Good read: why comparing specifications is pointless

The specs that I see that are important in this thread is speaker placement for immersive audio. I have been using the specs for a dolby 9.2.7 setup and then you see Floyd Toole with the same layout using the same specs. We both use matched speakers, bookshelf speakers for front and rear height channels, and we both use center height and VOG speakers. Our rooms are very different obviously but you can see those specs in both setups. Then you take a look at a much bigger room in Abbey Road studios and again, those same specs. Matched speakers, book shelfs as height channels tilted toward the MLP, center heights and VOG channels. The MLP for Toole and Abbey Road is also equidistant from the front and rear speakers like mine is, even though in some Dolby setup diagrams it is toward the rear of the room. Having it equidistant between front and rear channels makes a HUGE difference with the soundstage IMO. See how Abbey Road studios uses the same specs in their immersive setup:

Floyd Toole using the same specs at home:

My room is smaller than either of those, but the specs still fit in a smaller room for the speaker type, the angles and distances:

@amir_asr

This will be my last post to you.

You are acting like a petulant child. Go away, I'm not buying your BS, and no how many times you feel the need to get the last word, I don’t agree with you.

I think you’d be better served if you packed your carnival up and moved on to the next forum.

@coralkong  x10 I am out too. 

More immersive audio specs, here is a room even smaller than mine that Wilfred Van Balen also commented on, the mixing stage at Sony Pictures. It uses the same immersive audio specs that the Toole, the Kota and Abbey Road uses. Matching speakers, same angles, use of center height and VOG channel. This is where specs can be useful, if you are setting up your speakers at home using the same specs that the mixing stage uses it helps reproduce the audio as it was meant to be heard

“The Sony Pictures Post Production mix stage adds to the growing footprint of Dolby Atmos enabled post production facilities and gives the Hollywood creative community the tools they need to deliver an immersive experience to consumers, adding additional depth, detail and clarity to the soundtracks,” said Curt Behlmer, Senior Vice President, Content Solutions and Industry Relations, Dolby Laboratories.

“The hope of film buffs and makers alike is an experience that fully transports the audience into the world of the characters,” said Auro Technologies CEO Wilfried Van Baelen. “Having major releases from Sony Pictures Home Entertainment incorporating Auro-3D helps provide this immersive experience, with sound design unlike anything audiences have heard before, to ensure they are able to enjoy films how the creator intended—with full impact.”:

These specs for setting up your room vary slightly between Dolby and Auro 3D. All of the rooms I have posted use a setup that work with both, a "universal" setup.

The Dolby Institute lays out these specs for Speaker Specifications and Placement in the video I posted in my thread on setting up your room for Atmos.

The Dolby specs also include "Room Tuning". Bryan Pennington, Senior Field Applications Engineer at Dolby Institute, discusses the importance of tuning your room. Some general specs he shares is 60/40 to 70/30 is a good rule of thumb to follow when figuring out how much absorptive surfaces to reflective surfaces to use in your room. That includes floor, walls, AND ceilings. Bryan states:

"Money spent on this type of help (room treatments and acoustics) will be more valuable than ANY piece of gear you will ever buy"

That brings us right back to the title of this thread, unless you have the specs of your room setup and tuning right, the specs of any gear you use in that room won’t matter.