There are a number of other reissue companies doing superior work, most notably Analogue Productions. Chad Kassem’s reissue of Kind Of Blue was made from the original "father" created by Bernie Grundman in 1997 for Classic Records (who issued it in an UHQR version, I believe). Bernie cut his lacquer (from which the metal father is made) directly from the 1/2" 3-track tape that was running as Miles & company played in the studio!
That’s right, at that time Sony allowed Bernie access to the original 3-track 1/2" master tape, and rather than making a 2-track master-mix tape from the 3-track master, he cut his lacquer directly from the 3-track master. Very unusual, almost unheard of! What commonly happens is the 2-track final-mix master tape is used to make numerous copies, in the industry referred to as production masters (and/or safety copies). The original 2-track final-mix master is very rarely what the lacquer is cut from. The reason being each play of a tape creates wear; no one wants the original 2-track master to wear out, so multiple production masters are made, each used to cut a lacquer (from which a father is made, from which a mother is made, from which stampers are made). Grundman went a step further than using the 2-track master-mix tape, and cut his lacquer from the 3-track master! He mixed the three tracks to two himself, using an original-pressing LP as his model for instrumental balances. I’ve heard of no other LP made in such a fashion. If YOU have, let’s hear about it!
Analogue Productions reissued the entire Capitol Records Beach Boys catalog (with the exception of Wild Honey, for some reason), many in both mono and stereo, some in both 45RPM and 33-1/3 versions. The AP website and each LP cover clearly, unambiguously states the source used to make each album. Brian Wilson always mixed to mono, and for AP's mono Beach Boys LP's Mark Linnet used the original mono tapes (analogue, of course. This was the 60's ;-). To create stereo versions of mono-only LP's (which excludes Surfer Girl, which was originally released in both mono and stereo), Linnet and Wilson used some digital editing to create new stereo mixes. That is clearly stated, with no attempt to create the impression the stereo LP's are pure analogue. Unlike MoFi, who intentionally concealed their use of digital files as the source for making their LP's for the past fifteen years!