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Those Genelecs with the 4 eye mids look good and are priced accordingly!
I don't have any data, but I'm not sure multiple mid and upper frequency drivers operating in parallel are good for sound reproduction. In hifi, totem does them and you see multi driver vertical row designs. Without data, I would suspect multipath phasing problems. It may make for a novel or interesting sound, but it may not be the best idea from a science view.
Of course, our high frequency hearing fades with age, making the wavelengths of interest longer! Maybe Genelec did their research.
There is a limit to the size of mid and upper drivers. But you don't need to move that much air in a control room. If you are on a scoring stage, say greater than 2000 square feet, 40000 cubic feet, you might need bigger speakers. But the conductor is not listening to a playback in the big studio with musicians for critical listening. For critical listening, they would step into the control room. A conductor is probably good at translating between speakers too.
In a big outdoor concert the music is usually electric or electronic, not acoustic instruments in a wood concert hall, so the expectation is different. To me using line arrays, the current choice, the Grateful Dead's "wall of sound," or walls of Danly, L'Acoustic, Funktion One, or other festival brands, a distributed mid or upper transducer is something the audience is used to.
One place you do need to push air is in a large movie viewing space. There distributed sources may come in handy, but the character of the sound expectation is different and probably governed by the EQ. Horn gain is the classic solution.
I'm more of a Porsche man, used to own a 2009 Cayman S.
