I think music mixes end up being more idiosyncratic to the speaker array they were mixed on. When one is being deep dive critical anyway. Which is precisely what surround sound listening is all about, right? This isn't casual listening. This is "something's probably wrong with you" OCD front row to the action obsession!
So let's see. Dolby says minimum 7.1.4 system and also mentions 9.1.6. Check. What are the big gun mixers making these mixes on then? Parsons, Clearmountain, Wilson, etc all went with 7.1.4. (Haha, right. That went something like... 9.1.6?! Oh, 7.1.4 is the minimum? Yeah ok, I'll upgrade from 5.1 to 7.1.4 then!) Right, so the new surround mixes are mostly 12 channel mixed on a 7.1.4 system. From the big guns anyway. Check! 7.1.4 it is!
That was my thinking and I imagine quite a few others. I wanted to hear the new 12 channel surround mixes the big guys were doing. I could care less about movie mixes and how they translate around. I'll probably only bother to listen to any movie in stereo anyway like always. That's nice for them though.
I think there is a broader panorama than the minimally 7.1.4 mixed channels.
I have 9.1.4 (with Wides) and I confirm that there are quite a few Atmos mixes that make use of Objects in the Wide positions and that, in my room, I clearly perceive the more “Wide” sound, that stands out in a differentiating way from the frontal or side sound.
For example, Steven Wilson started with exclusively 7.1.4 mixes, but has evolved to placing content in the “Wide” location. Even if Wilson or other mixers have a studio with 7.1.4 speakers, if they use Atmos Objects in the position around 68º azimuth, installations that have 9.1.4 will clearly use the Wides channels.
Bruce Soord has also evolved quite a bit in mixing making extensive use of Wides for main vocals. I also have many other albums that do this.
Regarding the Top Middles (x.1.6) I guess something similar will happen, when the mixers place objects along the ceiling. But I can't check it because I only have 9.1.4 in my room.
Ultimately, the more speakers the better, up to 9.1.6, but of course it depends on the mix each mixing engineer makes. For example, Bob Clearmountain makes fantastic mixes in 7.1 but barely makes use of the Ceiling Tops.
But I continue to confirm that both on Blu-ray and streaming there is quite an abundance of Atmos mixes that make use of the Wides (9.1.4) in a fairly extensive and effective way.