The album’s closing track is a groove-heavy workout. The 192kHz sampling rate ensures that Bill Bruford’s intricate, jazz-inflected drumming is perfectly preserved. The snap of his snare drum and the bright, shimmering decay of his cymbals never sound harsh or digital. The track's complex outro, where multiple vocal melodies and guitar riffs compete for space, remains perfectly separated and easily decipherable. Hardware Requirements for the Ultimate Playback
The track opens with tape loops of birds chirping and running water. In 24/192 resolution, the spatial imaging is stunning; you can map the movement of the water across the soundstage. When the band crashes in, Chris Squire’s Rickenbacker 4001 bass growls with a visceral, metallic punch that feels physically present. During the "I Get Up, I Get Down" segment, Rick Wakeman’s massive church organ—recorded at St. Giles-without-Cripplegate—retains its subterranean low-end room rattling without bleeding into the delicate, soaring vocal harmonies of Anderson and Squire. 2. "And You And I" Yes - Close To The Edge -2013- -FLAC 24-192-
Steven Wilson utilized the multi-track masters to rebuild the stereo mix from scratch. The album’s closing track is a groove-heavy workout
The "Definitive Edition" of Close to the Edge , released on November 11, 2013, is a massive and ambitious box set. Wilson’s goal was not just to remaster but to completely remix the album, "faithfully retain[ing] the spirit & sounds of the original album mix, while applying modern mix techniques to bring further clarity to the individual instrument, vocal & overdubs". The result was praised for providing "a greater sense of space for each voice to be heard," with Anderson’s voice seeming "to join the listener in the room" and the solos from Howe and Wakeman "glisten[ing] with clarity". The track's complex outro, where multiple vocal melodies
Listeners can more clearly distinguish the interplay between Steve Howe's visceral guitar attacks and Rick Wakeman's lush keyboard textures. Atmospheric Detail: