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For the first time, the master tapes of the 1972 prog-rock magnum opus were transferred directly to high-resolution audio. The result was a digital release that silenced the critics of the loudness war and gave audiophiles a reason to recalibrate their systems. Today, we are looking at the version.
The keyword "Yes - Close To The Edge -2013- -FLAC 24-192-" refers to the specific content of this Blu-ray disc, which offers a staggering amount of material for the dedicated fan: the 2013 stereo remix (24/96 LPCM), a 5.1 surround mix (24/96 LPCM / DTS HD 24/48), the original stereo mix as a flat transfer from the original master (24/192 LPCM), single versions and edits (24/192 LPCM), 2013 stereo instrumental mixes (24/96 LPCM), and even a needle-drop transfer of a UK vinyl pressing (24/96 LPCM). The crown jewel for audiophiles, however, is the "Original Stereo Mixes - Flat Transfer From Original Master - 24/192 LPCM," offering the album's original presentation in its purest digital form. Yes - Close To The Edge -2013- -FLAC 24-192-
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.
reissue. Unlike the original 1972 master, which suffered from some tape saturation, this digital transfer utilizes the highest possible bit-depth to ensure that no harmonic detail is lost. It is widely considered the "Final Word" on the album's sonic presentation. This public link is valid for 7 days
: Think of this as the audio's dynamic range, the difference between the quietest and loudest sounds. Standard CDs use a 16-bit depth, which theoretically provides about 96dB of dynamic range. A 24-bit depth, however, provides a staggering 144dB of dynamic range. This vast increase means that the quietest, most subtle details (like the fade-in of the title track or the ambient noises before "I Get Up, I Get Down") and the loudest, most powerful peaks (like Wakeman's organ or Bruford's drums) are rendered with far greater precision, allowing for a more realistic and immersive listening experience.
wall of sound, spanning Mellotrons, Moog synthesizers, and traditional church organs. Can’t copy the link right now
is considered the "zenith of symphonic ambitions" for the band.
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: .
FLAC (Free Lossless Audio Codec) is crucial here. Unlike MP3 or AAC, FLAC compresses the file without removing any data. The file is a bit-perfect replica of the high-resolution master. For the listener, this means zero generational loss.
This article dives deep into why this particular high-resolution release is considered a landmark for collectors, the technical magic behind the 24-bit/192kHz FLAC encoding, and how it transforms one of the most complex albums ever recorded.