Typical studio microphones are designed to operate in close proximity to a sound source. When the sound source is not in close proximity the studio microphone receives both the direct sound plus the delayed reflected sound out of phase. Response anomalies are caused by the out of sync direct and reflected sound received by the microphone. Gold Line boundary microphones solve this problem by receiving signals from both direct and reflected paths at the same time, and in phase.

The CBM1 places a small transducer at the boundary zone where direct and reflected waves act as a single reinforced signal. In this configuration, both direct and reflected sound occur very close together in time which means that the response over the microphone diaphragm is immune to changes in either amplitude or phase. This guarantees that no pressure build-up due to strong reflections can occur on axis. The high degree of directionality inherent to the typical studio microphone can be replaced by the CBM1 boundary microphone which picks up sound in a fashion that resembles the human ear.

Boundary microphones offer several distinct advantages over standard studio designs. They provide flat frequency microphone response without equalization and they maintain a more consistent sound quality as the sound source moves along the surface of its hemispherical pickup pattern. This technology also yields a more predictable sound field without interfering reflections, maintaining clarity of pickup even at a distance. Since clarity is maintained, even at a distance, the sound is more natural than would be the case if the recording had been made with conventional dynamic microphones. When preserving the ambiance of either a studio or concert hall, boundary microphones are ideal.