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This is a nice video and from 19:00 to 25:00 they talk about mixing in Atmos. Studio C was converted and now they are using it  mostly for Atmos music:

Paula is now working for UMG where they have built a new studio in Santa Monica (mostly for Def Jam records and Dr Dre) and every room is equipped for ATMOS. Many of these early ATMOS rooms are still feeling their way. Some of them don’t sound that great. Sometimes it’s severely compromised speakers used for these extra channels, as tho they can be something different from the mains and "blend". I for one don’t think that’s right, they must all be the same and be extremely consistent off axis or you have nothing but major dips in response via lobing.

Some of the record companies look upon atmos a clever way to squeeze more revenue from an old record they already own from long ago. They are hiring kids to remix the 2 channel into atmos, paying them almost nothing. They are doing it all via plug ins and their computer, and the music creators are NOT HAPPY about it at all. Some think they don’t sound very good or capture the original recording energy- from any perspective.  Some love it.  Some of theses early ATMOS mixes are not mastered- just squirted out and sold on Apple Music as Spatial. There are arguments going on about HOW to master ATMOS and I am witnessing some that as artists or mixers ask what is working.  We helped top Petty's guys jump to ATMOS and it sounds great in the studio but the Apple processing changes some of that.  Brian Lucey has posted here before and he is one that is doing work in ATMOS mastering with some success (and he is not using ATC or PMC).  One of my favorite mastering engineers Emily Lazar is doing great work too, but other very good mastering houses are staying on the sidelines for now. 

Some of the old timers aren’t sure how they feel about ATMOS as some still think it a special effect that works mostly in a binaural type ear bud format for Apple. Some think it’s the passing fad of 5.1. I personally see its best value as a 3 dimensional playback medium but Im certainly not in the majority. I want more mixes that represent actual 3 dimensional events or space, such as a concert hall or a room. Think of hearing it like it really is in Disney Hall, or how it was in a living room with Cowboy Junkies- maybe listen to Alanis Morrisette's "Jagged LIttle Pill" in the real living room they did it in.  This could really open up options for many forms of music, like Americana, Bluegrass, classical, jazz (think Patricia Barber in a club) and so much more.  That part is exciting.

@kota1 , what I see in those pictures is a whole bunch of cheap loudspeakers scattered about a room that was not originally designed for audio. Not my kind of system. 

@thespeakerdude is correct that DSP can do nothing about dispersion which is why room management is just as important, maybe even more so if you have a processor. My own approach is to use speakers in arrays that limit dispersion to minimize room interaction. All the systems I have heard that floated my boat all used speakers with limited dispersion. You can overdo it in that regard. Flat panel ESLs are a great example. In cases where one is using digital "room control" which is really "speaker control" In rooms with unfettered acoustics some troughs can be 10-15 dB down. If a processor tries to correct that it can clip amps and blow speakers. Most processors now will limit the amount of correction they will apply to prevent this from happening, but then you wind up with lumpy response curves. I find it useful to measure the system response with a separate measurement system from the processor. You may be surprised at the results. 

@lonemountain , it must feel like you are a fly on the walls, nice to get the inside scoop. The problems you posted about atmos music applies to movies as well. You have great mixes and weak mixes. The best mix I have heard so far is the kraftwerk catalogue on bluray. At reference level it is a great concert mix. I really like the Beatles remixes too. I am using more Tidal to stream than apple music. Apple just sounds a bit bright for my room.

@mijostyn , if you like 2 channel all good, maybe you can send capitol record studios some pointers on their speaker selection. Who knows, maybe they’ll outsource a custom build for you!

I really like the flexibility to upmix certain tracks. Vinyl guys swap out cartridges=$.

Digital guys swap out DAC’s= $.

Immersive music guys push a button on the remote. Every recording can benefit from how it is played back in your room and you still have 2 channel as one of the many options.

It is a matter of preference and taste, not better or worse. One example that includes measurements and test tones. He discusses 2 channel music upmixing at 5:30:

@mijostyn Thank you for the note on line arrays.