Symfony Profiler

App\Twig\Components\GestionEntetePageComponents {#2494
  -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 {#2341 …}
}

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

App\Twig\Components\ListePanier {#2571
  #container: Symfony\Component\DependencyInjection\Argument\ServiceLocator {#2574 …}
  -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 {#2573 …}
  -parameterBag: Symfony\Component\DependencyInjection\ParameterBag\ContainerBag {#130 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1909 …}
  +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 {#2341 …}
  -formView: Symfony\Component\Form\FormView {#2610 …}
  -form: Symfony\Component\Form\Form {#2760 …}
  +formName: "pays"
  +formValues: [
    "nom" => ""
  ]
  +isValidated: false
  +validatedFields: []
  -shouldAutoSubmitForm: true
}

[
  "produit" => App\Entity\Produit {#1896
    -id: 2260
    -nom: "Forever Changes"
    -informationComplementaire: ""
    -description: """
      #40 ON ROLLING STONE'S 500 GREATEST ALBUMS OF ALL TIME : ANTICIPATES LATE 1960S TURBULENCE VIA PROPHETIC SONGS AND DARK THEMES\r\n
      1/4" / 15 IPS analog master to DSD 256 to analog console to lathe.\r\n
      \r\n
      Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, its magnitude and magnificence need to be heard again and again. For here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback.\r\n
      \r\n
      Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. Turn it up as loud as you want; the sole limitation will be your system's potential.\r\n
      \r\n
      Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.\r\n
      \r\n
      The seemingly opposing combination ominous, dark reflections situated amidst lush, light melodic beds affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.\r\n
      \r\n
      Alternatively sad and beautiful, the album-opening and flamenco-inspired "Alone Again Or" establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality.Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. Its ambitious construction almost forced the already fractured band to cede responsibilities to session musicians, which appear on two tracks. The quintet's resolve to not only complete the album, but to do so with such poignancy and curiosity, further enhances Forever Changes' standing.\r\n
      \r\n
      No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim. It was, and will always be, a personal manifesto of timeless relevance and appeal.\r\n
      \r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1894 …}
    -musicienOrchestre: "Arthur Lee, Bryan Maclean (guitar, vocals), Ken Forssi (bass),  John Echols (guitar), Michael Stuart (percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=cPbNpIG8x_s"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-402"
    -titreMorceau: [
      [
        "nom" => "1. Alone Again Or"
        "ordre" => 1
      ]
      [
        "nom" => "1. Bummer in the Summer"
        "ordre" => 13
      ]
      [
        "nom" => "1. Maybe the People Would Be the Times or Between Clark and Hilldale"
        "ordre" => 9
      ]
      [
        "nom" => "1. The Daily Planet"
        "ordre" => 5
      ]
      [
        "nom" => "2.  Old Man"
        "ordre" => 6
      ]
      [
        "nom" => "2. A House Is Not a Motel"
        "ordre" => 2
      ]
      [
        "nom" => "2. Live and Let Live"
        "ordre" => 10
      ]
      [
        "nom" => "2. You Set the Scene"
        "ordre" => 14
      ]
      [
        "nom" => "3. Andmoreagain"
        "ordre" => 3
      ]
      [
        "nom" => "3. The Good Humor Man He Sees Everything Like This"
        "ordre" => 11
      ]
      [
        "nom" => "3. The Red Telephone"
        "ordre" => 7
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "Side D : "
        "ordre" => 12
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1913 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2014 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1916 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2002 …}
    -enregistreLe: DateTime @1660980006 {#1883
      date: 2022-08-20 07:20:06.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1660980470 {#1879
      date: 2022-08-20 07:27:50.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2008 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-forever-changes-mobile-fidelity-sound-lab-mfsl-2-402"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3035
  -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 {#2573 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1909 …}
  +produit: App\Entity\Produit {#1896
    -id: 2260
    -nom: "Forever Changes"
    -informationComplementaire: ""
    -description: """
      #40 ON ROLLING STONE'S 500 GREATEST ALBUMS OF ALL TIME : ANTICIPATES LATE 1960S TURBULENCE VIA PROPHETIC SONGS AND DARK THEMES\r\n
      1/4" / 15 IPS analog master to DSD 256 to analog console to lathe.\r\n
      \r\n
      Any discussion about the finest psychedelic rock record ever recorded is incomplete if it doesn't grant consideration to Love's Forever Changes. Ranked by Rolling Stone as the 40th greatest album ever made, and named by Mojo the second-greatest psychedelic set in history, the effort is an internationally recognized seminal work of art. Transcending language and convention, its magnitude and magnificence need to be heard again and again. For here is an effort whose mind-boggling acoustic complexities and kaleidoscopic nuances are tailored for high-fidelity playback.\r\n
      \r\n
      Nearly unlimited headroom, vast instrumental separation, transparent clarity, artifact-free atmospherics, and faithful balances appear out of jet-black backgrounds. Turn it up as loud as you want; the sole limitation will be your system's potential.\r\n
      \r\n
      Commercially ignored upon release in November 1967, Forever Changes confronts the alienation, paranoia, violence, and strife that would soon plague the countercultural movement and send the Summer of Love into a tailspin. Apart from its lyrical themes and prescient malaise, the record's enduring nature equally owes to intertwined arrangements sewn together with Latin guitar-picked lines, finessed folk harmonies, mariachi-inspired horn charts, and subdued strings.\r\n
      \r\n
      The seemingly opposing combination ominous, dark reflections situated amidst lush, light melodic beds affords Forever Changes a distinguished tension of claustrophobia and openness, dourness and ecstasy, ugliness and elegance enjoyed by no other record in the rock canon. Much of the contrast owes to leader Arthur Lee's mental state and pertinent observations. Lee, whose suppressed romanticism often surfaces even amidst the blackest shadows and most cynical moments, believed he would soon die, and hence channeled everything from lasting hopes to acid-addled decay to the chilling testimony of a Vietnam veteran in his narratives.\r\n
      \r\n
      Alternatively sad and beautiful, the album-opening and flamenco-inspired "Alone Again Or" establishes the mood for what follows. Vocals overlap and soar; tempos rise and fall; surrealism trades places with reality.Forever Changes thrives both because of and in spite of a surfeit of labyrinthine chords and difficult notes that never repeat. Its ambitious construction almost forced the already fractured band to cede responsibilities to session musicians, which appear on two tracks. The quintet's resolve to not only complete the album, but to do so with such poignancy and curiosity, further enhances Forever Changes' standing.\r\n
      \r\n
      No wonder that, in the twilight of his troubled career, Lee performed the record in its entirely during concerts met with overwhelming critical acclaim. It was, and will always be, a personal manifesto of timeless relevance and appeal.\r\n
      \r\n
      """
    -prixVente: "99.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1894 …}
    -musicienOrchestre: "Arthur Lee, Bryan Maclean (guitar, vocals), Ken Forssi (bass),  John Echols (guitar), Michael Stuart (percussion)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=cPbNpIG8x_s"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 2-402"
    -titreMorceau: [
      [
        "nom" => "1. Alone Again Or"
        "ordre" => 1
      ]
      [
        "nom" => "1. Bummer in the Summer"
        "ordre" => 13
      ]
      [
        "nom" => "1. Maybe the People Would Be the Times or Between Clark and Hilldale"
        "ordre" => 9
      ]
      [
        "nom" => "1. The Daily Planet"
        "ordre" => 5
      ]
      [
        "nom" => "2.  Old Man"
        "ordre" => 6
      ]
      [
        "nom" => "2. A House Is Not a Motel"
        "ordre" => 2
      ]
      [
        "nom" => "2. Live and Let Live"
        "ordre" => 10
      ]
      [
        "nom" => "2. You Set the Scene"
        "ordre" => 14
      ]
      [
        "nom" => "3. Andmoreagain"
        "ordre" => 3
      ]
      [
        "nom" => "3. The Good Humor Man He Sees Everything Like This"
        "ordre" => 11
      ]
      [
        "nom" => "3. The Red Telephone"
        "ordre" => 7
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "Side D : "
        "ordre" => 12
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#1913 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2014 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#1916 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2002 …}
    -enregistreLe: DateTime @1660980006 {#1883
      date: 2022-08-20 07:20:06.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1660980470 {#1879
      date: 2022-08-20 07:27:50.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2008 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-forever-changes-mobile-fidelity-sound-lab-mfsl-2-402"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2341 …}
}

[
  "produit" => App\Entity\Produit {#2031
    -id: 1715
    -nom: "Kiko"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Steve Berlin (baritone, soprano & tenor saxophone, flute, melodica, harmonica, organ, piano, synthesizer, percussion), David Hidalgo (guitar, accordion, violin, banjo, piano, percussion, vocals), Conrad R. Lozano (bass "Fender 5-string jazz bass, 4-string precision, godin Fretless", guitar "Ron", backing vocals),  Cesar Rosas (acoustic & electric guitar, vocals), Louie Pérez (drums, guitar, percussion, other "couch & phone", vocals), Pete Thomas (drums).\r\n
