Are there any GOOD Dylan SACD remasters?

Wow, I've bought a few SACD only and HYBRID Bob Dylan remasters, and unfortunately all but Blood On The Tracks has been a let down? Is it that the engineers doing the remaster think they need to make it clearer, and therefore add top end? To me, it would seem you would just issue the same recording, same mix, same levels, on the new medium WITHOUT SCREWING WITH IT?? Isn't getting it in SACD going to give us better sound anyway?

Am I alone in this? Correct me if I'm wrong, the original master tape offers sonic's obscured by conventional CD technology. So an SACD allows us to hear the original master tape more closely to it's actual sound. Where in this process does it say that some rookie comes in and tries to make it sound better?

Jesus! Bob is in his 60's, and even if he was present on the remaster that wouldn't make me happy. All I want is more of what was originally recorded, offered naturally by SACD. It was a good recording to start with, and Bob can't hear as well as he did 25 years ago!

Yeah, some of my favorite later Dylan needs some help, Time Out Of Mind sounds like Bob is singing through a meggaphone frequently, extremely nasal vocals, and not even well recorded to begin with in my opinion. No remaster is gonna solve this. So how does the SACD HYBRID sound? Tom
I use the term "master" you prefer source-let's agree there is an original tape of the recording and leave it at that.

No. There isn't A tape. There are multiple tapes, multiple tracks, and multiple takes. Remember, for the vast majority of records made in the last 40 years, there was no original performance. Records are made in pieces, with a rhythm track here, and a lead vocal track there. Nobody in the business calls these "masters." (I'll agree that many uninformed consumers do, but that reflects their misconceptions about recording generally.)

The job of mastering largely involves taking all these parts and deciding which channel or channels they should go in and how loud they should be in each channel. That's called mixing. Every master is mixed (at least in the pop music world).

Remastering involves going back to those original tapes and remixing them in a different way. That's why EVERY remaster is remixed--practically by definition. Remastering is not just about "cleaning up the tapes and preserving everything else." It's about making a different master. Sometimes that master sounds very close to the original release, and sometimes not.
As usual you ignore the parts of my post you can't really answer but anyway............

Each piece(vocal,guitar track etc.) that makes up any record has an original performance on it.
Most recorded performances have assembled these pieces very carefully.
This assembling plays a major part in how well the music works on an artistic level.

Remastering obviously just ignores these facts in your world of semantics.

Oh and I just pulled out my Doors The Complete Studio Recordings box set and guess what it says?

"Remastered from the original analog 2 track MASTERS to 96khz 24 bit digital by Bruce Botnick and Bernie Grundman at Bernie Grundman Mastering"

Oh and the Miles Davis Complete Jack Johnson box set "from the original 8-track 1" analog MASTERS"

So nobody in the business uses the terms "Masters"?
Oh dear.

More tellingly on the recent Springsteen Born To Run set.

Springsteen thanks Bob Clearmount for the mixing-this is the reference to the DVD video sound.
He then thanks Bob Ludwig for the great mastering on the actual album itself.
He doesn't thank Ludwig for the mixing nor does he even mention it.
Mmmm I wonder why?
A point to you on the use of of the term master, at least in material meant for consumers' eyes.

That said, please note the problem here: The term "master" is now being used for two very different things:

1) the final--fully mixed, EQd, and otherwise processed--tape used to make the disk.

2) Some earlier generation of tapes, either the original studio tapes or some processed and/or partially mixed descendent of them.

That creates all kinds of confusion, as our discussion here demonstrates. Remastering certainly does not involve #1 above, and I suspect that it usually involves some generation before the final mixdown--which means, of necessity, that it involves remixing. There are loads of obvious examples of this: the CD version of Layla, Let It Be Naked, etc. Perhaps the most common (positive) comment about a remastering is that it brings out or highlights or isolates a particular instrument or voice. That's most likely been accomplished by remixing.

Final thought: The information on remastering that's included on most CDs is very sketchy. You really can't assume anything about what they don't say.
Just a point on the use of the term masters?
That seems to me be a massive point of your stance completely blown away.

Another quote from Springsteen that totally puts his Ludwig quote in context (that's the quote where he thanks him for the mastering without mentioning remixing on the BTR reissue).
This one is from his Tracks box set.

Special Thanks to Jon Landau for his insights.His suggestion to remix these tracks from their original masters greatly enhanced their sound.

There's a clear difference between that and the statement he makes on BTR.

There in that one statement above he states clearly the difference between remastering and remixing and how it is tackled fundamentally differently.
That might be sketchy to you but compared to your arguments it does have some actual back up and real life experience.

Not unless you can state differently?
It seems Pabelson you've been remixing your own arguments so much your master tapes have been erased hence the silence.

I'll finish off this debate with some quotes including Bob Ludwig-please note how that question is asked.
You'd be surprised the constant references to Master tapes in any search of the remastering technique.

From the Abbey Road Studio website.

REMASTERING. At its simplest, Abbey Road's Remastering Engineers are responsible for removing imperfections on master tapes or other source recordings, anything from a 78 disc to a digital file. Using state of the art technology combined with a wealth of experience they aim to present recordings in the best possible light enabling the recording to speak to future generations.

From Peter Gabriel's website:

We have been working on the sound; the second album, which was the one that sounded the worst for me, we've opened up a bit and Tony's stretched the stereo. It doesn't transform the music obviously, but if you're listening there are some differences. So I think it's more for people who get into the detail of it or have got a good system at home that want to optimise the music."
As Richard Chappell (Peter's Music Engineer, who also worked on the re-masters) explained, due to the increased sampling range of the new digital formats there is an audibly noticeable increase in clarity and definition especially at the bass end of tracks. This is a quality that Richard and Peter agree the listener may be able to hear most noticeably on the re-mastered US and PG 2.

From a Music Tap interview with Bob Ludwig.

MusicTAP: Do you typically get involved with surround or stereo remixing, or do you focus on the mastering?

Bob Ludwig: I have mastered over 100 surround sound projects. The only mixing I do is on special occasions like Patsy Klein or re-balancing stems, I once mixed a Mariah Carey vocal, but all that is rare, I have plenty to do with just mastering!