To fully benefit from 24/192 FLAC:
: The contrast between whisper-quiet ambient passages and full-band crescendos is startlingly dramatic.
: The massive Pipe Organ recorded at St. Giles-without-Cripplegate gains a physical, three-dimensional weight.
In 2013, progressive rock musician and renowned remix engineer was tasked with remixing Close to the Edge from the original multi-track tapes. Wilson’s philosophy has always been one of preservation rather than reinvention. His goal was to clean the acoustic "glass" of the original mix, correcting the unavoidable generation loss and mud inherent to 1970s tape bouncing without losing the vibe of the original masterpiece. Yes - Close To The Edge -2013- -FLAC 24-192-
Chris Squire’s Rickenbacker bass growls with newfound punch, providing a massive low-end foundation that doesn't bleed into the vocals. Spatial Separation:
Expands the dynamic range from 96dB to 144dB. Lowers the noise floor so quiet passages (like the morning birds at the album's open) are perfectly distinct from explosive crescendos. 192 kHz
The 12-string acoustic guitars have a crystalline shimmer that was previously muffled in older digital transfers. To fully benefit from 24/192 FLAC: : The
The 192kHz sampling rate captures frequencies far beyond human hearing, which preserves the natural phase relationships of the instruments.
The 18-minute title track occupies the entire first side of the original vinyl. It is a multi-movement suite inspired by Hermann Hesse’s novel Siddhartha . The piece moves from chaotic, avant-garde jazz-fusion intros to serene, organ-driven spiritual climaxes. It showcases a band operating at the absolute peak of its collective powers. Side Two Gems
This 2013 "Definitive Edition" of Yes’s 1972 masterpiece is a landmark release for audiophiles. Produced by , 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 In 2013, progressive rock musician and renowned remix
Among audiophile communities (e.g., Steve Hoffman Forums, What Hi-Fi?), this 2013 edition is generally praised as a definitive digital version, though some note that the 192kHz rate may exceed human auditory capability (typically 20 Hz – 20 kHz). Critics argue that 96kHz/24-bit would be sonically indistinguishable. However, proponents cite reduced aliasing distortion in the audible band due to gentler anti-aliasing filters made possible by the ultra-high sample rate.
For audiophiles and music historians alike, this specific digital pressing is not just a reissue; it is an excavation of hidden musical architecture. The Perfect Storm: Yes in 1972