I've started reading and advanced well through pages 1 tot 20. then I started skipping some parts of the thread, ending up reading the last set of pages (boy, what a job, let alone the fact that some clicking to referenced pages need sto be done too).
What I already knew got confirmed now in a scientific way. One can indeed show and proof technical / theoretical (show meaning either audible or (mostly) in statistics) differences between different formats, both in dynamic range (bit depth) as in bitrate (the sampling).
Fact is that for real life use there are very little musical works that could benefit from any of these differences, because of a bunch of limitations in the chain (production, reproduction, sensitory system and psyche of the listener).
My concerns were at the stated "subharmonics and overtones, 30K cymbal stuff and some more of those together with the influence of the sampling into the lower frequencies (teh last one been shown to be able to sometimes even worsen the final result).
Considering phono... there's more to it than just LP DR figures: RIAA curves and preamp rumble filters with low frequency rolloff have an impact on the final sound shaping. Anyhow, a good player attached to a nice set of preamp-amp-LS has very little hissing or noise (same goes as above: crank up the volume and hear the noise, and next when the music kicks in hear a beep... :) ).
As for commercial reasons: I got a recording from the library last week, SA-CD. So I was figuring: let's give it a go for some hi-res testing. No need to, because after a simple check on my laptop (Audacity) it turned out to be 16/44 material.
So I'll leave it at looking for good quality material (starting at good recording and mastering and decent pressing/burning/ripping) and enjoy music at 16/44, or eventually - but not necessarily - higher.