      \r\n
      Distinguished Band's Ambitious 1992 Album Stands as Peak Moment in a Career Filled With High-Water Marks !\r\n
      \r\n
      Only a few years removed from breaking through with their cover of Ritchie Valens' "La Bamba", Los Lobos turned even more heads with Kiko, a beautifully textured and flawlessly executed musical statement that reveals the group taking on ambitious musical challenges and surmounting every one. In pairing with producer Mitchell Froom, the band yielded this critically acclaimed 1992 set that remains the apex of its distinguished career.\r\n
      \r\n
      The material, too, ravishes the senses. In Rolling Stone's original review of Kiko, David Okamoto remarks "the music sounds more created than contrived, thanks to the compassionate touch of the group's main songwriters, singer-guitarist David Hidalgo and drummer Louis Pérez". Indeed, the Los Angeles ensemble tackles tough-minded social issues such as alcoholism, suicide, abuse, homelessness, death, and rape without coming across as preachy or melodramatic. The record's power relates to that possessed by the most timeless albums the emotional and metaphysical capacities to transcend problems, overcome adversity, and deliver catharsis.\r\n
      \r\n
      Spanning rollicking blues and dreamy pop balladry to snarling rock and traditional Mexican-inspired waltzes, Kiko seemingly knows no bounds. Lullabies such as "Saint Behind the Glass" claim mellifluous elegance while the cabaret-laced jazz of work like "Kiko and the Lavender Moon" glows with a dark majesty, thanks to both the skilled performance and Froom's illuminating production. Los Lobos seldom, if ever, drifted so far outside of the roots-rock box as they do on Kiko. And yet, the collective's binding connection to folklore remains in tact. Native American, Hispanic, and Catholic elements surface in the lyrics and arrangements, the characteristics expressing a multicultural reach that parallels the songs' multidimensional construction.\r\n
      \r\n
      And still, it remains impossible to ignore the use of the studio as the record's secret-weapon instrument. Imaginative tricks such as noise gates, filters, and psychedelic devices help establish a surrealism that never lets up. Neither does Kiko.\r\n
       \r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1894 …}
    -musicienOrchestre: "Steve Berlin (baritone, soprano & tenor saxophone, flute, melodica, harmonica, organ, piano, synthesizer, percussion), David Hidalgo (guitar, accordion, violin, banjo, piano, percussion, vocals)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=GOPRDIGD_A0"
    -referenceProduit: "MFSL 1-371"
    -titreMorceau: [
      [
        "nom" => "1. Arizona Skies"
        "ordre" => 9
      ]
      [
        "nom" => "1. Dream In Blue"
        "ordre" => 1
      ]
      [
        "nom" => "2. Short Side of Nothing"
        "ordre" => 10
      ]
      [
        "nom" => "2. Wake Up Dolores"
        "ordre" => 2
      ]
      [
        "nom" => "3. Angels with Dirty Faces"
        "ordre" => 3
      ]
      [
        "nom" => "3. Two Janes"
        "ordre" => 11
      ]
      [
        "nom" => "4. That Train Don't Stop Here"
        "ordre" => 4
      ]
      [
        "nom" => "4. Wicked Rain"
        "ordre" => 12
      ]
      [
        "nom" => "5. Kiko and the Lavender Moon"
        "ordre" => 5
      ]
      [
        "nom" => "5. Whiskey Trail"
        "ordre" => 13
      ]
      [
        "nom" => "6. Just a Man"
        "ordre" => 14
      ]
      [
        "nom" => "6. Saint Behind The Glass"
        "ordre" => 6
      ]
      [
        "nom" => "7. Peace"
        "ordre" => 15
      ]
      [
        "nom" => "7. Reva's House 8. When the Circus Comes"
        "ordre" => 7
      ]
      [
        "nom" => "8. Rio De Tenampa"
        "ordre" => 16
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2033 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2042 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2035 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2037 …}
    -enregistreLe: DateTime @1563952115 {#2028
      date: 2019-07-24 07:08:35.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1660979321 {#2029
      date: 2022-08-20 07:08:41.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2039 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-kiko-mfsl-1-371"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3149
  -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 {#2573 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1909 …}
  +produit: App\Entity\Produit {#2031
    -id: 1715
    -nom: "Kiko"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Steve Berlin (baritone, soprano & tenor saxophone, flute, melodica, harmonica, organ, piano, synthesizer, percussion), David Hidalgo (guitar, accordion, violin, banjo, piano, percussion, vocals), Conrad R. Lozano (bass "Fender 5-string jazz bass, 4-string precision, godin Fretless", guitar "Ron", backing vocals),  Cesar Rosas (acoustic & electric guitar, vocals), Louie Pérez (drums, guitar, percussion, other "couch & phone", vocals), Pete Thomas (drums).\r\n
      \r\n
      Distinguished Band's Ambitious 1992 Album Stands as Peak Moment in a Career Filled With High-Water Marks !\r\n
      \r\n
      Only a few years removed from breaking through with their cover of Ritchie Valens' "La Bamba", Los Lobos turned even more heads with Kiko, a beautifully textured and flawlessly executed musical statement that reveals the group taking on ambitious musical challenges and surmounting every one. In pairing with producer Mitchell Froom, the band yielded this critically acclaimed 1992 set that remains the apex of its distinguished career.\r\n
      \r\n
      The material, too, ravishes the senses. In Rolling Stone's original review of Kiko, David Okamoto remarks "the music sounds more created than contrived, thanks to the compassionate touch of the group's main songwriters, singer-guitarist David Hidalgo and drummer Louis Pérez". Indeed, the Los Angeles ensemble tackles tough-minded social issues such as alcoholism, suicide, abuse, homelessness, death, and rape without coming across as preachy or melodramatic. The record's power relates to that possessed by the most timeless albums the emotional and metaphysical capacities to transcend problems, overcome adversity, and deliver catharsis.\r\n
      \r\n
      Spanning rollicking blues and dreamy pop balladry to snarling rock and traditional Mexican-inspired waltzes, Kiko seemingly knows no bounds. Lullabies such as "Saint Behind the Glass" claim mellifluous elegance while the cabaret-laced jazz of work like "Kiko and the Lavender Moon" glows with a dark majesty, thanks to both the skilled performance and Froom's illuminating production. Los Lobos seldom, if ever, drifted so far outside of the roots-rock box as they do on Kiko. And yet, the collective's binding connection to folklore remains in tact. Native American, Hispanic, and Catholic elements surface in the lyrics and arrangements, the characteristics expressing a multicultural reach that parallels the songs' multidimensional construction.\r\n
      \r\n
      And still, it remains impossible to ignore the use of the studio as the record's secret-weapon instrument. Imaginative tricks such as noise gates, filters, and psychedelic devices help establish a surrealism that never lets up. Neither does Kiko.\r\n
       \r\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1894 …}
    -musicienOrchestre: "Steve Berlin (baritone, soprano & tenor saxophone, flute, melodica, harmonica, organ, piano, synthesizer, percussion), David Hidalgo (guitar, accordion, violin, banjo, piano, percussion, vocals)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1139 …}
    -lpsMusic: 1
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=GOPRDIGD_A0"
    -referenceProduit: "MFSL 1-371"
    -titreMorceau: [
      [
        "nom" => "1. Arizona Skies"
        "ordre" => 9
      ]
      [
        "nom" => "1. Dream In Blue"
        "ordre" => 1
      ]
      [
        "nom" => "2. Short Side of Nothing"
        "ordre" => 10
      ]
      [
        "nom" => "2. Wake Up Dolores"
        "ordre" => 2
      ]
      [
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    -id: 988
    -nom: "The Times They are a Changin' "
    -informationComplementaire: ""
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      Bob Dylan The Times They Are A-Changin' on Numbered Limited Edition 180 gram  45 RPM 2 LP.\n
      \n
      Stark, Austere, Acoustic Record Dylan's First With All-Original Material.\n
      \n
      Immediately distinguished by the you're-either-with-us-or-against-us messages of the landmark title track, Bob Dylan's The Times They Are A Changin' sounds an unmistakable clarion call on behalf of progress and its unstoppable advancement. One of the Bard's trademark songs, it remains a timeless anthem with a clear sense of common purpose, a musical line in the sand that helped unite various social movements and multiple generations. The reverential 1964 record feeds off the opening tune and its unmistakable sentiments, marching forward to confront racism, poverty, injustice, and upheaval in a stark, immediate manner unlike few albums before or since.\n
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      Bob Dylan The Times They Are A-Changin' on Numbered Limited Edition 180 gram  45 RPM 2 LP.\n
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      Immediately distinguished by the you're-either-with-us-or-against-us messages of the landmark title track, Bob Dylan's The Times They Are A Changin' sounds an unmistakable clarion call on behalf of progress and its unstoppable advancement. One of the Bard's trademark songs, it remains a timeless anthem with a clear sense of common purpose, a musical line in the sand that helped unite various social movements and multiple generations. The reverential 1964 record feeds off the opening tune and its unmistakable sentiments, marching forward to confront racism, poverty, injustice, and upheaval in a stark, immediate manner unlike few albums before or since.\n
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    -id: 1144
    -nom: "Showdown "
    -informationComplementaire: "OUT OF PRINT, LAST COPY !"
