How to Reason the Solution to a Cathedral-like or Concert Hall-like Effect on a Desktop 2.1 SystemI gathered together the conceptual pieces. The useful aspect of Apple Spacial Audio is the "Head-related_transfer_function", rather than Dolby Atmos. Dolby Atmos provides little value for my situation. Dolby Atmos vertical dispersion is useful, however horizontal dispersion is antithetical for my purposes.
Simply stack Genelec speakers connected to a 2.1 "line array" device. My guess is six stacked speakers (roughy corresponding to 2.2.6 notation) is adequate. The speakers need to be angled at the ear to compensate for stacked height, like Focal Grand Utopia:
For stereo nearfield work, TCM opted for 8351A three-way point source monitors from The Ones series. “What’s great about coaxial monitors is that you get one coherent sound,” explains Mixer’s Lab’s Tatsuo Umezu. “A certain sound can be perceived from one point as if it's a matter of course, and the centre of the sound doesn't get ‘blurred’. I can tell exactly where the mic was placed, and how far it was from the instrument. I suppose this is exactly what Genelec aimed for.”
Reflecting on the qualities the Genelec monitoring solutions have brought TCM, Sano is clearly very happy with their performance: “Genelec monitors have the same sound even when the playback volume is low, and that's one of the benefits. And the fact that it has become the industry standard is the key to our choice. Experiencing that industry standard sound is extremely beneficial for our students before they start to work as professionals.
“It's about the balance of the richness and the accuracy of the sound,” he continues. “A monitor needs to be comfortable to listen to, and Genelec has that quality – plus the accuracy to comprehend every detail of the sound whatever the genre. Genelec can precisely playback an orchestra, a violin solo, pop music, EDM, and much more. It’s a monitor we can completely count on.”
f the choice of brand was an easy decision, the configuration of the space was a different matter entirely. “The college originally requested the studio to be at least a 2-channel environment, and be able to conduct high-quality recording,” recalls Takada. “But as the studio planning developed, we considered that it should support surround. I had just experienced Dolby Atmos mixing myself, and realised the importance of it, so we opted for 1234As as L/R, a 1238AC for the centre channel, two 1238DFs for surrounds and two more 1238DFs as height speakers – due to the compact nature of the studio.”