Yes - Close To The Edge -2013- -flac 24-192- ((exclusive)) Site

Essay: Yes — Close to the Edge (2013 FLAC 24‑bit/192 kHz)

Yes’s Close to the Edge (originally released 1972) is widely regarded as a peak of progressive rock: an ambitious, multi-part composition that blends classical structure, jazz-influenced improvisation, and spiritual lyricism. The 2013 FLAC 24‑bit/192 kHz release brings this landmark recording into the audiophile domain; examining that edition sheds light both on the music itself and on how high-resolution remastering affects its presentation.

Origins and musical architecture

Composition: “Close to the Edge” is a single suite in four linked sections (I. The Solid Time of Change; II. Total Mass Retain; III. I Get Up, I Get Down; IV. Seasons of Man), clocking around 18 minutes, paired on the album with other extended pieces (“And You and I,” “Siberian Khatru”). It uses recurring thematic material, modal shifts, contrapuntal guitar and keyboard lines, and extended instrumental passages that blur the boundary between composed and improvised playing.
Influences and intent: The piece channels classical forms (sonata-like development and recapitulation), jazz phrasing, and mystic lyrical themes inspired by Herman Hesse and Eastern spirituality. Jon Anderson’s vocals act less as a narrative voice and more as an instrument woven into complex harmonies.
Performance: The 1972 lineup—Jon Anderson (voice), Steve Howe (guitars), Chris Squire (bass), Rick Wakeman (keyboards), Bill Bruford (drums)—delivers virtuosity and telegraphed group interplay. Howe’s layered guitars and Wakeman’s organ and synth textures provide much of the harmonic color; Squire’s melodic fretless-like bass lines are a continuous focal point.

What the 2013 24/192 FLAC release offers

Resolution and detail: 24‑bit/192 kHz captures a wider dynamic range and finer transient detail than standard 16/44.1 masters, so you can hear more of the subtle decays on acoustic guitar, the ambience of analog keyboards, and the attack of percussion. This is most noticeable in close, contrapuntal passages where instrument separation matters.
Soundstage and imaging: A careful remaster at high resolution can widen perceived soundstage and clarify instrument placement. On “Close to the Edge,” this enhances the sense of dialog between Howe and Wakeman and makes Squire’s bass lines sit more distinctly in the mix.
Noise floor and dynamics: Higher bit depth reduces quantization noise and allows for quieter passages to breathe—important for dynamics that range from delicate acoustic openings to raucous climaxes. If the remaster preserves original dynamics rather than applying heavy compression, the result feels more natural and dramatic.
Potential caveats: High-resolution transfers depend on source and mastering choices. If the 2013 edition used analog tapes but applied heavy equalization, compression, or artificial reverb, some of the original character could be altered. Also, playback chain (DAC, speakers/headphones) determines how much of the 24/192 advantage you actually hear.

Musical highlights in high resolution

Opening textures: The acoustic guitars and subtle percussive fingerings in the first section gain clarity; stereo placement of acoustic and electric instruments becomes more evident.
Keyboard colors: Wakeman’s organ and Mellotron layers show more timbral nuance—overtones and mechanical character that are smoothed in lower-res masters.
Bass articulation: Chris Squire’s tone—round, punchy, with a singing midrange—benefits from reduced masking, so melodic bass lines are easier to follow.
Climaxes and cymbal detail: Cymbal shimmer and snare attack retain crispness without sounding brittle when source material and mastering are tasteful.

Contextual appreciation

Historical importance: Close to the Edge exemplified Yes’s fusion of compositional ambition with rock instrumentation. Hearing it in high resolution can renew appreciation for the arrangement intricacies that made the album influential to progressive and art-rock musicians.
Listening approach: For best appreciation, listen attentively in a quiet environment with equipment capable of resolving the recording’s dynamics—quality headphones or a good DAC/amp and speakers. Focus on the interplay: how themes reappear, how solos emerge from dense textures, and how vocal lines function within the harmonic tapestry.

