Yes - Close To The Edge -2013- -flac 24-192- !!hot!!
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. Yes - Close To The Edge -2013- -FLAC 24-192-
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 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 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 Essay: Yes — Close to the Edge (2013
Title: Close to the Edge Artist: Yes Release Year of this Edition: 2013 Format: FLAC (Free Lossless Audio Codec) Resolution: 24-bit / 192 kHz
1. Overview of the Album Close to the Edge is the fifth studio album by English progressive rock band Yes, originally released in 1972. It is widely considered one of the greatest progressive rock albums of all time. The album consists of three tracks:
