DATBRAD, the thing is, for a transfer from cassette, 16-bit with garden-variety neutral dither gives you way more than enough dynamic range. There's no need for UV 22, or 24-bit, or whatever. I mean for God's sake, 16-bit linear PCM with garden-variety neutral dither gives you more than enough dynamic range to handle 15 ips half-track Dolby "A" open reel master tapes already.
What is the problem here? Why do people imagine that you'd need to strap yourself into a frikkin' Atlas booster rocket just to cross the street in your own little neighborhood? It's a cassette, people. Take any that you have, with the widest dynamic range recorded on it, transfer it to 16-bit so that the peaks are at a nice, comfortable -3 dBFS, and the noise floor of the cassette will be 30+ dB above the noise floor of your transfer.
Just to make sure, I just now did what I described, and I'm seeing levels of around -60 dBFS on the blank part of the tape with Dolby "B" on and 70 microsecond playback EQ selected. I mean, 14 bits would be more than enough for that; 12 bits would be enough.
I do not, do not, do not get this whole "princess and the pea" attitude. (goes offstage muttering to self ...)
--best regards