The OP is a bit off with their description of why pro audio engineers work in higher bit rates and sample rates. We use 24bit to preserve low level sounds eg reverb, breaths etc and use 32bit float when recording as the headroom is so massive clipping is not an issue (other than of course still neeing to avoid overloading microphones with max SPL - cleanly recorded distorted sound is still a fail). Unclipping 32bit float feels like voodoo - I did a test, recording fireworks & unclipping the 32bit float recordings.
I use microphones that can 'hear' up to 100kHz (Sanken CUX100K) and for film sound design playing 192kHz audio at half and quarter speed the results are very significant, and reveal there IS 'content' above human hearing. Irrelevant for general listening but very important for sound design.
I use microphones that can 'hear' up to 100kHz (Sanken CUX100K) and for film sound design playing 192kHz audio at half and quarter speed the results are very significant, and reveal there IS 'content' above human hearing. Irrelevant for general listening but very important for sound design.