The 2013 FLAC 24-bit/192kHz release of Close To The Edge bridges the gap between 1970s analog warmth and modern digital precision. It is not just an archive of a classic record; it is a sonic restoration that allows listeners to hear Yes exactly as they sounded in the studio. For anyone with a high-quality Digital-to-Analog Converter (DAC) and high-end headphones or speakers, this file is a mandatory demonstration piece.
feels like it's physically in the room with you.
The Free Lossless Audio Codec (FLAC) at a 24-bit depth and 192kHz sampling rate is the holy grail for digital audiophiles. Yes - Close To The Edge -2013- -FLAC 24-192-
This specific configuration satisfies the highest tier of audio playback, capturing the complex, multi-layered performances of Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman, and Bill Bruford with unprecedented transparency. The Anatomy of the 24-bit/192kHz Master
Critics described the mix as having "greater clarity and fuller dimensionality, as if every element in this collection of priceless family silver has been painstakingly polished by hand". The 2013 FLAC 24-bit/192kHz release of Close To
It was a crisp autumn evening in 2013 when I first laid ears on the remastered FLAC 24-192 version of Yes's iconic album, "Close to the Edge". I had always been a fan of the progressive rock band, but I had never heard their masterpiece quite like this before.
Pristine separation; backup harmonies spread across the soundstage. Warm but bleeding slightly into the low-mids. Tight, punchy, distinct Rickenbacker growl preserved. High Frequencies Rolled off or overly bright on early CD transfers. Silky, extended top-end with realistic cymbal decay. Hardware Requirements for Playback feels like it's physically in the room with you
Given the album's legendary status, a "definitive edition" was a high-stakes project. This task fell to the renowned producer and musician Steven Wilson, a modern prog icon in his own right, who was brought in to remix the album from the original multitrack tapes.
Listening to the 24/192 FLAC is a revelation for a few specific reasons:
Wilson’s philosophy was not to modernize the album with contemporary production tricks, but rather to clean up the analog clutter. By returning to the original multi-track master tapes, Wilson bypassed decades of tape-copy degradation. He corrected original panning errors, tamed harsh frequencies, and balanced the EQ. The 2013 stereo remix honors the intent of the original 1972 mix while utilizing modern digital precision to pull back the "sonic curtain" that had previously veiled the music. Why 24-Bit / 192kHz FLAC Matters
Look for "neutral" signatures to hear the remix as Wilson intended.