Just found this article and I found it to be interesting in the context of this thread:http://www.audio-ideas.com/recordings/bellingham.html
"Of course, this also gave us a chance to start with 44.1-kHz/16-bit monitoring, and then go to 96-kHz/24-bit playbacks. And on the second day, we used both Nagra Ds in lock (one per stereo channel) to record at 192-kHz/24-bit. After this experience, I can confidently say that any fool who can’t hear the difference between 44.1 and 96/24 should look for opportunities outside the high fidelity field; and these differences become even more pronounced when going to 192/24, which is the current state of the digital art."
And the mandatory Bryston content:
"It seemed to me that there would inevitably be a natural spatial relationship among the musicians that could be captured with the right microphone complement and their proper placement. With 4 channels of Bryston BMP-2 microphone preamplifiers I thought I could manage this, combining to 2 channels using a resistive network wired up for me by Stuart Taylor (Mr. ST), who also custom modified the preamplifiers themselves for use in live recording situations."