APO Doors Reissues

Anyone heard the new APO Doors reissues on 45 rpm Lp? It sounds like the mix is the same, instruments hard right and left, Morrison in the center for the most part. Is that the case?

While I understand the outrage from some quarters that would follow any change to the original mix, it seems to me that the original mix was a less than ideal decision and I don't see why it can't be improved on.
I have the DCCs of Strange Days, The Doors, LA Woman and also the lizard skin box set. As I recall Fremer also gave the lizard skin box a 10/10 rating. It did not come from the original tapes. Has anyone compared these new reissues to that box set?
i found both strange days and the self titled are very thin in the bottom end. i couldn't listen to them. sold them both. the original u.s. pressings are much more dynamic and enjoyable to listen to. the more revealing your system, the worst this new pressing will sound. i did try playing the lp's on the stock dl103 helped them out, but still a huge disappointment.
Your feedback is of interest to me. You're the first truly negative reviewer of these reissues I've come across and I just pre-ordered the whole set. There are differing opinions on Fremer's reviews I suppose but by and large I agree with him on sound quality. If highly resolving systems reveal the flaws in these reissues as you say where does his 10/10 come from? How many people can you name with a more resolving system or more experience with the LP format? I've also come across little but great enthusiasm from one other formal review and multiple individual accounts. So I respect your opinion but it greatly puzzles me.
The obvious solution would be to order a copy of Strange Days myself to try. However, if I do get the whole box, I'll the be stuck with an expensive duplicate. Still, may be worth a try just to make sure the whole $400 set won't be a let down.
Meanwhile, if anyone else has feedback, good or bad, it would be appreciated.
I'm very much enjoying the largely over-looked 2011 40th Aniversary three-sided Rhino LP release of LA Woman Workshop Sessions. The alternate takes are good, and what a meaty beaty bouncy working session with excellent SQ:

"Dear Doors fans, here we are with the latest Doors tech talk.

As you must probably know by now, LA Woman wasn't recorded in a studio, but at the Doors Workshop. The was the Door's home, where they felt the most comfortable. Upstairs we installed a 3M 56 8-track analog tape recorder, the very one used on Strange Days. From the Elektra Paxton Ranch we used a Langevin Solid State 10-input 8-channel console; and for loudspeakers, JBL 4310s powered by a single Crown amp. The Doors plus Jerry Schell and Marc Benno were downstairs, so I couldn't see them, or they me. Microphones used were Neumann KM40s on the drums, an AKG 414 for the bass, and Sony C37s on the guitars. Ray's keyboards were mic'd by Shure 57s and/or direct. Jim's microphone was his handheld favorite EV, which he used on the road. When we were finished recording, we moved over to Poppi Studios, which was one block from where Howard Hughes was living in his office off Romaine Street. Poppi Studios had Quad Eight mixing consoles and custom Altec bi-amped loudspeakers driven by Marantz amps. The echo came from EMT140 revelation plates and room echo chambers.

This album of outtakes, alternate takes, and studio dialogue all recorded during the original LA Woman sessions that The Doors Workshop in 1970, was transferred and mixed in Ojai, CA, at Uniteye Studios. The original 1-inch 8-track masters were carefully baked and then transferred from an Analogue Studer 8-track into db Technologies 824 A/D converters at 96/24 and recorded on Protools for mixing. The mixing was done on an Avid Audio Icon console with Tannoy/Mastering Lab loudspeakers powered by Ayre Acoustic V1 power amps. Echo was from an EMT140 reverb plate and Altiverb Impulse reverbs. EQ and Limiting/Compression from GML and Sonnox.

When it was time to cut the lacquer masters, we took our final 96/24 mix masters to Bernie Grundman at BGM to do all the final EQ and level prep, and then cut the masters on Bernie's all-tube/valve Westrex cutting system.

Enjoy the way back machine.

Bruce Botnick, August 2011"
my analog front end that i played the door's lp's on is a tw acustic ac3 with a davinci grandezza arm and benz ebony cart. probably too revealing for these lp's. i did try spinning them on another table that i have a stock denon 103 installed. that helped, but i still found the lp's disappointing compared to original US pressings.