Audiophiles specifically hunt for the "FLAC 24-192" designation due to the incredible data depth it offers over standard CD audio.
: The massive Pipe Organ recorded at St. Giles-without-Cripplegate gains a physical, three-dimensional weight.
Explore other (like The Yes Album or Fragile ). Which of these
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
To help you get the most out of this high-resolution file, would you like to know: DAC/Amp setups to handle 192kHz playback? How this mix compares specifically to the 1994 or 2003 remasters Information on the bonus tracks (like the studio run-through of "And You and I")? I can provide a into any of these areas! Yes - Close To The Edge -2013- -FLAC 24-192-
High-Resolution Analysis: Yes’s Close to the Edge (2013, FLAC 24-bit/192kHz)
The 2013 Definitive Edition remix of Yes's 1972 progressive rock masterpiece, Close to the Edge , encoded in FLAC 24-bit/192kHz, represents the absolute pinnacle of audiophile archival releases. Mixed by musician and audio restoration specialist Steven Wilson, this high-resolution transfer uncovers layers of acoustic texture, vocal harmony, and dynamic power that were previously compressed or buried in standard redbook CD audio and original vinyl pressings. The Monumental Legacy of Close to the Edge
Chris Squire’s Rickenbacker bass, which sometimes sounded "bloated" in previous masters, was brought under tighter control, allowing for greater punch without overwhelming the soundstage. Instrumental Separation:
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. Explore other (like The Yes Album or Fragile )
While the Blu-ray contains these mixes, they are often presented at 24-bit / 96kHz
As I settled into my listening room, surrounded by vintage audio equipment and vinyl records, I carefully cued up the digital file on my player. The opening notes of "The Solid Time of Change" floated through my speakers, and I was immediately struck by the stunning clarity and depth of the sound.
in FLAC 24-bit/192kHz format represents a landmark intersection of 1970s progressive rock peak performance and modern digital restoration technology. This specific edition, part of the "Definitive Edition" series, features a meticulously crafted remix by Steven Wilson
The track opens with tape loops of birds chirping and running water. In 24/192 resolution, the spatial imaging is stunning; you can map the movement of the water across the soundstage. When the band crashes in, Chris Squire’s Rickenbacker 4001 bass growls with a visceral, metallic punch that feels physically present. During the "I Get Up, I Get Down" segment, Rick Wakeman’s massive church organ—recorded at St. Giles-without-Cripplegate—retains its subterranean low-end room rattling without bleeding into the delicate, soaring vocal harmonies of Anderson and Squire. 2. "And You And I" Tight, punchy, distinct Rickenbacker growl preserved
To fully appreciate the depth of a FLAC 24-192 file, your audio chain needs to support high-resolution playback:
dizzying array of acoustic, electric, and pedal steel guitars.
The multi-layered vocal harmonies sound like distinct human voices rather than a single blended track.
When the band crashes in at 1:45, the lower bitrates tend to compress the attack. Here, Chris Squire’s Rickenbacker bass hits with a percussive, growling thud that vibrates through your chest. The high frequencies of Steve Howe’s steel guitar have shimmer, not sibilance.