Conclusion The 2013 FLAC 24‑bit/192 kHz release of Close to the Edge can be an excellent way to re-experience an iconic work: it enhances micro-details, separation, and dynamic subtlety when the transfer is well executed and playback gear can take advantage of the format. Musically, the composition stands as a masterclass in structure, ensemble interplay, and blending of influences; sonically, a high-resolution transfer aims to bring listeners closer to the nuance of the original performances—provided the mastering preserved the album’s original dynamics and tonal balance.

The 2013 Steven Wilson remix of Close to the Edge (24-bit/192kHz) is widely considered the definitive digital version for audiophiles. Unlike traditional remasters that only adjust the EQ, Wilson used original multi-track tapes to rebuild the mix from the ground up, focusing on instrument separation and dynamic range. 💎 Key Sonic Improvements

Clarity & Separation: Wilson reduces the "murkiness" of the original 1972 production, making individual parts like Rick Wakeman’s shimmering synths and Steve Howe’s intricate 12-string guitar easier to distinguish.

Chris Squire’s Bass: Often a highlight of these remixes, the bass is described as "fatter," "punchier," and more articulate, particularly during the heavy jam sections.

Vocals: Jon Anderson’s vocals are moved slightly forward in the mix, sounding more immediate and "in the room".

The "Whoosh": The iconic natural sound intro and the transition into the main theme are significantly cleaner and more impactful in high resolution. ⚖️ Critical Trade-offs

Loss of Mystery: Some purists argue that the increased clarity strips away some of the "esoteric mystery" and "ethereal" vibe found in the original analog mix.

Vocal Balance: In certain sections (like "I Get Up, I Get Down"), the extreme separation can make the vocal harmonies feel less tightly integrated than they were on the original LP. 📦 Technical & Content Highlights High-Res or Old School Digital - Positive Feedback

Here's the text of my response to him: "David Solomon, so no head-to-head comparison available yet, but I took a listen to the 24/ Positive Feedback Close To The Edge (Steven Wilson Remix) – Jason Warburg

Yes — Close To The Edge (2013 Steven Wilson Remix) Format: FLAC 24-bit / 192 kHz (Original Flat Transfer) | 24-bit / 96 kHz (New Remix)

This 2013 "Definitive Edition" of Yes’s 1972 masterpiece is a landmark release for audiophiles. Produced by Steven Wilson, the set offers a complete sonic overhaul from the original multi-track tapes, providing unparalleled clarity and instrument separation for what many consider the band's career-defining work. Audio Specifications

The high-resolution FLAC files in this edition typically include:

Original Stereo Mix: A high-resolution flat transfer from the original 1972 master tape, presented in 24-bit / 192 kHz.

2013 Stereo Remix: A completely new stereo mix by Steven Wilson, available in 24-bit / 96 kHz.

Instrumental Mixes: The new stereo mix with vocals removed, also in 24-bit / 96 kHz (exclusive to the Blu-ray/high-res digital versions). What Makes This Version Special?

Enhanced Detail: Wilson’s remix reduces the harshness of earlier remasters and improves the "roundness" of the sound. Listeners often note that Chris Squire's bass and Bill Bruford's percussion are significantly more resonant and crisp.

Bonus Tracks: Includes a new remix of the Simon & Garfunkel cover "America" and an early assembly/rough mix of the title track.

Needle-Drop Transfer: A unique addition featuring a pristine 24-bit / 96 kHz transfer of an original UK vinyl A1/B1 pressing. Tracklist Close To The Edge (18:43) I. The Solid Time of Change II. Total Mass Retain III. I Get Up I Get Down IV. Seasons of Man And You And I (10:09) I. Cord of Life II. Eclipse III. The Preacher The Teacher IV. Apocalypse Siberian Khatru (8:57) Purchase & Streaming Options

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? Yes - Close To The Edge -2013- -FLAC 24-192-

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

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 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 Essay: Yes — Close to the Edge (2013

For listeners using high-end playback systems, the 24-bit/192kHz transfer provides a significant upgrade over standard CD quality.

