A description of what Holographic Sound as term means to yourself would help as it is widely used to mean a variety of perceptions for a presentation of the end sound.
I have attached a few description given by others on their take on Holographic Sound.
(1) "Holographic means that the music isn't rooted to the speakers, but instead seems to be originating from specific areas where the musicians and singers are arranged throughout the soundstage of your listening room -- especially between and outside your speakers -- in the best cases, there is air between them and you can imagine some closer to you and some further away -- the proverbial deep and wide soundstage.
But, holographic means the musicians and singers appear throughout the soundstage almost like holograms."
(2) "My definition would simply be different words than those used above. I think "holographic" is more of a situation where the illusion becomes believable and almost touchable. Whether it is a soundstage (sonic holograph - nice term) or visual field (hologram), the specific event takes on an atmosphere of real volume and space."
(3) "I think 3-dimensional sound has more in common with multi-channel home theater set-ups, which can provide the most easily heard holographic situations. Surround sound would then be the engineered product of sounds delivered in specified areas. These sounds are what I enjoy as the novelty of special effects."
I myself use a Stacked Array of Electrostatic with 845 Monoblocks Power Amp's.
Upstream of these I have used a variety of Pre Amp's and brought in a large selection of Phonostages and even more SUT's, along with a Head Amp to make the most of the Vinyl Source.
For the Digital Source, I have been less adventurous, a Bespoke Built DAC using Valves in the Output Circuit along with a CDT, has offered a very good impression in the home system and performed exceptionally well alongside much more expensive Digital and Vinyl Sources when used in other systems.
When I get a better understanding of your description of Holographic Sound I will add more, as I have been able to create the perceptions that are a version of what is described above, and I believe beyond what is described above. Especially when it comes to the 'Envelope', there is a perception that can be generated in the listening space, especially a listening space that is seemingly expansive, voluminous.
In such a perception of Spaciousness, there is also another perception to be encountered, where the Imaging of a performer is perceived as being locatable in the space, when the perception of the performer has embodiment, there are other perceptions that are possible to encountered as follows.
The 'Envelope' is where the produced Notes and Vocal produced take on a perception of their being formed, the Note/Vocal has its own embodiment, as it seems the Imaging has further layers, where the performer is visualised creating the sound being produced.
It is when the End Sound and Psychoacoustic Affect attains this level of perception that the following perceptions really are discernible:
Attack – the time line for the note to being audible to attaining maximum volume.
Sustain – Once the perception of maximum volume is present, the length of time it remains.
Decay – The life of the Note / Vocal its length of time being perceived before if expires.
All the above is achievable as perceptions to listeners on Stacked ESL's almost 60 Years since their being new.