3 RPM (2 LP) brings to light the 1970 album's epic scope, tonal depth\r\n
      - 1/4" 15 ips analog copy to DSD 256 to analog console to lathe !\r\n
      - Pressed at Fidelity Record Pressings for superior sound !\r\n
      \r\n
      Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio's chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP's prowess was obvious from the start. The band's self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.\r\n
      \r\n
      Mastered at MoFi's California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180 gram 33 1/3 RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.\r\n
      \r\n
      Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects textures, nuances, effects, melodies, tempo changes that go hand-in-hand with the trio's compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you've owned multiple copies of this touchstone or seeking out your first version, you'll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.\r\n
      \r\n
      Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn't prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad "Lucky Man", whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.\r\n
      \r\n
      Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is "best heard as a whole" matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion's share of headlines for his ability on keys clavinet, Moog, piano, Hammond organ, and pipe organ included Greg Lake's aptitude on guitar and bass, along with well as Carl Palmer's monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.\r\n
      \r\n
      That extends to the radical reinterpretation of Bela Bartok's "The Barbarian" that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout "Knife-Edge", which reimagines music by Leos Janacek and J.S. Bach - and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.\r\n
      \r\n
      And did someone say "drumming" ? Check out Palmer's monster salvo on "Tank", a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite "The Three Fates". Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don't hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.\r\n
      \r\n
      Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1835 …}
    -musicienOrchestre: "Keith Emerson (keyboards, Hammond organ, Moog synthesizer, piano),  Greg Lake (bass guitar, acoustic & electric guitar, lead vocals), Carl Palmer (drums, percussion)"
    -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=Ao8VE79zjrk&list=PLhSg_4fG0FIyPico_S5XQ4XdQiBWdSwhV"
    -referenceProduit: "AMOB 576"
    -titreMorceau: [
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        "ordre" => 0
        "nom" => "Side A :"
      ]
      [
        "ordre" => 1
        "nom" => "1. The Barbarian"
      ]
      [
        "ordre" => 2
        "nom" => "2. Take a Pebble"
      ]
      [
        "ordre" => 3
        "nom" => "3. Knife-Edge"
      ]
      [
        "ordre" => 4
        "nom" => "Side B : "
      ]
      [
        "ordre" => 5
        "nom" => "1. The Three Fates (a. Clotho b. Lachesis c. Atropos)"
      ]
      [
        "ordre" => 6
        "nom" => "2. Tank"
      ]
      [
        "ordre" => 7
        "nom" => "3. Lucky Man"
      ]
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    ]
    -artiste: App\Entity\Artiste {#1063 …}
    -label: Proxies\__CG__\App\Entity\Label {#1910 …}
    -style: App\Entity\Style {#1472 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2079 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2072 …}
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2074 …}
    -enregistreLe: DateTime @1756658044 {#2067
      date: 2025-08-31 16:34:04.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1765369768 {#2066
      date: 2025-12-10 12:29:28.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2076 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-emerson-lake-palmer-limited-numbered-edition-amob-576"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2277 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3410
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2277 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3411 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3459 …}
  +isValidated: false
  +validatedFields: []
}