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
Here is a breakdown of why this specific file format and remaster stand out.
Preserving the natural shifts between quiet acoustic passages and explosive crescendos. 📈 Why 24-Bit / 192kHz FLAC Matters Yes - Close To The Edge -2013- -FLAC 24-192-
: The massive Pipe Organ recorded at St. Giles-without-Cripplegate gains a physical, three-dimensional weight.
You won’t hear the difference.
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
Often a highlight of these remixes, the bass is described as "fatter," "punchier," and more articulate, particularly during the heavy jam sections. Wilson’s philosophy is always to respect the original
If you have high-quality headphones or a decent speaker setup, this is the version to own. It allows you to hear the intricacies of Bill Bruford’s drumming and the majesty of Jon Anderson’s vocals with a transparency that arguably makes this the best-sounding version of the album ever released to the public.
In certain sections (like "I Get Up, I Get Down"), the extreme separation can make the vocal harmonies feel less tightly integrated than they were on the original LP. 📦 Technical & Content Highlights High-Res or Old School Digital - Positive Feedback Why 24-bit/192kHz FLAC Matters Here is a breakdown
This release is a masterclass in high-resolution audio. To understand its value, it's important to break down the technical terms in the keyword.
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.