In Dolby Atmos, while our toolset allows for a great deal of flexibility in the speaker configuration chosen and guidance is available for the conversion of your room into a multichannel mixing environment; you can mix Dolby Atmos in headphones, on stereo speakers or up to a full 64 channel output system like those available in film mix workflows.
Common Speaker configurations we have seen Dolby Atmos created in include 6.0.6 (L, R, Lss, Rss, Lsr, Rsr, Ltf, Rtf, Ltm, Rtm, Ltr, Rtr), 7.1.4 (L, C, R, LFE, Lss, Rss, Lsr, Rsr, Ltf, Rtf, Ltr, Rtr) and 9.1.6 (L, C, R, LFE, Lss, Rss, Lsr, Rsr, Ltf, Rtf, Ltm, Rtm, Ltr, Rtr). The role of the Renderer is to preserve your artistic intent in whichever speaker configuration you choose to create it in and whichever configuration your customer consumes it in.
The Dolby Atmos Renderer also allows you to audition how your mix may translate to other speaker configurations. For example, if your colleague in a different country mixed a song in their 7.1.4 configuration and sent it to you for comments/collaboration etc in your 9.1.6 room you could create a subset of your speakers to experience their intent as it was created in their room.