I think that the point is not whether people will be listening to music in 24/96 (although I guess that a few audiophiles will) but whether the recording studios are mixing with tracks in 24/96. I suspect that all the pro (and many of the semi-pro) studios are working with 24/96 tracks already for the extra headroom during mixing and then dithering down to 16 bit at the mastering stage. Most of the sample loop construction kits that are the nearest rivals to BIAB already ship in 24/96 format.

The problem for BIAB is that, because of its flexibility, its sample sets (Realtracks/Drums) are very many times bigger than a typical sample loop construction kit. The 16/44.1 audiophile edition already runs to 1.2 Terabytes. By my reckoning delivering that in 24/96 format would be more than three times bigger (i.e. around four terabytes). This sample library (even at 16/44.1) is growing by 200-300 gigabytes every six months. Clearly 24/96 would not be practicable right now just from a storage/distribution perspective, but I think that PG have done absolutely the right thing by recording the originals at 24/96 so that they could potentially deploy it if and when the disk storage technology catches up.

For now the 16/44.1 version is keeping me more than happy!

If I hadn't seen such riches I could live with being poor.