How to Properly Enjoy This Release

Having the file “Yes - Close To The Edge -2013- -FLAC 24-192-” is only half the battle. To appreciate it:

Hardware: Use a DAC that genuinely supports 192 kHz/24-bit (e.g., AudioQuest DragonFly, Schiit Modi, or any modern receiver). Do not rely on your laptop’s headphone jack.
Speakers/Headphones: High-resolution reveals flaws. Use neutral studio monitors (like Sennheiser HD 600 headphones or KEF speakers) to hear the true transfer.
Software: Play via a lossless-capable app like Audirvana, Roon, or even VLC (configured correctly). Ensure your OS isn’t resampling the signal to 48 kHz internally.
Environment: Close your eyes. This is not a “background at work” album. Dedicate 38 minutes of darkness and silence.

5. Pros and Cons

Pros:

Highest commercially available resolution for this album.
Faithful to the original master with minimal dynamic range compression.
FLAC format is lossless and widely supported.

Cons:

File sizes are large (~1–2 GB for the whole album).
On average consumer gear, audible difference vs. 16/44.1 FLAC is subtle or nonexistent.
Some may prefer the original 1972 vinyl master for its specific tonal character.

Where to Legally Acquire the 2013 24/192 FLAC

The keyword is specific for a reason. You can find legitimate copies of this master on:

HDtracks (Standard storefront for this release)
ProStudioMasters
Qobuz (Hi-Res streaming/download)

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.

The Verdict: The Definitive Digital Experience

If you are looking for the absolute best way to experience Yes’s 1972 masterpiece in a digital format, the 2013 24-bit/192kHz FLAC transfer is widely considered the gold standard. It bridges the gap between the warmth of the original vinyl pressings and the convenience of modern digital audio.

Here is a breakdown of why this specific file format and remaster stand out.

6. Conclusion

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.

Yes - Close to the Edge (2013 Steven Wilson Remix) High-Resolution Audio Feature: 24-bit / 192kHz FLAC The 2013 definitive edition of Yes’s 1972 masterpiece, Close to the Edge

, represents the pinnacle of progressive rock preservation. Remixed from the original multitrack tapes by Steven Wilson, this 24-bit/192kHz restoration provides a level of transparency that was previously impossible to achieve on vinyl or standard CD. 🔊 Technical Prowess Resolution: 24-bit depth offers 144dB of dynamic range.

192kHz captures frequencies far beyond human hearing to eliminate aliasing. Sourced directly from the original 1972 analog masters.

Handled by Steven Wilson (King Crimson, Jethro Tull) for maximum tonal balance. 🎹 Sonic Highlights Spatial Separation:

In the title track, the chaotic "keyboard storm" intro is untangled, allowing Wakeman’s organ and Howe’s sitar-guitar to occupy distinct spaces. Low-End Definition:

Chris Squire’s Rickenbacker bass "growl" is tighter and more visceral, especially during the driving sections of "Siberian Khatru." Vocal Clarity:

Jon Anderson’s layered harmonies in "And You and I" lose the "mud" often found in older pressings, sounding breathy and immediate. Noise Floor:

The near-silent background allows the church organ solo in "I Get Up, I Get Down" to emerge with haunting, cathedral-like scale. 💿 Comparison: Original vs. 2013 192kHz Original 1972 Mix:

Warm, compressed, and iconic, but often suffers from "frequency crowding" in dense sections. 2013 Wilson Mix:

Expansive and surgical. It doesn't change the "soul" of the album but cleans the "lens" through which you hear it. FLAC 24/192:

Unlike the Blu-ray or DVD-A physical discs, this digital file offers the highest possible bit rate for local media servers without mechanical playback interference. 🛠️ Recommended Playback Path

To truly experience the 192kHz depth, ensure your signal chain is optimized: Must support native 192kHz decoding (avoid downsampling).

