Before being shipped, the 01 had already completed somewhat over 80 hours of break-in time, but after having arrived at the new location they still had to acclimatize for a longer time in conjunction with the brand new speaker cable. But of course I was far too curious not to give the first tones already a listen. The baffles of the Børresen 01s came to occupy more or less the same position where those of the Goebel Epoque Aeon Fine usually are located. The Velodyne subwoofers, which extend the Goebel's frequency range downwards by a very effective 15 hertz, are of course left out for the time being - and this is clearly audible. But it's not really fair having been spoiled by a subsonically supported full-range loudspeaker and then switch to an insufficiently burnt-in two-way system with an 11.5 cm bass/midrange driver connected to a brand-new speaker cable. However, regarding hours of operation, there is still a lot that can be done with the 01 and the Speakz D2.

At least as ear-catching as the current lack of low bass is the high degree of homogeneity and coherence that Børresen's creations are revealing. There is no frequency domain, no matter how small, that is asking for special attention. Already now, the 01s are performing in an absolute holistic manner. About a year ago, I would have been completely over the moon having come across such characteristics as described with the 01, but after such a long time with the Goebel speakers, which reproduce the entire frequency range above 160 hertz with only one driver, the way the Børresen 01 performs just seems right to me. The 01 create an illusion of space that is already entirely convincing, and also in terms of speed nothing is left to be desired. Then I move the 01s about 40 centimetres towards the back wall, so that the distance is now a little more than 60 centimetres. And then I start to burn-in the speakers, sometimes directly after getting up in the morning until just before going to sleep in the evening, sometimes for 24 hours at a time, albeit turning the volume down to a very low level during the night hours. After four days, when putting on my first album in the morning I catch myself listening very relaxed to a jazz trio, without ever thinking about the low frequency response. Michael Børresen, whom I had called to have one or the other technical detail of his creation explained to me, then remarked that his loudspeakers usually require a certain amount of time after each transport to return to their previously achieved performance level. He also put me at ease of possibly damaging the 01 when playing them at high volumes - by no means insignificant if, like me, one sometimes likes to listen at higher levels.

During the following week, whenever I was in the listening room, I listened to the 01s using analogue sources, while alternately burning-in the internal wiring of the Thiele TA01 tonearm and a Soundsmith Strain Gauge pick-up, keeping me deliberately away from my well known digital test files. A particular pleasure happened to be the title track of the album Dawn Dance by Steve Eliovsen and Collin Walcott. I usually like to listen to the interplay between the in multiplay recorded acoustic guitars and the percussive cymbals and triangle especially with the Acapella Violon VI with their plasma tweeters, which give the metal a tremendous presence and colourfulness. The Børresen ribbon tweeter, with its fine resolution and manifold timbres, catches up with the Acapella's highs so closely that I no longer doubt that no more break-in time is required.