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.
For audiophiles and music historians alike, this specific digital pressing is not just a reissue; it is an excavation of hidden musical architecture. The Perfect Storm: Yes in 1972
To appreciate the keyword "FLAC 24-192," one must understand what these numbers mean. is a file format that compresses audio without any loss of quality, making it the preferred format for storing and downloading high-resolution music.
Avoid random torrents labeled with these specs; many are upsampled fakes. Check the file’s spectral analysis (using Spek or Fakin’ The Funk) to verify true 192 kHz content above 48 kHz.
: Cymbals decay naturally without clipping or digital harshness. Yes - Close To The Edge -2013- -FLAC 24-192-
When the band crashes in at 1:45, the lower bitrates tend to compress the attack. Here, Chris Squire’s Rickenbacker bass hits with a percussive, growling thud that vibrates through your chest. The high frequencies of Steve Howe’s steel guitar have shimmer, not sibilance.
Fast forward to 2013, when "Close to the Edge" was remastered and released in FLAC 24-192 format. This remastering process aimed to breathe new life into the classic album, offering fans a chance to rediscover the music with significantly improved sound quality. The high-resolution audio format provides a detailed, clear, and expansive soundstage that enhances the listening experience, allowing fans to pick up on nuances that were not as apparent in previous versions.
This flat transfer means the audio is a direct, unaltered digital copy of the master tape, preserving its original dynamics and frequency response without any additional equalization or compression. The result is the most faithful digital representation of the album as it sounded in the studio in 1972. For the first time, listeners could hear the full, unadulterated depth of the recording, from the subtle decay of Steve Howe’s acoustic guitar to the powerful attack of Bill Bruford’s drums.
A common comparison was with the 2003 remasters, which many felt were simply "louder" rather than "better," pushing instruments to distortion. In contrast, the 2013 Wilson version was praised for preserving dynamics and providing "a lot more air, space, and depth that wasn't present in the original mix". While the new stereo mix and the 5.1 surround mix received their own praise for their immersive qualities, the flat 24/192 transfer of the holds a unique appeal: it is, for many, the closest one can get to hearing the master tape in pristine digital form without any modern processing. A Japanese review even noted the "natural texture" of this flat transfer was superior, while another audiophile on the AudioShark forums praised the flat transfer for providing a more authentic listening experience compared to the new, remixed versions. The Close to the Edge 2013 high-res transfer
Wilson’s philosophy is always to respect the original artistic intent while clearing away the sonic fog of era-specific technical limitations. He eliminated the generational tape hiss and subtle mud inherent in 1970s bouncing techniques. The result is a mix that feels both entirely familiar and startlingly new. Why 24-bit/192kHz FLAC Matters
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)
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The soaring Minimoog synthesizers cut through the mix like laser beams, smooth and devoid of the digital harshness common in 1980s CD transfers. 3. "Siberian Khatru" (8:55)
The manic, avant-garde fusion opening can sound like a wall of harsh white noise on standard pressings. In 24-bit/192kHz, the individual frantic picking of Steve Howe’s guitar separates beautifully from Bill Bruford's dizzying percussion.
, 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:
If you need help choosing the for bit-perfect playback
The full technical breakdown of the Blu-ray disc is a testament to its audiophile-grade completeness:
The 192kHz sampling rate captures the micro-details of the room acoustics and instrument decays.