You need a player that supports high-res FLAC.
Before dissecting the bits and samples, we must acknowledge the source. Close to the Edge is not background music. It is a singular, 38-minute suite split into three movements: The Solid Time of Change, Total Mass Retain, and I Get Up, I Get Down. The 1972 recording was famously complex—Eddy Offord’s production involved punching in tape edits so intricate that the master reels looked like a jigsaw puzzle.
The problem for digital archivists has always been translation. Early CD pressings (mid-80s) were bright, brittle, and lacked the deep, round low-end that gave the album its visceral power. Later remasters (like the 2003 Rhino version) smoothed edges but sometimes introduced compression, squashing the dynamic range that makes prog rock breathe.
Enter the 2013 high-resolution release.
The 2013 FLAC 24/192 edition of Close to the Edge is the definitive digital version for audiophiles and Yes fans who want the highest possible fidelity from the original analog tapes. If you have the playback equipment to resolve the extra detail, it offers a stunning, immersive listening experience — especially on the title track’s layered instrumental sections and "And You and I"’s acoustic guitar and vocal harmonies. For casual listeners, the standard CD or 16-bit FLAC may suffice, but for archiving or critical listening, this 24/192 release is top-tier.
The 2013 high-definition remaster of Yes’s 1972 masterpiece, Close to the Edge, remains the gold standard for audiophiles. Presented in FLAC 24-bit/192kHz, this version—meticulously helmed by Steven Wilson—breathes new life into what many consider the pinnacle of progressive rock. 💎 The Technical Edge: Why 24-bit/192kHz?
For a record as dense as Close to the Edge, the resolution matters. The jump from standard CD quality to 24-192 provides:
Expanded Dynamic Range: Subtle acoustic passages don't get lost next to thunderous organ swells.
Zero Compression: The FLAC format preserves every bit of the original master tape's detail.
Instrument Separation: You can finally "place" Steve Howe’s sitar-guitar and Chris Squire’s Rickenbacker in a distinct 3D soundstage. 🎹 The Steven Wilson Magic
In 2013, Steven Wilson was tasked with remixing the original multi-track tapes. His approach was surgical yet respectful. Sonic Improvements
The Title Track: The chaotic "Seasons of Man" section feels less cluttered, allowing Rick Wakeman’s rapid-fire keys to shine.
"And You and I": The 12-string acoustic guitars have a crystalline shimmer that was previously muffled in older digital transfers.
"Siberian Khatru": The interplay between the dual guitar leads and the driving percussion is punchier and more aggressive. 🌊 A Deep Dive into the Experience Yes - Close To The Edge -2013- -FLAC 24-192-
Listening to this 192kHz file is less like hearing a record and more like sitting in Advision Studios in 1972. The Low End
Chris Squire’s bass is the heart of Yes. In this high-res format, the "growl" of his tone has a physical weight. It anchors the complex time signatures without overwhelming the mix. The Vocal Harmony
Jon Anderson, Steve Howe, and Chris Squire’s three-part harmonies are legendary. At 24-bit resolution, the individual textures of their voices are distinguishable, creating a lush, choral effect that feels organic. 🛠️ Requirements for the Best Listen
To truly appreciate the 2013 FLAC 24-192 files, your hardware must be up to the task:
DAC (Digital-to-Analog Converter): Needs to support 192kHz sampling rates.
Studio Headphones or Monitors: Look for "neutral" signatures to hear the remix as Wilson intended.
Media Player: Use software like Foobar2000, Roon, or VLC that handles bit-perfect playback. 🎯 Verdict: Is it Worth the Space?
Close to the Edge is an album of layers. The 2013 24-192 FLAC version unpeels those layers better than any vinyl or CD pressing before it. It is an essential acquisition for anyone who values the intersection of musical genius and technical perfection.
If you're looking to dive deeper into this release, I can help you: Compare the 2013 remix to the original 1972 flat transfer. Find the best hardware to play high-res FLAC files.
Explore other Steven Wilson Yes remixes (like The Yes Album or Fragile). Which of these
The keyword is specific for a reason. You can find legitimate copies of this master on:
Warning: Many peer-to-peer sites will claim to have the "2013 24/192," but they often contain upsampled CD rips. A real 24/192 file will have a frequency spectrum extending beyond 22kHz (the Nyquist limit of CD). Verified spectral analysis of the legitimate 2013 release shows musical content reaching 48kHz.
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. You need a player that supports high-res FLAC
If you want a deeper dive—liner-note transcription from the 2013 edition, exact mastering credits, waveform/SNR measurements, or an A/B blind test protocol—say which of those and I’ll produce it.
