That debate effectively ended in 2013. For the discerning listener searching for the ultimate digital transfer, the specific string of descriptors—“”—represents not just a file format, but a key to an auditory universe. This article dives deep into why this particular release is the gold standard, what those technical specifications mean for your listening session, and where the magic of this 2013 high-resolution transfer truly lies. The Anatomy of a Masterpiece Before dissecting the bits and samples, we must acknowledge the source. Close to the Edge is not background music. It is a singular, 38-minute suite split into three movements: The Solid Time of Change , Total Mass Retain , and I Get Up, I Get Down . The 1972 recording was famously complex—Eddy Offord’s production involved punching in tape edits so intricate that the master reels looked like a jigsaw puzzle.
When you see , you are looking at a transfer that respects the original analog master tapes at a resolution exceeding even SACD. The 2013 date is crucial: this was not a simple upsampling. It was a flat transfer from the original analog master tapes (presumably the same source as the 2003 remaster but without the limiting). The Listening Experience: Track by Track in 24/192 What changes when you actually listen to the 2013 FLAC 24-192 version via a good DAC (Digital-to-Analog Converter) and headphones or speakers? Everything. 1. “Close to the Edge” – The Solid Time of Change The track opens with the sound of flowing water (a field recording of a English creek) before Jon Anderson’s ethereal “A seasoned witch...” In standard MP3 or CD, this water sound can feel like a flat noise floor. In 24-192 , you hear the texture of the water—the separation of droplets, the spatial positioning across the soundstage. Yes - Close To The Edge -2013- -FLAC 24-192-
| Component | Meaning | Relevance to Yes | | :--- | :--- | :--- | | | Free Lossless Audio Codec (compressed without losing data, unlike MP3) | Preserves every nuance of the master tape—no harmonic distortion or "swishy" cymbal decay. | | 24-bit | Bit depth (dynamic range: 144dB vs. 96dB for 16-bit) | Captures the whisper of Rick Wakeman’s Mellotron and the explosion of the full band without clipping. | | 192 kHz | Sampling rate (captures frequencies up to 96kHz, far above human hearing) | Ensures perfect temporal resolution for high-frequency harmonics—the "air" around Steve Howe’s acoustic guitar. | That debate effectively ended in 2013
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. The Anatomy of a Masterpiece Before dissecting the
Download it, light a candle, and get up, get down—all the way to the solid time of change. Word count: ~1,250. For the collector: Pair this FLAC with a good tube headphone amplifier to soften the transient peaks, and you’ll hear why 1972 was prog’s annus mirabilis.
You won’t hear the difference.