You won´t extract and hear one iota more than what was put in there in the first place.
1. Here we are in 2022 and we're still arguing about cables. Wow. Waste of time. Seriously.
2. "Studios", well what wire they've used depends on a lot of things. There were a lot of multi-core cable installations, but at some point it gets down to single pairs. Belden 8451, Gepco 61801EZ (very common wired to patch bays) and D61801EZGF (two pair) have been doing most of the analog interconnects for decades now. Those are installation cables that get put in and not moved around, so the foil shield is nice, and they have a good twist. The EZ is almost fun to work with, and comes in colors. Mic cables and any others that are visible to clients may well be more exotic, but not much north of Mogami, Canare or Belden.
3. Modern studios, particularly broadcast, are wiring exclusively with Cat5E and shielded Cat5E for analog audio (two or 4 channels per), digital audio (AES/EBU) and IP audio. Same wire for everything, we just change the color. Minimizes tooling and installation time, and the precision twist maximizes common mode uniformity. So your wonderful audio has already gone through many meters of Cat5, in some form or other, before it gets to your last meter of exotic wire. Not even stranded! Digital video is wired with 75 ohm coax, though we do nudge up from generic RG59. BTW, balanced analog audio over Cat5 is absolutely wonderful.
4. Yeah, amps can be sensistive to loads...when they're badly designed or broken. The cable just isn't really much of that load, it can't be or it would be like the worst cable ever made. Just a non-factor until you get extreme, and at the extremes things get worse not better. But most amps are not sensitive to loads or they couldn't safely drive speakers. Duh.
So why argue? Why have the interminable discussions? Just use what you like and feel good about, ignore the science (a shocking number do anyway) or make up pseudo-science to suit if you don't like the facts. Spend a lot, spend a little, spend nothing and recycle lamp cord. But unless somebody has actual proof that any of this matters (and that's never presented in these threads), then why bother telling someone they're wrong, you're right, or the have to use exotic cable as thick as your leg elevated on porcelain risers? Just because it sounds good to you doesn't mean it sounds good to everyone or sounds any different at all.
And for the record, the best speaker cable in the world is Commscope HJ8-50B 3" diameter "air dielectric", but pressurized to 3psi with helium for that light high end sound. It's -1dB at 400MHz at 100 meters, and handles 18Kw at 400MHz safely. It's going for about $45/foot, gas barriers and connectors at each end will run you about $1000 each. Buy your own gas of choice. I use nitrogen (really....Ok, not for speakers), some like dry air, others favor any kind of innert gas.
Don't trip over it, you'll break a toe.
2. "Studios", well what wire they've used depends on a lot of things. There were a lot of multi-core cable installations, but at some point it gets down to single pairs. Belden 8451, Gepco 61801EZ (very common wired to patch bays) and D61801EZGF (two pair) have been doing most of the analog interconnects for decades now. Those are installation cables that get put in and not moved around, so the foil shield is nice, and they have a good twist. The EZ is almost fun to work with, and comes in colors. Mic cables and any others that are visible to clients may well be more exotic, but not much north of Mogami, Canare or Belden.
3. Modern studios, particularly broadcast, are wiring exclusively with Cat5E and shielded Cat5E for analog audio (two or 4 channels per), digital audio (AES/EBU) and IP audio. Same wire for everything, we just change the color. Minimizes tooling and installation time, and the precision twist maximizes common mode uniformity. So your wonderful audio has already gone through many meters of Cat5, in some form or other, before it gets to your last meter of exotic wire. Not even stranded! Digital video is wired with 75 ohm coax, though we do nudge up from generic RG59. BTW, balanced analog audio over Cat5 is absolutely wonderful.
4. Yeah, amps can be sensistive to loads...when they're badly designed or broken. The cable just isn't really much of that load, it can't be or it would be like the worst cable ever made. Just a non-factor until you get extreme, and at the extremes things get worse not better. But most amps are not sensitive to loads or they couldn't safely drive speakers. Duh.
So why argue? Why have the interminable discussions? Just use what you like and feel good about, ignore the science (a shocking number do anyway) or make up pseudo-science to suit if you don't like the facts. Spend a lot, spend a little, spend nothing and recycle lamp cord. But unless somebody has actual proof that any of this matters (and that's never presented in these threads), then why bother telling someone they're wrong, you're right, or the have to use exotic cable as thick as your leg elevated on porcelain risers? Just because it sounds good to you doesn't mean it sounds good to everyone or sounds any different at all.
And for the record, the best speaker cable in the world is Commscope HJ8-50B 3" diameter "air dielectric", but pressurized to 3psi with helium for that light high end sound. It's -1dB at 400MHz at 100 meters, and handles 18Kw at 400MHz safely. It's going for about $45/foot, gas barriers and connectors at each end will run you about $1000 each. Buy your own gas of choice. I use nitrogen (really....Ok, not for speakers), some like dry air, others favor any kind of innert gas.
Don't trip over it, you'll break a toe.
This ^^^ is what drives the exotic audio market.
Parts and devices in the audio path are all signal modifiers, every one of them, but it's a question of degree. Connectors and wire modify the signal so little it's barely measureable or audible. Analog recording devices are like sledge hammers to the signal. Vinyl records are like shredders. And then there are the deliberate things, EQ, EFX, dynamics processors...hardly a recording is not touched by those. And those are HUGE modifiers, instantly audible, and clearly measuable.