Use bit-perfect players like Roon, Audirvana, or Foobar2000.

Open-back headphones or full-range floor speakers to capture the massive soundstage. If you'd like, I can help you: Compare this to the 2023 Rhino High Fidelity track-by-track review focusing on specific instruments. best settings for your specific audio equipment to play FLAC files. Let me know which part of the listening experience you want to explore next! Composition: “Close to the Edge” is a single

Close to the Edge

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.

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.

The remastering process had clearly done wonders for the album, bringing out subtle details and textures that I had never noticed before. The guitars, keyboards, and vocals seemed to occupy a precise, three-dimensional space, drawing me into the music like a vortex.

As the album's 18-minute title track unfolded, I found myself transported to a different world. The soaring vocal harmonies, the intricate instrumental passages, and the epic, poetic lyrics all combined to create a sense of sonic grandeur that was both exhilarating and overwhelming.

I closed my eyes and let the music wash over me, imagining the band members in the studio, pouring their hearts and souls into this magnum opus. I pictured Chris Squire's bass thumping through the speakers, Steve Howe's guitar work shimmering like sunlight on water, and Rick Wakeman's keyboards conjuring up swirling clouds of sound.

As the album's second half, "Total Mass Retain", began, I felt a sense of trepidation. Would the music sustain its lofty heights, or would it falter under the weight of its own ambition? But Yes, ever the masters of their craft, effortlessly segued into the complex, polymetered rhythms and melodies, keeping me on the edge of my seat.

The last notes of "I Get Up, I Get Down" faded away, and I sat in stunned silence, feeling as though I'd been on a journey through the very fabric of sound itself. It was clear that "Close to the Edge", even 40 years after its initial release, remained a work of genius, an awe-inspiring testament to the creative potential of progressive rock.

As I opened my eyes, I knew that I would return to this album again and again, eager to explore its depths and uncover new secrets hidden within its remastered sonic landscape. For in the world of Yes, "Close to the Edge" remained an enduring masterpiece, an odyssey of sound that would continue to inspire and captivate listeners for generations to come.

The Definitive High-Resolution Audit: Yes – Close To The Edge (2013 Steven Wilson Remix) The 2013 release of Close To The Edge

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

(of Porcupine Tree), widely regarded as the premier architect of classic rock surround-sound and stereo archival projects. Technical Specifications & Formats

The "FLAC 24-192" designation refers to two distinct components of the 2013 high-resolution package: Original Stereo Mix (Flat Transfer): The 24-bit / 192kHz files are typically flat transfers

from the original 1972 master tapes. This provides the most authentic representation of the original production by Eddy Offord, preserved without modern EQ or compression. Steven Wilson 2013 Stereo Remix:

While the Blu-ray contains these mixes, they are often presented at 24-bit / 96kHz

for the new stereo and 5.1 surround versions. These remixes utilize the original multitrack recordings to uncover instrumental details previously buried in the original 1972 mix. Dynamic Range:

High-resolution FLAC files allow for a much higher dynamic range and frequency response than standard CDs, which is critical for the "I Get Up, I Get Down" section’s transition from delicate pipe organ to full-band crescendo. Daily Vault The Steven Wilson Intervention

Steven Wilson’s 2013 remix aimed to polish the "family silver" rather than reinvent it. Key improvements noted by audiophiles include: Daily Vault Bass Clarity:

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:

Listeners can more clearly distinguish the interplay between Steve Howe's visceral guitar attacks and Rick Wakeman's lush keyboard textures. Atmospheric Detail:

In the title track’s quiet interludes, the sound of dripping water and ambient textures achieve a "near-tactile" realism in the high-bitrate environment. Historical Significance of the Work Originally released on September 13, 1972, Close To The Edge

is considered the "zenith of symphonic ambitions" for the band.