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Unlocking the Apex of Prog: Why “Yes - Close To The Edge -2013- -FLAC 24-192-” is the Definitive Listening Experience

In the pantheon of progressive rock, few albums stand as tall, as complex, and as spiritually immense as Yes’s 1972 masterpiece, Close to the Edge. For decades, fans have debated which pressing, which remaster, and which format best captures the thunderous lows of Chris Squire’s bass, the ethereal chime of Steve Howe’s guitar, and the cathedral-like vocals of Jon Anderson.

That debate effectively ended in 2013. For the discerning listener searching for the ultimate digital transfer, the specific string of descriptors—“Yes - Close To The Edge -2013- -FLAC 24-192-”—represents not just a file format, but a key to an auditory universe. This article dives deep into why this particular release is the gold standard, what those technical specifications mean for your listening session, and where the magic of this 2013 high-resolution transfer truly lies.

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.

The Yes - Close To The Edge - 2013 - FLAC 24-192 refers to a specific high-resolution digital version of the seminal 1972 progressive rock masterpiece, primarily sourced from the 2013 "Definitive Edition" reissue on Panegyric Recordings. This release is celebrated for featuring brand-new stereo and 5.1 surround mixes by Steven Wilson, as well as ultra-high-resolution transfers of the original production. Technical Breakdown

This specific 24-bit / 192kHz FLAC typically originates from the Blu-ray component of the 2013 set, which contained multiple audio streams:

Original 1972 Stereo Mix (24/192): A "flat transfer" from the original master tapes with no additional EQ, providing the most authentic digital representation of the original Eddy Offord production.

Steven Wilson 2013 Stereo Mix (24/96): While the Wilson remixes are often provided at 96kHz, some high-res storefronts like ProStudioMasters offer a 192kHz version.

Instrumental Mixes: The set included Wilson’s new stereo mixes without vocals, allowing for deep focus on the complex interplay between Wakeman, Howe, Squire, and Bruford. Key Features of the 2013 Edition

Unrivaled Clarity: Steven Wilson’s remix is widely praised by Discogs reviewers for better instrument separation, particularly bringing Rick Wakeman’s keyboards more forward and tightening Chris Squire’s famously "growly" Rickenbacker bass.

Bonus Tracks: Includes the full-length version of "America" (Simon & Garfunkel cover) and previously unreleased "Early Assembly" or rough mixes of the title track.

Spatial Integrity: For those with the full physical set, the 5.1 DTS-HD Master Audio is considered a benchmark for surround sound, specifically the "I Get Up, I Get Down" section with its soaring church organ. Performance Summary

The Anatomy of a Masterpiece

Before dissecting the bits and samples, we must acknowledge the source. Close to the Edge is not background music. It is a singular, 38-minute suite split into three movements: The Solid Time of Change, Total Mass Retain, and I Get Up, I Get Down. The 1972 recording was famously complex—Eddy Offord’s production involved punching in tape edits so intricate that the master reels looked like a jigsaw puzzle.

The problem for digital archivists has always been translation. Early CD pressings (mid-80s) were bright, brittle, and lacked the deep, round low-end that gave the album its visceral power. Later remasters (like the 2003 Rhino version) smoothed edges but sometimes introduced compression, squashing the dynamic range that makes prog rock breathe.

Enter the 2013 high-resolution release.

4. Equipment Considerations

To fully benefit from 24/192 FLAC:

DAC capable of 192 kHz / 24-bit playback (e.g., Schiit Modi, Topping D50, or built-in high-res DACs on recent computers/phones with proper software).
High-quality headphones or speakers (revealing enough to show the extended treble and micro-details).
Software that can bit-perfectly play FLAC (e.g., foobar2000, VLC, Audirvana, or JRiver).

The Verdict: Is It Worth the Storage Space?

A FLAC 24/192 copy of Close To The Edge weighs in at approximately 1.5 to 2 GB for the full album. That is roughly 50 times larger than a standard MP3.

Is it worth it? Yes.

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.

For the progressive rock obsessive and the audio purist, Yes - Close To The Edge -2013- -FLAC 24-192- is not just a file format. It is the definitive digital artifact of an undefinable album. It is the sound of a band reaching for the edge, and finally, in high resolution, bringing you with them.

Final Rating:

Artistic Merit: 10/10
Fidelity (2013 24/192 Transfer): 9.5/10
Dynamic Range Preservation: 9/10
Recommendation: Essential purchase for any serious music library.

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

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.

Conclusion

Rating: 9.5/10

The "Yes - Close To The Edge - 2013 - FLAC 24-192" is essential listening for audiophiles and prog-rock fans. It respects the original mix while utilizing modern technology to extract every ounce of detail from the master tapes.

If you have high-quality headphones or a decent speaker setup, this is the version to own. It allows you to hear the intricacies of Bill Bruford’s drumming and the majesty of Jon Anderson’s vocals with a transparency that arguably makes this the best-sounding version of the album ever released to the public.

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 Unlocking the Apex of Prog: Why “Yes -

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.

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). DAC capable of 192 kHz / 24-bit playback (e

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!

Title: High-Resolution Analysis: Yes’s Close to the Edge (2013, FLAC 24-bit/192kHz)

Introduction The 2013 high-resolution (hi-res) reissue of Yes’s seminal 1972 album Close to the Edge represents a pivotal moment in audiophile catalog remastering. Released in FLAC 24-bit/192kHz format, this edition aims to transcend the limitations of the original Red Book CD (16-bit/44.1kHz). This paper examines the technical specifications, sonic implications, and historical context of this specific digital transfer.

