The 2017 Remaster of David Bowie's Low is a high-fidelity digital reissue that aims to preserve the experimental depth of his 1977 masterpiece. This version was overseen by longtime producer Tony Visconti as part of the A New Career in a New Town (1977–1982) box set and later released as a standalone high-resolution download in FLAC 24-bit / 192kHz format. Technical Details Format: FLAC (Lossless) Resolution: 24-bit / 192kHz Remastered By: Ray Staff with Tony Visconti Dynamic Range (DR): Average of 9 (ranging from 8 to 12) Tracklist & Structure
However, the digital release accompanying the box set—specifically the David Bowie - Low -2017- -FLAC 24-192- version—was a revelation. Unlike the 1991 Rykodisc CD or the 1999 EMI remaster, the 2017 high-res transfer was cut from the original master tapes by Ray Staff at AIR Studios. But crucially, the FLAC 24-192 digital file is not merely a CD rip; it is a direct digital transfer of the vinyl master cutting. David Bowie - Low -2017- -FLAC 24-192-
Presented in stunning 24-bit/192kHz FLAC format, this edition of "Low" offers an immersive listening experience that reveals the intricate textures and nuances of Bowie's groundbreaking production. From the atmospheric soundscapes of "Speed of Life" to the motorik beats of "Breaking Glass," every note and every nuance is rendered with crystal clarity. The 2017 Remaster of David Bowie's Low is
Many listeners find this version significantly more bass-heavy than previous editions. On Side A tracks like "Speed of Life," You are listening via Bluetooth speakers or Apple
It is on the second half of the album—the instrumental soundscapes—where the FLAC 24-192 file truly shines. "Art Decade" and "Weeping Wall" rely on subtle shifts in timbre and volume. The high dynamic range of 24-bit audio ensures that the quietest synth swells are audible without the "hiss" often found on older digital transfers. Final Verdict
While Low has seen numerous reissues, the 2017 remaster (originally part of the A New Career in a New Town (1977–1982) box set) is specifically engineered to capture the nuance of Visconti’s original production.
This is the ultimate test track. Bowie’s wordless vocals (a phony Polish prayer) are drenched in Eventide delay. In 192kHz, the delay tails fade into absolute black silence. You hear the tape hiss rise as the voice enters and fall away like a tide. The low drone from the synthesizer has a subsonic weight that rattles your listening chair, but never muddies.