    -description: """
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      \n
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      \n
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      """
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    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
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App\Twig\Components\GestionPanierFavoriComponents {#3251
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    -id: 1144
    -nom: "Showdown "
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    -description: """
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[
  "produit" => App\Entity\Produit {#2079
    -id: 839
    -nom: "Heart Like a Wheel "
    -informationComplementaire: ""
    -description: """
      Musicians : \n
      Linda Ronstadt (lead & backing vocals), Andrew Gold (guitar, percussion, piano, drums, keyboards, electric piano, tambourine, ukulele, background vocals), Peter Asher (guitar, percussion, background vocals, cowbell), Ed Black, John Boylan, Paul Craft, Glenn Frey, ohn Starling, Bob Warford (guitar), David Campbell (viola, string arrangements), Kenny Edwards (bass guitar, background vocals), Chris Ethridge, Richard Feves, Emory Gordy, Tom Guidera, Timothy B. Schmit (bass guitar), Jimmie Fadden (harmonica), Emmylou Harris (harmony vocals), Sneaky Pete Kleinow, Danny Pendleton (pedal steel guitar), Dennis Karmazyn (cello), David Lindley (fiddle), J. D. Souther (guitar, lead & background vocals), Herb Pedersen (banjo, background vocals), Cissy Houston, Sherlie Matthews, Maria Muldaur, Clydie King, Wendy Waldman, Joyce Nesbitt (background vocals), Don Henley (drums, background vocals), Russ Kunkel, Lloyd Myers, Fred White, Dennis St. John (drums).\n
      \n
      1974 Breakthrough Remains a Paragon of Extraordinary Performance, Arranging, and Songwriting : Features an All-Star Instrumental Cast and Singer at Her Best.\n
      \n
      How to put the ageless appeal, artistic splendor, and imaginative instrumental variety of Linda Ronstadt's Heart Like a Wheel in proper perspective more than four decades after its original release ? For starters, the 1974 landmark earned three major Grammy nominations and won for Best Country Vocal Performance Female. But that feat pales in comparison to what the record did for Ronstadt, who became the decade's most in-demand, multifaceted, and cherished female singer soon after it captured the public's attention. Or the fact that it remains a paragon of songwriting, arrangement, and performance a trifecta that still holds sway in this era or any. Mobile Fidelity's reissue puts it over the top to stay.\n
      \n
      Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet 180 gram vinyl at RTI, this LP reissue presents Heart Like a Wheel with astounding clarity, depth, and naturalism. Still the most difficult instrument to accurately capture, the female voice is here conveyed with transfixing realism, warmth, and feeling. The inner beauty of Ronstadt's flawless phrasing and passionate inflections bears out with obvious candor, her tonality and emotiveness pouring through every lyric and wordless expression.\n
      \n
      Yet the advantages of this numbered-edition audiophile version extend far beyond the intimacy afforded Ronstadt's singing. Specifically, the majesty of Peter Asher's crafty arrangements now come to life like never before. Free of the fatiguing high frequencies and flat, dull responsiveness inherent on previous remasters and the original Capitol issue, respectively, this 180 gram LP sets the sonic standard and lets the extraordinary instrumental blends blossom with openness, airiness, and organic textures.\n
      \n
      While Ronstadt's interpretive skills and stunning vocals remain front and center, the all-star cast of California-based musicians that helped transform Heart Like a Wheel into a 1970s mainstream pop-rock staple and a lasting example of the period's laid-back West Coast sound cannot be forgotten. Glenn Frey, Don Henley, Emmylou Harris, Maria Muldaur, Herb Pedersen, David Lindley, J.D. Souther, and Andrew Gold are just a few of the luminaries that ensure the Billboard chart-topping set rests on an unassailable foundation. Asher puts everything in the right place and, in concert with the headliner, chooses a repertoire of standards that both shakes up traditions and pays homage to them.\n
      \n
      The other secrets to the record's distinctiveness lie with Ronstadt's versatility and passion, her uncanny ability to inhabit every lyric with conviction and believability, and her graceful technique. As Stephen Holden stated in his rave review of the album for Rolling Stone in early 1975, "No other pop singer so perfectly embodies the Western mythical girl/woman, heartbroken yet resilient and entirely feminine in the traditional sense. There is a throbbing edge to Ronstadt's honey-colored soprano that no other singer quite possesses the edge between vulnerability and willfulness that I find totally, irresistibly sexy".\n
      \n
      Ronstadt indeed proves seductive and inviting throughout, whether on the bluesy reading of Clint Ballad Jr.'s "You're No Good", harmony-rich treatment of Hank Williams' "I Can't Help It (If I'm Still in Love with You)", folk-rock lilt of Lowell George's "Willin'", or soulful send-up of Phil Everly's "When Will I Be Loved ?" Complete with piano, double bass, cello, viola, and fiddle, as well as support vocals from Muldaur, the cover of Anna McGarrigle's title track reinforces the one-of-a-kind expanse and all-for-one chemistry evident throughout the double-platinum effort the kind of record they just don't make anymore.\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1894 …}
    -musicienOrchestre: "Linda Ronstadt (lead & backing vocals), Andrew Gold (guitar, percussion, piano, drums, keyboards, electric piano, tambourine, ukulele, background vocals), Peter Asher (guitar, percussion, background vocals, cowbell)…"
    -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=qDk6j0aXQnQ"
    -referenceProduit: "MFSL 1-472"
    -titreMorceau: [
      [
        "nom" => "1. When Will I Be Loved"
        "ordre" => 7
      ]
      [
        "nom" => "1. You're No Good"
        "ordre" => 1
      ]
      [
        "nom" => "2. It Doesn't Matter Anymore"
        "ordre" => 2
      ]
      [
        "nom" => "2. Willin'"
        "ordre" => 8
      ]
      [
        "nom" => "3. Faithless Love"
        "ordre" => 3
      ]
      [
        "nom" => "3. I Can't Help It If I'm Still In Love With You"
        "ordre" => 9
      ]
      [
        "nom" => "4. Dark End Of The Street"
        "ordre" => 4
      ]
      [
        "nom" => "4. Keep Me From Blowing Away"
        "ordre" => 10
      ]
      [
        "nom" => "5. Heart Like A Wheel"
        "ordre" => 5
      ]
      [
        "nom" => "5. You Can Close Your Eyes"
        "ordre" => 11
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2081 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2090 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2083 …}
    -typeMasterTape: null
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    -typeMateriel: null
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    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2085 …}
    -enregistreLe: DateTime @1446813986 {#2076
      date: 2015-11-06 12:46:26.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1654180775 {#2077
      date: 2022-06-02 14:39:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2087 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-heart-like-a-wheel-mfsl-1-472"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3302
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2573 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1909 …}
  +produit: App\Entity\Produit {#2079
    -id: 839
    -nom: "Heart Like a Wheel "
    -informationComplementaire: ""
    -description: """
      Musicians : \n
      Linda Ronstadt (lead & backing vocals), Andrew Gold (guitar, percussion, piano, drums, keyboards, electric piano, tambourine, ukulele, background vocals), Peter Asher (guitar, percussion, background vocals, cowbell), Ed Black, John Boylan, Paul Craft, Glenn Frey, ohn Starling, Bob Warford (guitar), David Campbell (viola, string arrangements), Kenny Edwards (bass guitar, background vocals), Chris Ethridge, Richard Feves, Emory Gordy, Tom Guidera, Timothy B. Schmit (bass guitar), Jimmie Fadden (harmonica), Emmylou Harris (harmony vocals), Sneaky Pete Kleinow, Danny Pendleton (pedal steel guitar), Dennis Karmazyn (cello), David Lindley (fiddle), J. D. Souther (guitar, lead & background vocals), Herb Pedersen (banjo, background vocals), Cissy Houston, Sherlie Matthews, Maria Muldaur, Clydie King, Wendy Waldman, Joyce Nesbitt (background vocals), Don Henley (drums, background vocals), Russ Kunkel, Lloyd Myers, Fred White, Dennis St. John (drums).\n
      \n
      1974 Breakthrough Remains a Paragon of Extraordinary Performance, Arranging, and Songwriting : Features an All-Star Instrumental Cast and Singer at Her Best.\n
      \n
      How to put the ageless appeal, artistic splendor, and imaginative instrumental variety of Linda Ronstadt's Heart Like a Wheel in proper perspective more than four decades after its original release ? For starters, the 1974 landmark earned three major Grammy nominations and won for Best Country Vocal Performance Female. But that feat pales in comparison to what the record did for Ronstadt, who became the decade's most in-demand, multifaceted, and cherished female singer soon after it captured the public's attention. Or the fact that it remains a paragon of songwriting, arrangement, and performance a trifecta that still holds sway in this era or any. Mobile Fidelity's reissue puts it over the top to stay.\n
      \n
