@leobro You opened with the statement you did not come to the same conclusion, but you actually just concluded the same findings I have.
Surround capable reverb VST returns are best managed in the surround beds. Use object stereo reverbs when filling holes and other adventurous sound design elements. But, one thing I left out of my original response is - most of the Dolby Atmos learning/training that is out there today is adapted from Cinema workflows, and does not properly transfer over to the streaming services, where the bulk of music listeners will be (codecs are the thing to look at, and how they handle folding/unfolding Atmos beds/objects). So, here’s my tried and proven predictable workflow for Windows Nuendo 11.0.41:
1 - If mixing for streaming music services like Tidal, Apple, and more to come, there is almost zero value in mixing Atmos in anything other than headphones. Find the right combination of using a VST ambidecoder (Steinberg’s works perfectly for me). And pink noise balancing your audio monitoring to both open and closed high-quality headphones - I use both open/closed backed Audeze (very unforgiving headphones). 99% of the time, I can say I have arrived at WYHIWYG.
2 - As I mentioned before, I start with the end in mind. For me, 100% of the music I work on is going to streaming services. I posted a slimmed down version of what that is over here: Since Nuendo does not provide a consumer format for Atmos distribution - #5 by ClendeningSound
1 - Start in Nuendo (Windows for me) with a 7.1.4 mix, rather it be stems or net new project with midi instruments (orchestral style).
2 - Export ADM, with appropriate trim and binaural mixdown settings.
3 - Copy ADM to shared drive/cloud/etc.
4 - Open ADM on Mac Dolby Production Suite.
5 - Export to .mp4 with black video
6 - Play .mp4 on Mac and stream to AppleTV and listen on AirPods, Atmos sound bar, Amazon Studio.
7 - Once it sounds good on the aforementioned devices, prep for AvidPlay distribution.
8 - Mixdown a stereo version (just to satisfy AvidPlays requirement to have a stereo version if you have an Atmos track).
9 - Publish to AvidPlay to all Atmos capable services, for the ultimate verification, then do a take down once you have verified it (if you’re not happy with it).
I’ll finish-up here by saying, everyone’s workflow is unique to them, unless you are integrated into a larger team or part of a production that demands specifics, and even then there’s room for the unknown. Stating the obvious, what works for me, may not work for anyone else.
This workflow works for me and is nearly 100% predictable from: Windows based Nuendo, tested through Mac based Dolby Production Suite, processed up through Atmos capable streaming services and out to the endpoint devices - AppleTV, iPhone, Amazon Echo Studio, variety of Atmos capable receivers and sound bars.