32-bits are great for recording too because they do an incredible job of capturing the dynamic range without having to be precise on the preamp settings. It removes an entire job from the recording workflow.

192 for mixing and mastering can be useful especially if you're doing a lot of effects, especially anything that pitch shifts. But I've seen low quality phone-microphone recordings make it to the master; if you capture lightning in a bottle, it hardly matters what the settings were, what the microphone was, or anything else.