      Mastered on Mobile Fidelity's world-renowned mastering system and pressed on dead-quiet 180 gram vinyl at RTI, this LP reissue presents Heart Like a Wheel with astounding clarity, depth, and naturalism. Still the most difficult instrument to accurately capture, the female voice is here conveyed with transfixing realism, warmth, and feeling. The inner beauty of Ronstadt's flawless phrasing and passionate inflections bears out with obvious candor, her tonality and emotiveness pouring through every lyric and wordless expression.\n
      \n
      Yet the advantages of this numbered-edition audiophile version extend far beyond the intimacy afforded Ronstadt's singing. Specifically, the majesty of Peter Asher's crafty arrangements now come to life like never before. Free of the fatiguing high frequencies and flat, dull responsiveness inherent on previous remasters and the original Capitol issue, respectively, this 180 gram LP sets the sonic standard and lets the extraordinary instrumental blends blossom with openness, airiness, and organic textures.\n
      \n
      While Ronstadt's interpretive skills and stunning vocals remain front and center, the all-star cast of California-based musicians that helped transform Heart Like a Wheel into a 1970s mainstream pop-rock staple and a lasting example of the period's laid-back West Coast sound cannot be forgotten. Glenn Frey, Don Henley, Emmylou Harris, Maria Muldaur, Herb Pedersen, David Lindley, J.D. Souther, and Andrew Gold are just a few of the luminaries that ensure the Billboard chart-topping set rests on an unassailable foundation. Asher puts everything in the right place and, in concert with the headliner, chooses a repertoire of standards that both shakes up traditions and pays homage to them.\n
      \n
      The other secrets to the record's distinctiveness lie with Ronstadt's versatility and passion, her uncanny ability to inhabit every lyric with conviction and believability, and her graceful technique. As Stephen Holden stated in his rave review of the album for Rolling Stone in early 1975, "No other pop singer so perfectly embodies the Western mythical girl/woman, heartbroken yet resilient and entirely feminine in the traditional sense. There is a throbbing edge to Ronstadt's honey-colored soprano that no other singer quite possesses the edge between vulnerability and willfulness that I find totally, irresistibly sexy".\n
      \n
      Ronstadt indeed proves seductive and inviting throughout, whether on the bluesy reading of Clint Ballad Jr.'s "You're No Good", harmony-rich treatment of Hank Williams' "I Can't Help It (If I'm Still in Love with You)", folk-rock lilt of Lowell George's "Willin'", or soulful send-up of Phil Everly's "When Will I Be Loved ?" Complete with piano, double bass, cello, viola, and fiddle, as well as support vocals from Muldaur, the cover of Anna McGarrigle's title track reinforces the one-of-a-kind expanse and all-for-one chemistry evident throughout the double-platinum effort the kind of record they just don't make anymore.\n
      """
    -prixVente: "60.00"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1894 …}
    -musicienOrchestre: "Linda Ronstadt (lead & backing vocals), Andrew Gold (guitar, percussion, piano, drums, keyboards, electric piano, tambourine, ukulele, background vocals), Peter Asher (guitar, percussion, background vocals, cowbell)…"
    -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=qDk6j0aXQnQ"
    -referenceProduit: "MFSL 1-472"
    -titreMorceau: [
      [
        "nom" => "1. When Will I Be Loved"
        "ordre" => 7
      ]
      [
        "nom" => "1. You're No Good"
        "ordre" => 1
      ]
      [
        "nom" => "2. It Doesn't Matter Anymore"
        "ordre" => 2
      ]
      [
        "nom" => "2. Willin'"
        "ordre" => 8
      ]
      [
        "nom" => "3. Faithless Love"
        "ordre" => 3
      ]
      [
        "nom" => "3. I Can't Help It If I'm Still In Love With You"
        "ordre" => 9
      ]
      [
        "nom" => "4. Dark End Of The Street"
        "ordre" => 4
      ]
      [
        "nom" => "4. Keep Me From Blowing Away"
        "ordre" => 10
      ]
      [
        "nom" => "5. Heart Like A Wheel"
        "ordre" => 5
      ]
      [
        "nom" => "5. You Can Close Your Eyes"
        "ordre" => 11
      ]
      [
        "nom" => "Side A :"
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 6
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2081 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2090 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2083 …}
    -typeMasterTape: null
    -marque: null
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    -produitTestePar: null
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    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2085 …}
    -enregistreLe: DateTime @1446813986 {#2076
      date: 2015-11-06 12:46:26.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1654180775 {#2077
      date: 2022-06-02 14:39:35.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2087 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-heart-like-a-wheel-mfsl-1-472"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2341 …}
}

[
  "produit" => App\Entity\Produit {#2095
    -id: 1797
    -nom: "Mingus Ah Um - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: ""
    -description: """
      The Ultimate Version of Landmark 1959 Album : Deluxe Audiophile Set Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) !\r\n
      \r\n
      "Better Git It in Your Soul" not only serves as the name of the inviting, holler-appointed opening track of Charles Mingus' Mingus Ah Um. It epitomizes the spirit, urgency, freedom, and feel-it-in-your-bones passion of an album that along with Miles Davis' Kind of Blue, Dave Brubeck's Time Out, and John Coltrane's Giant Steps forms the Mount Rushmore of quintessential records from 1959-1960, jazz's watershed graduating class. Indeed, Mingus Ah Um is cited on practically every "greatest" list assembled and enjoys the rare distinction of wearing a prestigious crown in the Penguin Guide to Jazz and membership in the Grammy Hall of Fame. Now, it receives the highest sonic treatment available in the form of a reissue worthy of its preeminent creative stature. \r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step collector's edition makes Mingus Ah Um pop with unprecedented vibrancy, command, energy, and scale. The bassist's church-music roots spring to life in the form of blues themes, moaned vocals, spiritual motifs, and preacher-inspired riffs that register with hyper-realistic dimensionality and natural intimacy. Experienced as a seamless whole just as the cigar-chomping composer intended the band enters your listening room, its intertwined assembly of notes, phrases, pauses, shapes, and solos yielding something more music. What you hear here is the formation of aura and atmosphere traditionally only associated with live concerts. Such is the allure of UD1S and MoFi SuperVinyl.\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      The lavish packaging and gorgeous presentation of the UD1S Mingus Ah Um pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the textures.\r\n
      \r\n
      And clearly, Mingus ardently honored and prized the aforementioned aspects on his Columbia Records debut. Witness the unforgettable cover art, a painting by S. Neil Fujita, whose varied hues, abstract geometries, free-base forms, and ornate albeit clean presentation mirrors the seemingly impossible blend of accessibility, complexity, experimentalism, consistency, focus, individualism, and collectivity reflected in every passage of the incredibly diverse album. Or, simply look at the reverence Mingus displays for his ancestors and their contributions to jazz's ongoing conversation and cultural relevance via "Jelly Roll" (for Jelly Roll Morton), "Open Letter to Duke" (for Duke Ellington), and the hallmark ballad "Goodbye Pork Pie Hat" (an homage to Lester Young\r\n
      ).\r\n
      Above all, however, Mingus Ah Um stands as an exuberant tribute to the idea (and blueprint-caliber execution) of fully realized musical frameworks serving as launching pads for expressive interactions, responses, exchanges, and improvisations. At the core, personality, character, invention, and, color remain paramount. Mingus Ah Um acts as an aural representation of a philosophy the artist espoused before and after the recording sessions. In the liner notes to the record's follow-up, and penned shortly after the recording of Mingus Ah Um, he spoke of striving for "primitive, mystic, supra-mind communication" and avoiding the repetition, boredom, apathy, and cliché associated with falling into set patterns and mimicking the approach of recognized giants. In other words, he demanded each member of his band "play himself".\r\n
      \r\n
      Nothing could be truer when you hear in such vivid detail the work of saxophonists John Handy, Shafi Hadi, and Booker Ervin, trombonists Willie Dennis and Jimmy Knepper, pianist Horace Parlan, drummer Dannie Richmond, and the genius bass playing of Mingus himself. The collective's technical acumen be it multi-tone row scales, pedal point rhythmic patterns, traditional chords, melodic moods, harmonic lines, beginning/ending-blurring context, high registers, major and minor thirds (and absence thereof), pivot-point chromatics, diatonic manners, open fifths, and more lingers not only in the mind, but invigorates the senses.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Charles Mingus (bass, piano),? John Handy (alto & tenor sax, clarinet), ?Booker Ervin (tenor sax),? Shafi Hadi (tenor & alto sax),? Willie Dennis, Jimmy Knepper (trombone),? Horace Parlan (piano), ?Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yzlWvNbxrho"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S-010"
    -titreMorceau: [
      [
        "nom" => "1. Better Git It in Your Soul"
        "ordre" => 1
      ]
      [
        "nom" => "1. Bird Calls"
        "ordre" => 8
      ]
      [
        "nom" => "1. Boogie Stop Shuffle"
        "ordre" => 4
      ]
      [
        "nom" => "1. Pussy Cat Dues"
        "ordre" => 11
      ]
      [
        "nom" => "2. Fables of Faubus"
