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They are useful if you're resampling them or editing them, but I doubt that's something consumer music services are overly concerned with.

I'll note that's the entire point of Monty's (great) article, which has this near the top:

Unfortunately, there is no point to distributing music in 24-bit/192kHz format. Its playback fidelity is slightly inferior to 16/44.1 or 16/48, and it takes up 6 times the space.

This has all been known to anyone with actual signal processing and/or audio engineering knowledge for a long time now. As in, common knowledge to the kinds of folks attending the AES conference at least back to ~2001 or so. The high sample rate/bit depth stuff is useful for production process, but irrelevant for final distribution.

There's a reasonable argument that fits within DSP theory that frequencies sampled above audible range could have harmonics down in the audible range.

This is addressed in the article. While theoretically relevant to some recording applications, (overdubbing a string section one violin at a time, why would you want to do that?) this kind of intermodulation distortion can only harm the reproduction of mixed material.

Or if you apply an equilizer, like lots of people do in consumer applications.

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