Yes - Close To The Edge -2013- -flac 24-192- ^new^ Guide

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.

To truly appreciate the scale and nuance of this masterpiece, we recommend listening to a of the album’s opening section. A short clip does not capture the full dynamic range or the precise stereo imaging of the 24/192 mix, but it provides a glimpse into the unparalleled clarity and immersive soundstage that define this release. Yes - Close To The Edge -2013- -FLAC 24-192-

In the pantheon of progressive rock, few albums stand as tall, as enigmatic, and as utterly transformative as Yes’s 1972 masterpiece, Close To The Edge . For decades, audiophiles and Yes fans have debated the best way to experience the swirling Hammond organ, Chris Squire’s growling Rickenbacker bass, Jon Anderson’s ethereal vocals, and Bill Bruford’s jazz-inflected drumming. The answer, for many, arrived in 2013 with a specific digital release: . In the pantheon of progressive rock, few albums

High-Fidelity Masterpiece: Yes – Close To The Edge (2013, FLAC 24-192) A short clip does not capture the full

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.

In the 24-192 FLAC format, the opening "Solid Time of Change" section loses all of its historical digital congestion. Chris Squire’s iconic Rickenbacker 4001S bass grunts with a devastating, growling low-end punch that remains perfectly separated from Bill Bruford’s intricate snare work. During the "I Get Up, I Get Down" segment, Rick Wakeman's performance on the pipe organ of St. Giles-without-Cripplegate church feels genuinely massive. The massive low-frequency pedals shake the room, while Jon Anderson’s counter-harmony vocals float overhead with a haunting, three-dimensional spatial clarity. 2. "And You and I" (10:08)

You can finally "place" Steve Howe’s sitar-guitar and Chris Squire’s Rickenbacker in a distinct 3D soundstage. 🎹 The Steven Wilson Magic