        "ordre" => 9
      ]
      [
        "nom" => "2. Goodbye Pork Pie Hat"
        "ordre" => 2
      ]
      [
        "nom" => "2. Jelly Roll"
        "ordre" => 12
      ]
      [
        "nom" => "2. Self-Portrait in Three Colors"
        "ordre" => 5
      ]
      [
        "nom" => "3. Open Letter to Duke"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2097 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2106 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2099 …}
    -typeMasterTape: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2101 …}
    -enregistreLe: DateTime @1580194181 {#2092
      date: 2020-01-28 06:49:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653485974 {#2093
      date: 2022-05-25 13:39:34.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2103 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-mingus-ah-um-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-mfsl-45ud1s-010"
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  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3353
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2573 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1909 …}
  +produit: App\Entity\Produit {#2095
    -id: 1797
    -nom: "Mingus Ah Um - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: ""
    -description: """
      The Ultimate Version of Landmark 1959 Album : Deluxe Audiophile Set Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) !\r\n
      \r\n
      "Better Git It in Your Soul" not only serves as the name of the inviting, holler-appointed opening track of Charles Mingus' Mingus Ah Um. It epitomizes the spirit, urgency, freedom, and feel-it-in-your-bones passion of an album that along with Miles Davis' Kind of Blue, Dave Brubeck's Time Out, and John Coltrane's Giant Steps forms the Mount Rushmore of quintessential records from 1959-1960, jazz's watershed graduating class. Indeed, Mingus Ah Um is cited on practically every "greatest" list assembled and enjoys the rare distinction of wearing a prestigious crown in the Penguin Guide to Jazz and membership in the Grammy Hall of Fame. Now, it receives the highest sonic treatment available in the form of a reissue worthy of its preeminent creative stature. \r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step collector's edition makes Mingus Ah Um pop with unprecedented vibrancy, command, energy, and scale. The bassist's church-music roots spring to life in the form of blues themes, moaned vocals, spiritual motifs, and preacher-inspired riffs that register with hyper-realistic dimensionality and natural intimacy. Experienced as a seamless whole just as the cigar-chomping composer intended the band enters your listening room, its intertwined assembly of notes, phrases, pauses, shapes, and solos yielding something more music. What you hear here is the formation of aura and atmosphere traditionally only associated with live concerts. Such is the allure of UD1S and MoFi SuperVinyl.\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.\r\n
      \r\n
      The lavish packaging and gorgeous presentation of the UD1S Mingus Ah Um pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the textures.\r\n
      \r\n
      And clearly, Mingus ardently honored and prized the aforementioned aspects on his Columbia Records debut. Witness the unforgettable cover art, a painting by S. Neil Fujita, whose varied hues, abstract geometries, free-base forms, and ornate albeit clean presentation mirrors the seemingly impossible blend of accessibility, complexity, experimentalism, consistency, focus, individualism, and collectivity reflected in every passage of the incredibly diverse album. Or, simply look at the reverence Mingus displays for his ancestors and their contributions to jazz's ongoing conversation and cultural relevance via "Jelly Roll" (for Jelly Roll Morton), "Open Letter to Duke" (for Duke Ellington), and the hallmark ballad "Goodbye Pork Pie Hat" (an homage to Lester Young\r\n
      ).\r\n
      Above all, however, Mingus Ah Um stands as an exuberant tribute to the idea (and blueprint-caliber execution) of fully realized musical frameworks serving as launching pads for expressive interactions, responses, exchanges, and improvisations. At the core, personality, character, invention, and, color remain paramount. Mingus Ah Um acts as an aural representation of a philosophy the artist espoused before and after the recording sessions. In the liner notes to the record's follow-up, and penned shortly after the recording of Mingus Ah Um, he spoke of striving for "primitive, mystic, supra-mind communication" and avoiding the repetition, boredom, apathy, and cliché associated with falling into set patterns and mimicking the approach of recognized giants. In other words, he demanded each member of his band "play himself".\r\n
      \r\n
      Nothing could be truer when you hear in such vivid detail the work of saxophonists John Handy, Shafi Hadi, and Booker Ervin, trombonists Willie Dennis and Jimmy Knepper, pianist Horace Parlan, drummer Dannie Richmond, and the genius bass playing of Mingus himself. The collective's technical acumen be it multi-tone row scales, pedal point rhythmic patterns, traditional chords, melodic moods, harmonic lines, beginning/ending-blurring context, high registers, major and minor thirds (and absence thereof), pivot-point chromatics, diatonic manners, open fifths, and more lingers not only in the mind, but invigorates the senses.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Charles Mingus (bass, piano),? John Handy (alto & tenor sax, clarinet), ?Booker Ervin (tenor sax),? Shafi Hadi (tenor & alto sax),? Willie Dennis, Jimmy Knepper (trombone),? Horace Parlan (piano), ?Dannie Richmond (drums)"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=yzlWvNbxrho"
    -referenceProduit: "Mobile Fidelity Sound Lab MFSL 45UD1S-010"
    -titreMorceau: [
      [
        "nom" => "1. Better Git It in Your Soul"
        "ordre" => 1
      ]
      [
        "nom" => "1. Bird Calls"
        "ordre" => 8
      ]
      [
        "nom" => "1. Boogie Stop Shuffle"
        "ordre" => 4
      ]
      [
        "nom" => "1. Pussy Cat Dues"
        "ordre" => 11
      ]
      [
        "nom" => "2. Fables of Faubus"
        "ordre" => 9
      ]
      [
        "nom" => "2. Goodbye Pork Pie Hat"
        "ordre" => 2
      ]
      [
        "nom" => "2. Jelly Roll"
        "ordre" => 12
      ]
      [
        "nom" => "2. Self-Portrait in Three Colors"
        "ordre" => 5
      ]
      [
        "nom" => "3. Open Letter to Duke"
        "ordre" => 6
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 3
      ]
      [
        "nom" => "Side C : "
        "ordre" => 7
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2097 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2106 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2099 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2101 …}
    -enregistreLe: DateTime @1580194181 {#2092
      date: 2020-01-28 06:49:41.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653485974 {#2093
      date: 2022-05-25 13:39:34.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2103 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-mingus-ah-um-ultradisc-one-step-2-lp-45-rpm-box-set-mobile-fidelity-sound-lab-mfsl-45ud1s-010"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2341 …}
}

[
  "produit" => App\Entity\Produit {#2111
    -id: 1966
    -nom: "Blood, Sweat and Tears - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      David Clayton Thomas (lead vocals), Lew Soloff (trumpet, flugelhorn), Jim Fielder (bass), Dick Halligan (organ, piano, flute, trombone, vocals), Steve Katz (guitar, harmonica, vocals & lead vocals), Fred Lipsius (alto saxophone, piano), Chuck Winfield (trumpet, flugelhorn), Jerry Hyman (trombone), Alan Rubin (trumpet), Bobby Colomby (drums, percussion, vocals).\r\n
      \r\n
      Mastered from the Original Master Tapes with Mobile Fidelity's One-Step Process: Blood, Sweat & Tears UD1S 180 gram 45 RPM 2 LP Box Set Is Ultimate Version of 1968 Album !\r\n
      \r\n
      Superb Packaging Includes Opulent Box, Foil-Stamped Jackets, and SuperVinyl LPs : Deluxe Audiophile Pressing Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) ! \r\n
      \r\n
      James William Guercio-Produced Record Established New Precedents for Musical Fusion : Jazz-Rock Effort Includes "You've Made Me So Very Happy" and "Spinning Wheel" !\r\n
      \r\n
      Don't call it a comeback. Not only did Blood, Sweat & Tears' eponymous album establish new precedents for musical fusion and record production upon release in late 1968, the quadruple platinum set marked a new commercial beginning for a cross-cultural group nearly decimated months earlier when its prominent co-founder, Al Kooper, departed along with two other members. The resultant sophomore effort simply went on to top the charts for seven straight weeks, earn the Grammy Award for Album of the Year, spawn three successive Top 5 singles, and land the group a headlining slot at Woodstock. No wonder its reputation remains golden among listeners, particularly audiophiles, which have never experienced the hybrid fare in more vibrant fashion than on this collectible reissue.\r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM 2LP edition presents Blood, Sweat & Tears with exacting sonics and unsurpassed visuals. Prized for decades for its rainbow of textures, colors, and openness as well as the tonalities, extension, and subtleties associated with the horn section Blood, Sweat & Tears now comes across with multi-dimensional scope and tremendous frequency responsiveness. The collective's genre-bending brass and woodwind instrumentation possess pointillistic details as rich, deep, and complex as a succulent Turkish espresso. Similarly, the originality, sophistication, and melodicism of the songs anchored by Jim Fielder's can-do-anything bass playing emerges with a newfound warmth, realism, and presence that surpass those even on the out-of-print ORG 45 RPM reissue. Such is the allure of UD1S and MoFi SuperVinyl.\r\n
