I strongly suggest you use the information in Wilfred Van Ballen's article in the current issue of Widescreen Review magazine to help you select the best loudspeaker layout for ALL immersive sound formats. He has the best explanation I have ever read on this topic since immersive sound appeared. widescreenreview.com Subscriptions are free for industry professionals (manufacturers, studios, content providers, retail sales, install and service, etc.). All others pay a nominal annual subscription fee ($15 last time I looked) for access to new issues and all previous issues going back into the 1990s. The contents include reviews of UHD/HDR movies with the activity in the immersive channels evaluated as a separate item so you can learn which movies have good immersive soundtracks (not many, unfortunately) and which ones have poorly executed immersive sound (almost all titles with Atmos or DTS:X, unfortunately). The main reason is that "object oriented" sound for the height channels is not a good idea no matter what Dolby and DTS say about it. When there is object oriented immersive sound, it is almost impossible to put AMBIENT immersive sound into the height channels and AMBIENT sound is the KEY to ideal immersive sound. Frankly, most ATMOS and DTS:X soundtracks sound BETTER WITHOUT decoding the Atmos or DTS:X and using AuroMatic to create the immersive sound from the 5 or 7 channels of sound in the "main" soundtrack. Stereo music even sounds better with AuroMatic (part of Auro-3D) processing instead of listening in Stereo. Both the Dolby Surroud and Neural:X upmixers are so bad, they make stereo music sound BETTER than their terrible-sounding processed versions.