In the pantheon of progressive rock, few albums stand as tall, as complex, and as spiritually immense as Yes’s 1972 masterpiece, Close to the Edge . For decades, fans have debated which pressing, which remaster, and which format best captures the thunderous lows of Chris Squire’s bass, the ethereal chime of Steve Howe’s guitar, and the cathedral-like vocals of Jon Anderson.
Avoid random torrents labeled with these specs; many are upsampled fakes. Check the file’s spectral analysis (using Spek or Fakin’ The Funk) to verify true 192 kHz content above 48 kHz.
In the world of progressive rock, few albums have had as lasting an impact as "Close to the Edge." Its combination of complex compositions, thematic depth, and Yes's characteristic blend of musicianship and accessibility has made it a favorite among fans for decades. The 2013 remaster in FLAC 24-192 format ensures that this iconic album continues to inspire and delight listeners, offering a sonic experience that does justice to the band's original vision and creativity. As a testament to Yes's enduring legacy and the evolving capabilities of audio technology, "Close to the Edge" remains a landmark album that continues to captivate audiences with its beauty, complexity, and sheer musical brilliance.
Your browser does not support the audio element. *Listen to a sample of the album's opening section. This low-bitrate, compressed preview cannot convey the full dynamic range or precise stereo imaging of the 24/192 mix, but it illustrates the intricate arrangement and delicate interplay between instruments.* Yes - Close To The Edge -2013- -FLAC 24-192-
: Includes a new remix of the Simon & Garfunkel cover " America " and an early assembly/rough mix of the title track.
Chris Squire's "skronky" bass in "Siberian Khatru" is rendered with significantly more depth and definition without becoming muddy. Daily Vault 3. The 2013 Remix vs. Others Original 1972 Mix:
The "192" stands for the of 192kHz. In simple terms, this is how many times per second the analog audio wave is measured to create the digital file. A CD samples at 44.1kHz. A 192kHz sampling rate captures over four times as much sonic information, allowing for a far more detailed and accurate representation of the original analog waveforms and harmonics. While 24/192 files are larger, they are the gold standard for the ultimate listening experience. In the pantheon of progressive rock, few albums
Captures frequencies far beyond human hearing, smoothing out the digital audio wave to perfectly reconstruct transient responses like cymbal decays and acoustic guitar plucks. Lossy/Lossless Lossless (FLAC)
Note: this write-up treats the request as a detailed examination of the 2013 high-resolution 24‑bit/192 kHz FLAC release of Yes’s album Close to the Edge. I assume you mean the official 2013 remaster / high-resolution release commonly distributed in lossless 24/192 format. If you meant a different edition or a fan remaster, say so and I will adjust.
| Component | Meaning | Relevance to Yes | | :--- | :--- | :--- | | | Free Lossless Audio Codec (compressed without losing data, unlike MP3) | Preserves every nuance of the master tape—no harmonic distortion or "swishy" cymbal decay. | | 24-bit | Bit depth (dynamic range: 144dB vs. 96dB for 16-bit) | Captures the whisper of Rick Wakeman’s Mellotron and the explosion of the full band without clipping. | | 192 kHz | Sampling rate (captures frequencies up to 96kHz, far above human hearing) | Ensures perfect temporal resolution for high-frequency harmonics—the "air" around Steve Howe’s acoustic guitar. | Check the file’s spectral analysis (using Spek or
In the 24-192 FLAC format, the opening "Solid Time of Change" section loses all of its historical digital congestion. Chris Squire’s iconic Rickenbacker 4001S bass grunts with a devastating, growling low-end punch that remains perfectly separated from Bill Bruford’s intricate snare work. During the "I Get Up, I Get Down" segment, Rick Wakeman's performance on the pipe organ of St. Giles-without-Cripplegate church feels genuinely massive. The massive low-frequency pedals shake the room, while Jon Anderson’s counter-harmony vocals float overhead with a haunting, three-dimensional spatial clarity. 2. "And You and I" (10:08)
For those with the full physical set, the 5.1 DTS-HD Master Audio is considered a benchmark for surround sound, specifically the "I Get Up, I Get Down" section with its soaring church organ. Performance Summary
Offers complete bit-perfection. The audio files are compressed for efficient storage but decode to the exact byte configuration of the uncompressed studio master. Steven Wilson’s Analytical Modern Remix