When you fire up the 24-bit/192kHz FLAC file on a capable digital-to-analog converter (DAC) and high-quality headphones or speakers, the differences are immediate. Unprecedented Instrument Separation
#NowSpinning #Yes #ProgRock #HighResAudio #StevenWilsonRemix Key Facts to Include (for Context) Close To The Edge (Steven Wilson Remix) – Jason Warburg
More than fifty years after its release, Close to the Edge remains a masterwork of human imagination. Thanks to the 2013 Steven Wilson remaster and the unrestricted canvas of 24-bit/192kHz FLAC audio, listeners can finally hear the album exactly as Yes heard it in their minds when they created the blueprint for progressive rock. Share public link
: 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. Yes - Close To The Edge -2013- -FLAC 24-192-
: The signature aggressive "growl" is perfectly separated from the bass drum, maintaining independent clarity.
: A multi-part pastoral folk-rock epic featuring delicate acoustic guitars and soaring Moog synthesizers.
The 192kHz sampling rate captures the rapid attacks of Bill Bruford’s snare drum and Chris Squire’s aggressive Rickenbacker bass lines with incredible accuracy. Lossless Integrity When you fire up the 24-bit/192kHz FLAC file
Close To The Edge consists of only three tracks. Yet, it delivers a lifetime of musical ideas. The Title Track
Chris Squire’s Rickenbacker bass growls with newfound punch, providing a massive low-end foundation that doesn't bleed into the vocals. Spatial Separation:
The album closer relies on intricate, interlocking rhythms. The 2013 master separates the dual-guitar lines and the driving harpsichord accents. The track retains its punchy rock energy while revealing low-level details, such as subtle percussion raps, that were previously buried under tape saturation. Conclusion Share public link : Think of this as
Provides a dynamic range of up to 144 dB, capturing the micro-dynamics of Bill Bruford’s delicate brushwork alongside Chris Squire’s aggressive, overdriven Rickenbacker bass lines without digital clipping or noise floor hiss.
Having the file is only half the battle. To appreciate it:
: Wilson’s remix reduces the harshness of earlier remasters and improves the "roundness" of the sound. Listeners often note that Chris Squire's bass and Bill Bruford's percussion are significantly more resonant and crisp.
As an ethical note: always purchase high-resolution music. This specific version is available from: