Rooms that have to reach a number.
The same headroom that suits a large private cinema suits rooms that are not houses at all. Where a room has to reach cinema reference level and hold it for a full feature, the requirement is the same — and in front of an audience rather than a family, the margin matters more.
Private cinema
The dedicated room the range was designed for. Seating rows set back from the screen, an acoustically transparent screen in front of the front array, and an owner who will notice when a peak hardens.
Screening and preview theatres
Rooms that exist to show films properly, where the sound has to stand up to people who watch for a living and the room is judged against what the mix stage sounded like.
Clubhouse and hotel theatres
Theatres in clubhouses, hotels and apartment developments, run daily for a rotating audience rather than occasionally for one family. More seats to cover, and no tolerance for a system that only works in the middle.
Auditoria and boardroom theatres
Rooms that need genuine cinema performance rather than a presentation system with a subwoofer added. Training rooms and corporate theatres where intelligibility across every seat is the actual requirement.
Bigger rooms, borrowed shells.
These rooms are usually larger, often have more seats to cover, and are frequently built into a shell with acoustic problems of its own.
None of that changes the target. It changes how much margin the loudspeakers need in order to still reach it — which is the argument for designing to a standard rather than to a specification sheet, and for building the range at the scale it is built at.
Hear them in a finished room.
Matterhorn is best judged the way it is used — at reference level, behind a screen, in a room designed and calibrated around it.