Technical Specifications

Format: FLAC (Free Lossless Audio Codec)
Bit Depth: 24-bit (dynamic range potential of 144 dB, versus 96 dB for 16-bit)
Sample Rate: 192 kHz (more than four times the 44.1 kHz of standard CDs)
Source: Likely derived from the original analog master tapes or a high-resolution digital transfer thereof.

Sonic Characteristics

Extended Frequency Response: The 192kHz sample rate captures ultrasonic frequencies above 22.05 kHz (the Nyquist limit of CD audio). While debated whether these are audible, they preserve harmonic overtones that contribute to instrument timbre, particularly for Rick Wakeman’s Mellotron and Jon Anderson’s vocals.
Transient Preservation: The 24-bit depth provides drastically lower quantization noise, allowing the softest passages (e.g., the nature soundscape opening of the title track) and sudden dynamic shifts (the full band entrance at 2:45) to resolve without digital artifacts.
Soundstage and Separation: Listener reports indicate improved channel separation and depth compared to the 1990s CD remasters. Chris Squire’s bass runs are described as more articulate, and Steve Howe’s acoustic guitar harmonics show greater decay detail.

Critical Reception 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.

Historical Context Close to the Edge is a cornerstone of progressive rock, structured as a single 18-minute title track plus two shorter pieces. Its dense, multi-tracked production—featuring layered vocals, organ, and tape echo—benefits from high-resolution transfer, which minimizes intermodulation distortion during complex climaxes.

Conclusion The 2013 FLAC 24-bit/192kHz edition of Close to the Edge offers the closest digital approximation to the original analog master tapes currently available. While the ultrasonic bandwidth is of theoretical rather than practical benefit for most playback systems, the 24-bit depth and careful transfer provide a definitive listening experience for archival and critical listening purposes. Future remasters should focus on provenance (which master tape generation was used) rather than further increasing sample rates.

References (Suggested)

Yes. (1972). Close to the Edge [FLAC 24-bit/192kHz]. Atlantic Records / Rhino (2013 reissue).
Nyquist, H. (1928). Certain topics in telegraph transmission theory. Transactions of the A.I.E.E..
Stuart, J. R. (2004). Coding for High-Resolution Audio Systems. AES Convention 116.

Released in 2013 via Panegyric Records, the Steven Wilson remix of Yes’s landmark 1972 album, Close to the Edge

, offers a crystalline high-resolution experience. Available in FLAC 24-bit/96kHz (and often upsampled or sourced at 24/192) on Blu-ray Audio, this edition is widely regarded as a definitive modern sonic rejuvenation of progressive rock’s finest hour. Here is a feature breakdown of this acclaimed reissue. 1. The Sonic Revamp: Steven Wilson's Approach Clarity and Separation:

Wilson, known for his work with Porcupine Tree and prog-rock remixes, was tasked with remixing the original multi-track tapes. The result is a dramatically clearer soundscape compared to the often-dense original 1972 mix.

The 2013 remix removes the harshness found in earlier remasters, offering better separation between Bill Bruford's drumming, Chris Squire's iconic basslines, and Rick Wakeman's intricate keyboards. Key Discoveries:

The improved separation allows listeners to hear previously buried vocal harmonies and counterpoints, particularly in the "I Get Up, I Get Down" section. 2. High-Res Audio Highlights (24-192 FLAC) Immersive Detail:

Listening to the 24-bit/192kHz (or 96kHz) FLAC files reveals textures previously hidden, such as the subtle acoustic guitar nuances in "And You And I" and the sheer dynamism of the 18-minute title track. "ASMR" Experience:

Reviews of the remix note that high-resolution playback offers an "inside the instruments" feel, particularly during Rick Wakeman's church organ solo, where the air and space within the recording are palpable. Superior Bass:

Chris Squire's "skronky" bass in "Siberian Khatru" is rendered with significantly more depth and definition without becoming muddy. Daily Vault 3. The 2013 Remix vs. Others Original 1972 Mix:

The original mix has a warmer, slightly "murkier" charm, while the 2013 remix is brighter and more analytical. 2025 Remix:

The 2025 Wilson remix (included in the Super Deluxe edition) is a new, separate endeavor, whereas the 2013 mix is often described as more faithful to the original spatial arrangement while enhancing clarity. VS 2003 Remaster:

The 2013 remix is vastly superior to the "louder-is-better" 2003 masters, offering higher dynamic range. 4. Contents of the Panegyric Blu-Ray Edition

The 2013 Panegyric release is cherished for its exhaustive content on a single Blu-ray disc: 2013 Stereo Remixes (24-bit/96kHz) 5.1 Surround Sound Remixes (24-bit/96kHz) Original Album Flat Transfer (24-bit/192kHz) Instrumental Mixes of all tracks

Note: The 2013 remix is also available in the 2025 Super Deluxe Edition and has been issued on vinyl in the "Steven Wilson Remixes" 6LP box set. Steven Wilson Remixes 6 hrs - Facebook

3. Audio Quality Analysis

Dynamic Range: The 24-bit depth allows for a theoretical dynamic range of 144 dB, preserving subtle details and quiet passages (e.g., the nature sounds and organ intro on the title track).
Frequency Response: 192 kHz sampling captures ultrasonic frequencies beyond human hearing (up to 96 kHz), which can improve temporal resolution and reduce aliasing artifacts, though benefits are debated for standard playback equipment.
Mastering: This 2013 version is generally praised by audiophiles for not being overly compressed (unlike some later remasters). It retains the original mix’s punch and spatial separation.

The Verdict: Is It Worth the Storage Space?

A FLAC 24-192 file of a 38-minute album clocks in at roughly 1.5 to 2 GB. Compare that to a 320kbps MP3 at ~15 MB. Is the physical storage worth it?

For casual listening on earbuds? No. You won’t hear the difference.

For a dedicated listening room or high-end headphone rig? Absolutely.

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.