: 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.
Is this the greatest prog album of all time? In this resolution, it’s hard to argue otherwise.
Progressive rock is about pushing boundaries—musical, temporal, and technological. To listen to Close to the Edge in standard definition is to see a cathedral through a dirty window. To listen to is to stand in the nave, gaze up at the stained glass, and feel the organ vibrate through the stone floor.
The original master tapes were recorded at Advision Studios in London, engineered by the legendary Eddy Offord. Offord’s production was revolutionary—capturing massive dynamic ranges, from the whispered sound of running water and birdsong to the cataclysmic organ blasts that shake the speakers.
The remastering of "Close to the Edge" for the 2013 release was done with the supervision of the band and original engineers, ensuring that the process remained true to the original artistic vision while benefiting from modern technology. This meticulous approach to the remastering process ensured that the album retained its original warmth and depth while presenting it in a contemporary high-definition format. Yes - Close To The Edge -2013- -FLAC 24-192-
Needs to support 192kHz sampling rates.
The sheer volume of sonic information routinely pushed 1970s vinyl and standard 16-bit/44.1kHz CD formats to their absolute limits, often resulting in a muddy mid-range where instruments fought for survival. Enter Steven Wilson: The 2013 Resurrection
For audiophiles, the format of a digital file is as critical as the mix itself. The "Yes - Close To The Edge -2013- -FLAC 24-192-" file represents the pinnacle of high-resolution digital audio. The Technical Advantage
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. : Alongside the original master, Wilson provided a
You won’t hear the difference.
The opening avant-garde instrumental chaos is transformed in this 2013 24/192 container. Bill Bruford’s rapid-fire snare accents carry a tactile snap, and Chris Squire’s iconic Rickenbacker 4001S bass grunts with aggressive, distorted midrange clarity.
Subtle acoustic passages don't get lost next to thunderous organ swells.
: A sampling rate of 192kHz captures audio frequencies far beyond human hearing. While we cannot hear these ultrasonic frequencies directly, they preserve the phase relationships and timing accuracy of the waveforms. This creates a more realistic acoustic space. The original master tapes were recorded at Advision
Standard CDs are limited to 16-bit audio, which provides a dynamic range of 96 decibels (dB). A 24-bit depth expands this dynamic range to 144 dB. In Close to the Edge , this means the quietest, ambient tape loops of nature sounds at the beginning of the title track possess a blacker, quieter background noise floor, allowing the sudden, explosive entrance of Steve Howe’s guitar to strike with terrifying, lifelike impact.
The specific phrase in the user's query, "-FLAC 24-192-", points to the audiophile's holy grail: a high-resolution audio file. Let's break down what each component means and why it matters for listening to Close to the Edge .
The FLAC (Free Lossless Audio Codec) 24-192 format represents a significant leap in audio technology, offering several advantages over standard audio formats. FLAC is a lossless format, meaning it compresses audio data without discarding any information, preserving the integrity of the original recording. The "24-192" refers to the audio's resolution and sample rate: 24 bits and 192 kHz, respectively. This high resolution allows for a much more detailed and nuanced representation of the music, with a wider dynamic range and lower noise floor compared to standard CD quality audio.
As Steve Howe tunes his 12-string guitar and counts in, the high sample rate captures the microscopic friction of fingers sliding across metal strings.
Modern digital tools lowered the noise floor without sacrificing the warmth of the analog tapes. Why 24-Bit / 192kHz FLAC Matters