If you own a revealing sound system, this 2013 release represents the closest you will ever get to sitting in the control room at Advision Studios in 1972 while Eddy Offord pulled the faders. The depth of the soundstage, the visceral impact of Squire’s bass, and the delicate air around Anderson’s voice are unmatched by any CD or streaming standard.
: Available in DTS-HD Master Audio at 24-bit / 96 kHz .
FLAC stands for Free Lossless Audio Codec . Unlike "lossy" formats like MP3 or AAC, which discard some audio data to save space, a FLAC file compresses the music without losing any information. Think of it as a digital zip file for audio; it compresses the original data, but when played back, it is decompressed into a bit-for-bit identical copy of the source audio. FLAC is the preferred format for downloading and storing hi-res albums because it can reduce file sizes by about half compared to an uncompressed format like WAV, all while supporting high sample rates and storing metadata like album art.
The "24" refers to the , which dictates the dynamic range of the audio. While a standard CD has a 16-bit depth (offering 96dB of dynamic range), a 24-bit depth provides a theoretical 144dB of dynamic range. This allows for incredibly quiet sounds to be heard clearly alongside the loudest peaks, providing a sense of space and air that was previously lost. Yes - Close To The Edge -2013- -FLAC 24-192-
The chaotic "Seasons of Man" section feels less cluttered, allowing Rick Wakeman’s rapid-fire keys to shine.
If you are looking for the absolute best way to experience Yes’s 1972 masterpiece in a digital format, the 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.
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. If you own a revealing sound system, this
The "Definitive Edition" of Close to the Edge is a landmark release that respects the original artistry while harnessing modern technology to reveal its full splendor. For the dedicated fan, the high-resolution FLAC files from this set offer a listening experience that is as close to the master tape as most will ever get. It preserves the energy and vision of a band at its absolute peak while letting you hear every subtle nuance of their performance.
By 2013, modern digital technology allowed audio engineers to extract more detail from original analog master tapes than ever before. Steven Wilson approached the original multi-track tapes of Close to the Edge with immense reverence.
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. FLAC stands for Free Lossless Audio Codec
Rick Wakeman’s array of Mellotrons, Moog synthesizers, and church organs sound massive. The pipe organ section in "I Get Up, I Get Down" feels genuinely monumental, carrying the physical weight of a cathedral performance into your listening room. Conclusion
This significant file size is a direct result of the high specifications. For comparison, a standard CD-quality (16/44.1) FLAC of the same album might be around 200-300 MB. The 24/192 file is more than five times larger, as it contains roughly as a standard CD. This vast amount of data allows for the precise reproduction of the analog master tape.
The complex vocal counterpoint ("Blaff", "Svenson", etc.) swirling alongside Howe’s harpsichord riffs can easily become a cluttered mess. Wilson’s 2013 mix keeps each vocal track locked in its own pristine pocket across the stereo field. The Definitive Way to Listen
The manic, avant-garde fusion opening can sound like a wall of harsh white noise on standard pressings. In 24-bit/192kHz, the individual frantic picking of Steve Howe’s guitar separates beautifully from Bill Bruford's dizzying percussion.