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The reception to this high-resolution release was overwhelmingly positive among audiophiles and critics alike. The most common feedback was the astonishing level of new detail that emerged from a 40-year-old recording. One long-time fan who had listened to the album "perhaps 1,000 times" reported hearing completely new elements, from a "spacy whoosh" in a song's break to previously buried vocal counterpoint. He noted that the bass was no longer "buzzy" and that the ambient sections now had "detail in it that I've never heard before".
Chris Squire’s Rickenbacker bass "growl" is tighter and more visceral, especially during the driving sections of "Siberian Khatru." Vocal Clarity:
Whether you are comparing this to the or the newer Dolby Atmos mixes ?
To truly appreciate the release, your playback chain matters. Listening on Bluetooth headphones will compress the audio back down, defeating the purpose of the high-resolution file. Yes - Close To The Edge -2013- -FLAC 24-192-
This article dives into the technical brilliance, the sonic improvements, and the historical significance of the 2013 24-bit/192kHz high-resolution audio edition. 1. The Context: Why 2013 and Why FLAC 24-192?
Close to the Edge is the fifth studio album by English progressive rock band Yes, originally released in 1972. It is widely considered one of the greatest progressive rock albums of all time. The album consists of three tracks:
The specific phrase in the user's query, "-FLAC 24-192-", points to the audiophile's holy grail: a high-resolution audio file. Let's break down what each component means and why it matters for listening to Close to the Edge . He noted that the bass was no longer
: This is the frequency at which the analog audio signal is measured (sampled) and converted into digital data. The standard for CDs is 44.1kHz, meaning 44,100 samples per second. A 192kHz sample rate is more than four times that, with 192,000 samples per second. By capturing more snapshots of the audio waveform, higher sample rates can more accurately capture high-frequency information and preserve the subtle nuances of the original recording.
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 track opens with Steve Howe tuning and playing a 12-string acoustic guitar. At 192kHz, you can hear the transient "snap" of the fingernail against the metal strings and the hollow resonance of the guitar body. Listening on Bluetooth headphones will compress the audio
Just revisited in full FLAC 24-192 and my mind is officially blown (again).
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.
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