      \r\n
      In addition, the lavish packaging and gorgeous presentation of the UD1S Blood, Sweat & Tears pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the finishes.\r\n
      \r\n
      Speaking of these critical aspects, it remains obvious producer James William Guercio valued them above all else when he manned the boards for the sessions. Working with engineer Roy Halee and the band's sensitive arrangements  including that for the Number Two smash "You've Made Me So Very Happy", co-arranged by Kooper  he helped spin the nonet's melange of classical, jazz, rock, folk, and blues into pop gold. Ignoring any stylistic boundaries, and preceding Chicago's similarly jazz-rock-centric debut by almost four months, the album interrupted formal convention and went against the grain of the era's dominant psychedelia. Along with creative interpretations of tunes by Traffic, Laura Nyro, and more, and fearless interplay of horns and keyboards, a key to the effort's mega-success and sterling reputation remains the vocals of David Clayton-Thomas.\r\n
      \r\n
      Reportedly discovered by Judy Collins, Clayton-Thomas brings a soulfulness and drama to the palette absent from the first album. His baritone emerges front and center on the country-leaning "And When I Die" and syncopated "Smiling Phases". The singer's multifaceted ability complements his colleagues deft approaches to tempo, transition, and tension, with solos dovetailing with jazz-derived segues to produce music that's at once elaborate, eclectic, and accessible never better represented than on the thrice Grammy-nominated "Spinning Wheel", a sly takedown of the LSD-addled era that ends with an Austrian tune from 1815 added at the last minute by Guercio to correct a mistake a one-off error on a set that seemingly has none other.\r\n
      \r\n
      Indeed, the most enduring appeal of Blood, Sweat & Tears pertains to the cohesive performances of a group that blazed its own trail. To focus on the playing of trumpeters / flugelhornists Lew Soloff and Chuck Winfield, drummer Bobby Colomby, organist Dick Halligan, guitarist Steve Katz, alto saxophonist Fred Lipsius, trombonist Jerry Hyman, and the aforementioned Clayton-Thomas and Fielder (many of whom also played auxiliary instruments) is to experience one of pop music's remarkable adventures.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "David Clayton Thomas (lead vocals), Lew Soloff (trumpet, flugelhorn), Jim Fielder (bass), Dick Halligan (organ, piano, flute, trombone, vocals), Steve Katz (guitar, harmonica, vocals & lead vocals), Fred Lipsius (alto saxophone, piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=GreaN1ljqGY"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S 016"
    -titreMorceau: [
      [
        "nom" => "1. Variations on a Theme by Erik Satie (1st and 2nd Movements)"
        "ordre" => 0
      ]
      [
        "nom" => "10. Variations on a Theme by Erik Satie (1st Movement)"
        "ordre" => 9
      ]
      [
        "nom" => "2. Smiling Phases"
        "ordre" => 1
      ]
      [
        "nom" => "3. Sometimes in Winter"
        "ordre" => 2
      ]
      [
        "nom" => "4. More and More"
        "ordre" => 3
      ]
      [
        "nom" => "5. And When I Die"
        "ordre" => 4
      ]
      [
        "nom" => "6. God Bless the Child"
        "ordre" => 5
      ]
      [
        "nom" => "7. Spinning Wheel"
        "ordre" => 6
      ]
      [
        "nom" => "8. You've Made Me So Very Happy"
        "ordre" => 7
      ]
      [
        "nom" => "9. Blues – Part II"
        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2113 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2122 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2115 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2117 …}
    -enregistreLe: DateTime @1607668584 {#2108
      date: 2020-12-11 06:36:24.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653484525 {#2109
      date: 2022-05-25 13:15:25.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2119 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-blood-sweat-and-tears-ultradisc-one-step-box-set-2-lp-45-rpm-mobile-fidelity-sound-lab-ud1s-016"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3404
  -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 {#2573 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1909 …}
  +produit: App\Entity\Produit {#2111
    -id: 1966
    -nom: "Blood, Sweat and Tears - UltraDisc One-Step (Box Set 2 LP) 45 RPM"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      David Clayton Thomas (lead vocals), Lew Soloff (trumpet, flugelhorn), Jim Fielder (bass), Dick Halligan (organ, piano, flute, trombone, vocals), Steve Katz (guitar, harmonica, vocals & lead vocals), Fred Lipsius (alto saxophone, piano), Chuck Winfield (trumpet, flugelhorn), Jerry Hyman (trombone), Alan Rubin (trumpet), Bobby Colomby (drums, percussion, vocals).\r\n
      \r\n
      Mastered from the Original Master Tapes with Mobile Fidelity's One-Step Process: Blood, Sweat & Tears UD1S 180 gram 45 RPM 2 LP Box Set Is Ultimate Version of 1968 Album !\r\n
      \r\n
      Superb Packaging Includes Opulent Box, Foil-Stamped Jackets, and SuperVinyl LPs : Deluxe Audiophile Pressing Strictly Limited to 6000 Numbered Copies (Limit Two Per Customer) ! \r\n
      \r\n
      James William Guercio-Produced Record Established New Precedents for Musical Fusion : Jazz-Rock Effort Includes "You've Made Me So Very Happy" and "Spinning Wheel" !\r\n
      \r\n
      Don't call it a comeback. Not only did Blood, Sweat & Tears' eponymous album establish new precedents for musical fusion and record production upon release in late 1968, the quadruple platinum set marked a new commercial beginning for a cross-cultural group nearly decimated months earlier when its prominent co-founder, Al Kooper, departed along with two other members. The resultant sophomore effort simply went on to top the charts for seven straight weeks, earn the Grammy Award for Album of the Year, spawn three successive Top 5 singles, and land the group a headlining slot at Woodstock. No wonder its reputation remains golden among listeners, particularly audiophiles, which have never experienced the hybrid fare in more vibrant fashion than on this collectible reissue.\r\n
      \r\n
      Strictly limited to 6000 numbered copies and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180 gram 45 RPM 2LP edition presents Blood, Sweat & Tears with exacting sonics and unsurpassed visuals. Prized for decades for its rainbow of textures, colors, and openness as well as the tonalities, extension, and subtleties associated with the horn section Blood, Sweat & Tears now comes across with multi-dimensional scope and tremendous frequency responsiveness. The collective's genre-bending brass and woodwind instrumentation possess pointillistic details as rich, deep, and complex as a succulent Turkish espresso. Similarly, the originality, sophistication, and melodicism of the songs anchored by Jim Fielder's can-do-anything bass playing emerges with a newfound warmth, realism, and presence that surpass those even on the out-of-print ORG 45 RPM reissue. Such is the allure of UD1S and MoFi SuperVinyl.\r\n
      \r\n
      In addition, the lavish packaging and gorgeous presentation of the UD1S Blood, Sweat & Tears pressing also befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners who prize sound quality and production, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the finishes.\r\n
      \r\n
      Speaking of these critical aspects, it remains obvious producer James William Guercio valued them above all else when he manned the boards for the sessions. Working with engineer Roy Halee and the band's sensitive arrangements  including that for the Number Two smash "You've Made Me So Very Happy", co-arranged by Kooper  he helped spin the nonet's melange of classical, jazz, rock, folk, and blues into pop gold. Ignoring any stylistic boundaries, and preceding Chicago's similarly jazz-rock-centric debut by almost four months, the album interrupted formal convention and went against the grain of the era's dominant psychedelia. Along with creative interpretations of tunes by Traffic, Laura Nyro, and more, and fearless interplay of horns and keyboards, a key to the effort's mega-success and sterling reputation remains the vocals of David Clayton-Thomas.\r\n
      \r\n
      Reportedly discovered by Judy Collins, Clayton-Thomas brings a soulfulness and drama to the palette absent from the first album. His baritone emerges front and center on the country-leaning "And When I Die" and syncopated "Smiling Phases". The singer's multifaceted ability complements his colleagues deft approaches to tempo, transition, and tension, with solos dovetailing with jazz-derived segues to produce music that's at once elaborate, eclectic, and accessible never better represented than on the thrice Grammy-nominated "Spinning Wheel", a sly takedown of the LSD-addled era that ends with an Austrian tune from 1815 added at the last minute by Guercio to correct a mistake a one-off error on a set that seemingly has none other.\r\n
      \r\n
      Indeed, the most enduring appeal of Blood, Sweat & Tears pertains to the cohesive performances of a group that blazed its own trail. To focus on the playing of trumpeters / flugelhornists Lew Soloff and Chuck Winfield, drummer Bobby Colomby, organist Dick Halligan, guitarist Steve Katz, alto saxophonist Fred Lipsius, trombonist Jerry Hyman, and the aforementioned Clayton-Thomas and Fielder (many of whom also played auxiliary instruments) is to experience one of pop music's remarkable adventures.\r\n
      """
    -prixVente: "229.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "David Clayton Thomas (lead vocals), Lew Soloff (trumpet, flugelhorn), Jim Fielder (bass), Dick Halligan (organ, piano, flute, trombone, vocals), Steve Katz (guitar, harmonica, vocals & lead vocals), Fred Lipsius (alto saxophone, piano)…"