The Yes - Close To The Edge - 2013 - FLAC 24-192 refers to a specific high-resolution digital version of the seminal 1972 progressive rock masterpiece, primarily sourced from the 2013 "Definitive Edition" reissue on Panegyric Recordings. This release is celebrated for featuring brand-new stereo and 5.1 surround mixes by Steven Wilson, as well as ultra-high-resolution transfers of the original production. Technical Breakdown
This specific 24-bit / 192kHz FLAC typically originates from the Blu-ray component of the 2013 set, which contained multiple audio streams:
Original 1972 Stereo Mix (24/192): A "flat transfer" from the original master tapes with no additional EQ, providing the most authentic digital representation of the original Eddy Offord production.
Steven Wilson 2013 Stereo Mix (24/96): While the Wilson remixes are often provided at 96kHz, some high-res storefronts like ProStudioMasters offer a 192kHz version.
Instrumental Mixes: The set included Wilson’s new stereo mixes without vocals, allowing for deep focus on the complex interplay between Wakeman, Howe, Squire, and Bruford. Key Features of the 2013 Edition
Unrivaled Clarity: Steven Wilson’s remix is widely praised by Discogs reviewers for better instrument separation, particularly bringing Rick Wakeman’s keyboards more forward and tightening Chris Squire’s famously "growly" Rickenbacker bass.
Bonus Tracks: Includes the full-length version of "America" (Simon & Garfunkel cover) and previously unreleased "Early Assembly" or rough mixes of the title track.
Spatial Integrity: 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
The 2013 high-resolution reissue of Yes’s progressive rock masterpiece, Close to the Edge, is widely considered the definitive audiophile version. This specific release, part of the Definitive Edition series, features a complete remix by Steven Wilson from the original multitrack tapes, aiming for modern clarity while faithfully preserving the 1972 spirit. Technical Specifications & Formats
Format: Typically available as a 24-bit / 192kHz FLAC download or via physical Blu-ray/DVD-A sets.
Source Material: Includes both Steven Wilson's 2013 Stereo Mix and a high-resolution flat transfer of the Original 1972 Stereo Mix. Contents: "Close to the Edge" (18:43) "And You and I" (10:09) "Siberian Khatru" (09:01)
Bonus Tracks: Often includes the full version of "America" and early rough mixes. Key Features of the 2013 Remix Warning: Many peer-to-peer sites will claim to have
The 2013 high-resolution reissue of Yes’s progressive rock masterpiece, Close to the Edge, represents a definitive moment for audiophiles and fans of the genre. Presented in FLAC 24-bit/192kHz, this release offers a surgical level of detail that brings new life to the intricate layering of Jon Anderson’s vocals, Steve Howe’s guitars, and Rick Wakeman’s symphonic keyboards. The 2013 Definitive Edition
Released by Panegyric Recordings, this edition was the first in a series of expanded Yes releases to feature the expertise of acclaimed musician and producer Steven Wilson.
Pristine Flat Transfers: The 24-bit/192kHz FLAC format is primarily used for the Original Stereo Mix, which was transferred directly from the original flat master tapes without additional equalization.
Steven Wilson Remix: Alongside the original master, Wilson provided a completely new stereo remix (typically at 24/96 resolution) designed to provide better separation and clarity while remaining faithful to the 1972 spirit.
Expanded Tracklist: In addition to the three core tracks—the 18-minute title epic, "And You and I," and "Siberian Khatru"—this version includes high-resolution extras such as single edits and studio run-throughs of "Siberia". Audio Performance and Fidelity
For listeners using high-end playback systems, the 24-bit/192kHz transfer provides a significant upgrade over standard CD quality.
The ultimate test. The frantic guitar/bass interplay and Bill Bruford’s jazz-influenced drumming require high resolution to decode. On the 192 kHz sampling rate, the transient attack of Bruford’s hi-hat and snare rimshots is razor-sharp but natural. The complex stereo panning of the backing vocals (the “To be able to love...” round) is vividly disentangled. In lower resolutions, this section turns into a wall of noise. In 24-192, it is a kaleidoscopic ballet.
Since you have a 24/192 FLAC file, do not convert it to MP3 if you want to keep the quality.
A FLAC 24-192 file of a 38-minute album clocks in at roughly 1.5 to 2 GB. Compare that to a 320kbps MP3 at ~15 MB. Is the physical storage worth it?
For casual listening on earbuds? No. You won’t hear the difference.
For a dedicated listening room or high-end headphone rig? Absolutely.
The Close to the Edge 2013 high-res transfer is arguably the closest we will ever get to sitting in the control room at Advision Studios in 1972 while Eddy Offord moved faders. It reveals the performance behind the production—the squeak of Bill Bruford’s kick drum pedal, the harmonic bleed between Steve Howe’s dual guitar tracks, the unquantized, human rush of the final chord.