The next day I simply switched on the Velodyne DD+ 10s still adjusted to the setting intended for the Aeon Fine. As expected, this benefitted the spatial imaging and, albeit to a lesser extent, the already very good fine detail resolution of the Børresens. But this setting made the kettledrums in "West Eats Meat" still lack punch. As I am well aware of the particular acoustic situation in my listening room with its boost at 40 hertz, I didn't make any further attempt with the AutoEQ^Plus room acoustics calibration programme. For the necessary fine tuning, I would have to endeavour my colleagues Roland Dietl or Helmut Baumgartner. They can look back on years of experience with Velodyne's programme, as well as dedicated measuring software. But when I am going to purchase the subwoofers in the near future as planned, I'll have plenty of time to practice my fine-tuning skills. By the way, Michael Børresen is working on a subwoofer solution where the attunement to the main speakers will be using analogue technology to avoid the latency that occurs when operating DSPs. So, deep bass will stay with us also in the future.

I, by the way, find it much more exciting to listen to the 01 playing on their own and to get repeatedly amazed by the enormous acoustic proficiency of these so beautifully shaped, petite transducers. An ECM record that I often listened to decades ago, but very rarely lately, and which I now also own as a digital file, is Paul Motian's Le Voyage: Jointly involved with the drummer, who mainly indulges in the tonal colours of his cymbals, are J.F. Jenny-Clark with his full-bodied double bass and Charles Brackeen on tenor and soprano saxophones. I remember the latter as being a little aggressive, especially in the more freely played passages. But this is out of question when the Børresen 01s are in play: The saxophones have got the typical pounce, don't neither seem thoroughly softened, nor spiteful - but just right. Usually I only listen to the quiet "Folk Song For Rosie" with the cymbals painting its sounds, the bass evolving into its abysmal solo towards the end and the saxophone drawing mostly melodical lines. But the first track captivates me so much that I set out to enjoy the whole album. "Abacus" lets get things a little wilder: Paul Motian now exerts real pressure with his drums, the excited saxophone communicates at times alone with the reverberant recording space: This is strong stuff, but incredibly thrilling. In between, the mechanical noises of the keys make themselves noticed from time to time: There is really no lack of detail. Even the drums with their rich bass drum present themselves in a large - probably virtual - space. The bass, on the other hand, was recorded in completely "dry" fashion. Nevertheless, the album continues to cast its spell on me: "Cabala/Drum Music" is rightly named because of the extensive drum solo, but also indulges within the unison passages of saxophone and bowed bass: This indeed is a really beautiful rediscovery, which, of course, I cannot enjoy at a moderate volume. But the loudspeakers and their physical appearance are increasingly being forgotten. It has long been all about the music!