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: false
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=GreaN1ljqGY"
    -referenceProduit: "Mobile Fidelity Sound Lab UD1S 016"
    -titreMorceau: [
      [
        "nom" => "1. Variations on a Theme by Erik Satie (1st and 2nd Movements)"
        "ordre" => 0
      ]
      [
        "nom" => "10. Variations on a Theme by Erik Satie (1st Movement)"
        "ordre" => 9
      ]
      [
        "nom" => "2. Smiling Phases"
        "ordre" => 1
      ]
      [
        "nom" => "3. Sometimes in Winter"
        "ordre" => 2
      ]
      [
        "nom" => "4. More and More"
        "ordre" => 3
      ]
      [
        "nom" => "5. And When I Die"
        "ordre" => 4
      ]
      [
        "nom" => "6. God Bless the Child"
        "ordre" => 5
      ]
      [
        "nom" => "7. Spinning Wheel"
        "ordre" => 6
      ]
      [
        "nom" => "8. You've Made Me So Very Happy"
        "ordre" => 7
      ]
      [
        "nom" => "9. Blues – Part II"
        "ordre" => 8
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2113 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1468 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2122 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2115 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
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    -optionPrixes: Doctrine\ORM\PersistentCollection {#2117 …}
    -enregistreLe: DateTime @1607668584 {#2108
      date: 2020-12-11 06:36:24.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1653484525 {#2109
      date: 2022-05-25 13:15:25.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2119 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-blood-sweat-and-tears-ultradisc-one-step-box-set-2-lp-45-rpm-mobile-fidelity-sound-lab-ud1s-016"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2341 …}
}

[
  "produit" => App\Entity\Produit {#2131
    -id: 1347
    -nom: "What’s Going On - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Marvin Gaye (piano, keyboards, drums, vocals), Angelo Carlisi, Eli Fountain (alto saxophone), Tate Houston (baritone saxophone), Bob Babbit, James Jamerson (bass), Earl DeRouen, Eddie Brown (bongos), John Trudell, Maurice Davis (trumpet), Larry Nozero (soprano saxophone), Earl DeRouen, Eddie Brown (congas), Dayna Hartwick, William Perich (flute), Joe Messina, Robert White, Earl Van Dyke (guitar), Max Janowsky (string bass), William "Wild Bill" Moore, George Benson (tenor saxophone), Jack Ashford (tambourine), Carl Raetz (trombone), Jack Brokensha (vibraphone), Johnny Griffith (celesta), Carole Crosby (harp), Elgie Stover, Lem Barney, Mel Farr, Bobby Rodgers, The Andantes (backing vocals), David Ireland, Edouard Kesner, Meyer Shapiro, Nathan Gordon (viola), Alvin Score, Beatriz Budinszky, Felix Resnick, Gordon Staples, James Waring, Lillian Downs, Richard Margitza, Virginia Halfmann, Zinovi Bistritzky (violin), Edward Korkigian, Italo Babini, Thaddeus Markiewicz (cello), Jack Ashford (percussion), Chet Forest (drums).\r\n
      \r\n
      Mastered from the Original Master Tapes and Pressed on MoFi SuperVinyl: What's Going On Mobile Fidelity UD1S 45 RPM 2 LP Box Set Is the Ultimate Version of Marvin Gaye's Groundbreaking Album. \r\n
      \r\n
      Lavish Packaging Includes Opulent Box, Foil-Stamped Jackets, and World's First MoFi SuperVinyl LPs : Deluxe Audiophile Set Strictly Limited to 7500 Numbered Copies (Limit Two Per Customer). \r\n
      \r\n
      Pure Soul Genius That Redefined Pop Music and Motown: Socially Relevant What's Going On Pulses with Vitality and Urgency, Named the Sixth Greatest Album of All Time by Rolling Stone.\r\n
      \r\n
      Named the 6th best album in music history by Rolling Stone, Marvin Gaye's staggeringly influential What's Going On is pure soul genius and an ageless document about urban ills, employment issues, environmental concerns, and social responsibilities that's as relevant today as it was upon release in 1971. At once, the singer both revolutionized Motown's cache and upped the ante for his fellow artists. And now, the song cycle that toes the line between optimism, dismay, healing, futility, and urgency features sound and packaging that matches the groundbreaking arrangements, singing, and lyrical content within.\r\n
      \r\n
      Gaye's definitive statement reaches three-dimensional sonic and emotional heights never before attained on Mobile Fidelity's opulent UD1S (UltraDisc One-Step) box set. Strictly limited to 7500 numbered copies and pressed on MoFi SuperVinyl featuring the world's quietest surfaces and accurately cut grooves, this ultra-hi-fi collector's edition literally and figuratively brings you closer to music that redefined pop. You'll enjoy deep-black backgrounds, boundless soundstaging, pointillist details, staggering dynamics, and arguably, the most lifelike tonalities and nuances ever committed to vinyl. Experienced via UD1S, What's Going On places Gaye and his cadre of session pros in your listening room. Every note, breath, and movement is reproduced with exquisite accuracy, wowing clarity, and impeccable balance. Consider this edition your new go-to reference.\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.\r\n
      \r\n
      The lavish packaging, beautiful presentation, and pressing treatment of Mobile Fidelity's What's Going On UD1S pressing befit its extremely select status. Housed in a deluxe box, the collectible version contains special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this reissue of What's Going On exists a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound quality and creativity, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the textures and liner notes.\r\n
      \r\n
      Incredibly, the record almost didn't get made. Motown head honcho Barry Gordy detested the iconic title track but soon realized Gaye's ultimatum to issue it as a single had merit. After selling 100000 copies in its first days on the market, the release allowed Gaye carte blanche to make the remainder of the album on his terms and to serve as its producer, effectively signaling his split from the Detroit label's iron-clad hit-factory approach. The results forever changed soul, Motown, and Gaye, turning him from a crooner and sex symbol into someone far more complex, vital, and relatable on a human level.\r\n
      \r\n
      The societal themes coursing through What's Going On largely concerning the American Dream and what it really meant, and if it could still be attained, and if so, by whom and for what cost were largely informed by events of the time. Civil Rights riots, the assassination of Martin Luther King Jr., the Kent State shootings, as well as Gaye's own losses the death of his duet partner Tammi Terrell, the unraveling of his marriage, the pressures he faced from the IRS for unpaid taxes all prominently figured in the songwriting. Yet no subject mattered more than the Vietnam war and its returning veterans, one of whom was his brother. "I was very much affected by letters my brother was sending me from Vietnam, as well as the social situation here at home", the singer told Rolling Stone in an interview. "I realized that I had to put my own fantasies behind me if I wanted to write songs that would reach the souls of people. I wanted them to take a look at what was happening in the world".\r\n
      \r\n
      No less of an authority than "Sound Opinions" co-host, longtime Chicago Tribune critic, and award-winning author Greg Kot smartly observed that with What's Going On, Gaye "created soul music's first ‘art' album, an inner-city response to the Celtic mysticism of Van Morrison's Astral Weeks, the psychedelic pop of the Beatles' Sgt. Pepper's Lonely Hearts Club Band, the rewired blues of Bob Dylan's Highway 61 Revisited". And that's honestly just scratching the surface of this singular record.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior :\r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
      """
    -prixVente: "499.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Marvin Gaye (piano, keyboards, drums, vocals), Angelo Carlisi, Eli Fountain (alto saxophone), Tate Houston (baritone saxophone), Bob Babbit, James Jamerson (bass), Earl DeRouen, Eddie Brown (bongos), John Trudell, Maurice Davis (trumpet)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=H-kA3UtBj4M"
    -referenceProduit: "MFSL UD1S 008"
    -titreMorceau: [
      [
        "nom" => "1. Right On"
        "ordre" => 9
      ]
      [
        "nom" => "1. Save the Children"
        "ordre" => 5
      ]
      [
        "nom" => "1. What's Going On"
        "ordre" => 1
      ]
      [
        "nom" => "1. Wholy Holy"
        "ordre" => 11
      ]
      [
        "nom" => "2. God Is Love"
        "ordre" => 6
      ]
      [
        "nom" => "2. Inner City Blues (Make Me Wanna Holler)"
        "ordre" => 12
      ]
      [
        "nom" => "2. What's Happening Brother"
        "ordre" => 2
      ]
      [
        "nom" => "3. Flyin' High (In the Friendly Sky)"
        "ordre" => 3
      ]
      [
        "nom" => "3. Mercy Mercy Me (The Ecology)"
        "ordre" => 7
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2133 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2142 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2135 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2137 …}
    -enregistreLe: DateTime @1538375570 {#2124
      date: 2018-10-01 06:32:50.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1588313311 {#2125
      date: 2020-05-01 06:08:31.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2139 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-what-s-going-on-ultradisc-one-step-2-lp-45-rpm-box-set-mfsl-ud1s-008"
  }
  "detaillePage" => false
]

App\Twig\Components\GestionPanierFavoriComponents {#3455
  -requestStack: Symfony\Component\HttpFoundation\RequestStack {#290 …}
  -entity: ContainerSfwNWTr\EntityManagerGhost614a58f {#156 …}
  -security: Symfony\Bundle\SecurityBundle\Security {#240 …}
  -urlGenerator: Symfony\Bundle\FrameworkBundle\Routing\Router {#135 …}
  -frontGestionPanier: App\Service\FrontGestionPanierFavori {#2573 …}
  -gestionSaleSetting: App\Service\GestionSaleSetting {#1909 …}
  +produit: App\Entity\Produit {#2131
    -id: 1347
    -nom: "What’s Going On - UltraDisc One-Step (2 LP) 45 RPM Box Set"
    -informationComplementaire: ""
    -description: """
      Musicians :\r\n
      Marvin Gaye (piano, keyboards, drums, vocals), Angelo Carlisi, Eli Fountain (alto saxophone), Tate Houston (baritone saxophone), Bob Babbit, James Jamerson (bass), Earl DeRouen, Eddie Brown (bongos), John Trudell, Maurice Davis (trumpet), Larry Nozero (soprano saxophone), Earl DeRouen, Eddie Brown (congas), Dayna Hartwick, William Perich (flute), Joe Messina, Robert White, Earl Van Dyke (guitar), Max Janowsky (string bass), William "Wild Bill" Moore, George Benson (tenor saxophone), Jack Ashford (tambourine), Carl Raetz (trombone), Jack Brokensha (vibraphone), Johnny Griffith (celesta), Carole Crosby (harp), Elgie Stover, Lem Barney, Mel Farr, Bobby Rodgers, The Andantes (backing vocals), David Ireland, Edouard Kesner, Meyer Shapiro, Nathan Gordon (viola), Alvin Score, Beatriz Budinszky, Felix Resnick, Gordon Staples, James Waring, Lillian Downs, Richard Margitza, Virginia Halfmann, Zinovi Bistritzky (violin), Edward Korkigian, Italo Babini, Thaddeus Markiewicz (cello), Jack Ashford (percussion), Chet Forest (drums).\r\n
      \r\n
      Mastered from the Original Master Tapes and Pressed on MoFi SuperVinyl: What's Going On Mobile Fidelity UD1S 45 RPM 2 LP Box Set Is the Ultimate Version of Marvin Gaye's Groundbreaking Album. \r\n
      \r\n
      Lavish Packaging Includes Opulent Box, Foil-Stamped Jackets, and World's First MoFi SuperVinyl LPs : Deluxe Audiophile Set Strictly Limited to 7500 Numbered Copies (Limit Two Per Customer). \r\n
      \r\n
      Pure Soul Genius That Redefined Pop Music and Motown: Socially Relevant What's Going On Pulses with Vitality and Urgency, Named the Sixth Greatest Album of All Time by Rolling Stone.\r\n
      \r\n
      Named the 6th best album in music history by Rolling Stone, Marvin Gaye's staggeringly influential What's Going On is pure soul genius and an ageless document about urban ills, employment issues, environmental concerns, and social responsibilities that's as relevant today as it was upon release in 1971. At once, the singer both revolutionized Motown's cache and upped the ante for his fellow artists. And now, the song cycle that toes the line between optimism, dismay, healing, futility, and urgency features sound and packaging that matches the groundbreaking arrangements, singing, and lyrical content within.\r\n
      \r\n
      Gaye's definitive statement reaches three-dimensional sonic and emotional heights never before attained on Mobile Fidelity's opulent UD1S (UltraDisc One-Step) box set. Strictly limited to 7500 numbered copies and pressed on MoFi SuperVinyl featuring the world's quietest surfaces and accurately cut grooves, this ultra-hi-fi collector's edition literally and figuratively brings you closer to music that redefined pop. You'll enjoy deep-black backgrounds, boundless soundstaging, pointillist details, staggering dynamics, and arguably, the most lifelike tonalities and nuances ever committed to vinyl. Experienced via UD1S, What's Going On places Gaye and his cadre of session pros in your listening room. Every note, breath, and movement is reproduced with exquisite accuracy, wowing clarity, and impeccable balance. Consider this edition your new go-to reference.\r\n
      \r\n
      Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever created. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement : noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.\r\n
      \r\n
      The lavish packaging, beautiful presentation, and pressing treatment of Mobile Fidelity's What's Going On UD1S pressing befit its extremely select status. Housed in a deluxe box, the collectible version contains special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this reissue of What's Going On exists a curatorial artifact meant to be preserved, poured over, touched, and examined. It is made for discerning listeners that prize sound quality and creativity, and who desire to fully immerse themselves in the art and everything involved with the album, from the images to the textures and liner notes.\r\n
      \r\n
      Incredibly, the record almost didn't get made. Motown head honcho Barry Gordy detested the iconic title track but soon realized Gaye's ultimatum to issue it as a single had merit. After selling 100000 copies in its first days on the market, the release allowed Gaye carte blanche to make the remainder of the album on his terms and to serve as its producer, effectively signaling his split from the Detroit label's iron-clad hit-factory approach. The results forever changed soul, Motown, and Gaye, turning him from a crooner and sex symbol into someone far more complex, vital, and relatable on a human level.\r\n
      \r\n
      The societal themes coursing through What's Going On largely concerning the American Dream and what it really meant, and if it could still be attained, and if so, by whom and for what cost were largely informed by events of the time. Civil Rights riots, the assassination of Martin Luther King Jr., the Kent State shootings, as well as Gaye's own losses the death of his duet partner Tammi Terrell, the unraveling of his marriage, the pressures he faced from the IRS for unpaid taxes all prominently figured in the songwriting. Yet no subject mattered more than the Vietnam war and its returning veterans, one of whom was his brother. "I was very much affected by letters my brother was sending me from Vietnam, as well as the social situation here at home", the singer told Rolling Stone in an interview. "I realized that I had to put my own fantasies behind me if I wanted to write songs that would reach the souls of people. I wanted them to take a look at what was happening in the world".\r\n
      \r\n
      No less of an authority than "Sound Opinions" co-host, longtime Chicago Tribune critic, and award-winning author Greg Kot smartly observed that with What's Going On, Gaye "created soul music's first ‘art' album, an inner-city response to the Celtic mysticism of Van Morrison's Astral Weeks, the psychedelic pop of the Beatles' Sgt. Pepper's Lonely Hearts Club Band, the rewired blues of Bob Dylan's Highway 61 Revisited". And that's honestly just scratching the surface of this singular record.\r\n
      \r\n
      More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior :\r\n
      Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert". Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.
      """
    -prixVente: "499.50"
    -delaiLivraison: App\Enum\TempsLivraisonEnum {#1877 …}
    -musicienOrchestre: "Marvin Gaye (piano, keyboards, drums, vocals), Angelo Carlisi, Eli Fountain (alto saxophone), Tate Houston (baritone saxophone), Bob Babbit, James Jamerson (bass), Earl DeRouen, Eddie Brown (bongos), John Trudell, Maurice Davis (trumpet)..."
    -sonMusic: App\Enum\SonMusicEnum {#1133 …}
    -grammageMusic: App\Enum\GrammageMusicEnum {#1137 …}
    -rpmMusic: App\Enum\RPMMusicEnum {#1140 …}
    -lpsMusic: 2
    -setBoxMusic: true
    -limitedEdition: true
    -preCommande: false
    -selectionAAD: false
    -extraitYoutube: "https://www.youtube.com/watch?v=H-kA3UtBj4M"
    -referenceProduit: "MFSL UD1S 008"
    -titreMorceau: [
      [
        "nom" => "1. Right On"
        "ordre" => 9
      ]
      [
        "nom" => "1. Save the Children"
        "ordre" => 5
      ]
      [
        "nom" => "1. What's Going On"
        "ordre" => 1
      ]
      [
        "nom" => "1. Wholy Holy"
        "ordre" => 11
      ]
      [
        "nom" => "2. God Is Love"
        "ordre" => 6
      ]
      [
        "nom" => "2. Inner City Blues (Make Me Wanna Holler)"
        "ordre" => 12
      ]
      [
        "nom" => "2. What's Happening Brother"
        "ordre" => 2
      ]
      [
        "nom" => "3. Flyin' High (In the Friendly Sky)"
        "ordre" => 3
      ]
      [
        "nom" => "3. Mercy Mercy Me (The Ecology)"
        "ordre" => 7
      ]
      [
        "nom" => "Side A : "
        "ordre" => 0
      ]
      [
        "nom" => "Side B : "
        "ordre" => 4
      ]
      [
        "nom" => "Side C : "
        "ordre" => 8
      ]
      [
        "nom" => "Side D : "
        "ordre" => 10
      ]
    ]
    -artiste: Proxies\__CG__\App\Entity\Artiste {#2133 …}
    -label: App\Entity\Label {#1063 …}
    -style: App\Entity\Style {#1471 …}
    -photoProduit: Doctrine\ORM\PersistentCollection {#2142 …}
    -morceauMP3: Doctrine\ORM\PersistentCollection {#2135 …}
    -typeMasterTape: null
    -marque: null
    -typeMateriel: null
    -produitTestePar: null
    -adresseInternetTest: null
    -poids: null
    -unite: null
    -caracteristique: null
    -typeAccessoire: null
    -optionPrixes: Doctrine\ORM\PersistentCollection {#2137 …}
    -enregistreLe: DateTime @1538375570 {#2124
      date: 2018-10-01 06:32:50.0 UTC (+00:00)
    }
    -modifierLe: DateTime @1588313311 {#2125
      date: 2020-05-01 06:08:31.0 UTC (+00:00)
    }
    -categorie: App\Enum\CategorieProduitEnum {#1047 …}
    -produitComplementaires: Doctrine\ORM\PersistentCollection {#2139 …}
    -disponible: null
    -terminer: null
    -infoMasterTape: null
    -slug: "vinyles-what-s-going-on-ultradisc-one-step-2-lp-45-rpm-box-set-mfsl-ud1s-008"
  }
  +optionPrix: null
  +quantite: 1
  +detaillePage: false
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2341 …}
}

App\Twig\Components\AjoutMailNewsletterComponent {#3654
  +email: ""
  -liveResponder: Symfony\UX\LiveComponent\LiveResponder {#2341 …}
  -componentValidator: Symfony\UX\LiveComponent\ComponentValidator {#3655 …}
  -validationErrors: Symfony\UX\LiveComponent\Component\ComponentValidationErrors {#3703 …}
  +isValidated: false
  +validatedFields: []
}