Audio hobbyists obsess about cables because its something they can put hands on and change. They'll obsess about wire, and ignore speakers and acoustics (more sledge hammers). BUT....if it makes them THINK it's better, then it is. And nobody should try to argue that one.
That which you think becomes your world.
Coax can also be twisted, and even to measure balanced, they use RG59 coax with the Audio Precision (at least in the setups i've seen). But iff course twisted balanced is good enough for hifi use and for use in a music studio, but the cable is pure from engineering standpoint not the best. The real question is more, does it matter, can we hear it or is it just nitpicking for audiosnobs and perfectionist engineers... In studio's they don't care as long as the job is done right, and most use twisted pairs from Mogami or Belden because they know it works, and it's not too expensive (as they often run large distances) and widely availeble and standardised.
And i'm also not even using RG59, i'm using regular QED profile internconnects and basic OFC Copper multistranded cable with banana's for speaker cable. It's good enough and i got the QED's very cheap in a sale (othewise i would make some myself).
If you hear more than what is in the recording then something was added to the original message. Very likely distortion, increasing the low level 'details' contents.
If you want to play with cables and makes your own conclusion Celef, then you should purchase A.Wright's 'cable cookbook' from Vaccum State electronics.
Lots of recipes to experiment.
I've done it. Still have the 'cookbook'. As an outcome i still use a full Mogami wiring ( like the big analogue desks i used to take care of, the patchcords used with them ( which are 'starquad' standard)) mic/line and loudspeakers. Only some digital format stuff come from a different origin.
And money spent in this experiments could have been better used in acoustic in my view.
It's like vampire world, there is a lead vampire who spreads its infection, then more people turn into one and start acting out. What repels them is sunlight, cross, holy water and garlic. They stay away from sunlight because they can't control it but they badmouth / put down the other repellents just like the boutique cable hawkers do to double blind test.
In so many high-end installation photos we see meticulously engineered and isolated 100kg turntables between gargantuan amps and exquisitely veneered speakers, all hooked up with cables costing more than family cars, the whole sitting in a maximally rectangular room with plain plastered walls. Is it that room treatment remains a mystery, or is it simply deemed unnecessary or ineffective by audiophools, who would very quickly deride any 'flawed' recording made in a toilet. Room treatment remains the most cost-effective and real upgrade above a certain expenditure on equipment - if WAF permits!
How do you wire them ( for analog audio ) ? Use each twisted pair as " positive / negative " ?
4 balanced pairs, they share ground over the shield, just google Ratsound, Dave Rat has a line of Pro Audio products involving audio over shielded Cat cables.
i have seen a few bedroom studios and i can assure you they did not use high-end stuff
but that is not the point, artists use whatever they need to get the right expression, even effect boxes that distorts sound awefully, would you use such boxes in your stereo system
music creators are on one side of the coin and the music consumer are on the other - two different worlds
Any answer to that is going to involve someone's opinion. There are a few papers on the subject, some of it wrong, some of it probably closer to right. People who have already made up their minds one way or the other will tend to point exclusively evidence that supports their own opinion.
Part of the problem is that no two people in different places and at different times ever seem to run exactly that same experiment. Some experiments will show cables all sound alike, another experiment will show cables sound different. People will postulate various reasons why the other guy must be wrong.
In the end you will have to probably have find your own answer to the question. Sorry.
Also possible: a lower-noise discussion by PM might be of use.
It already involved objective listening comparison. The answer is in the results.
Which evidence and how did you find that out about those people? Was it through your own survey of them? If so, how many people?
What method can he use for finding his own answer? It would be nice if you can share the details so that he can apply the repeatability and avoid "no two people in different places and at different times ever seem to run exactly that same experiment."
I can't imagine all the different brands and models of cables would have such different characteristics as to make them sound noticeably different. Perhaps some preamp output was on the edge of oscillation and slightly different cable capacitances made it closer to the edge of oscillation. It's not just "cables have a sound," it's the electrical interactions between equipment.
Did anyone there have an electrical engineering background? What there ever any hypothesis given as to why different cables sounded different?
"Physical characteristics of analog audio cables and their effect
on sound quality," AES Convention Paper 10338
https://www.aes.org/e-lib/browse.cfm?elib=20755
on sound quality," AES Convention Paper 10338
https://www.aes.org/e-lib/browse.cfm?elib=20755
Modern broadcast studios convert audio to AoIP directly at the source. Wheatstone, Axia, etc. Different nations have different practices but in 40 years building and tearing down studios not one moved anaolgue audio over multiple CAT cables. Prior to AoIP by far the most common line level inter-room cable was 24-pair unshielded CAT 3 driven balanced and terminated on Bix.
For a couple decades Belden Brilliance was the most popular microphone cable in my markets. For those in need of mic cable, the last projects used Gepco XB401 which worked spectacularly in extremely demanding environments. Dead silent 200+ foot runs in rooms filled with studio lighting, HVAC motors, video and network pulls. The XB401FB version adds a foil shield.
https://www.gepco.com/products/proav_cable/analog_audio/singdual_xband_M.htm?v=1
Regarding any assumption that we are all evaluating our reproduction systems exclusively with recordings from modern digital studios, that is not the case. Just sayin'
Many of the best sounding recordings we have today were very carefully done to tape. Yes, tape has audible flaws, but so do many all-digital recordings. Data converters keep getting audibly better as time goes on. Anyone remember what the early Pro Tools hardware sounded like?
Even today, Topping D90 (AK4499 version) has audible flaws. Many people may not notice, or their systems may mask it. Doesn't change the fact that it can be audible to at least some people under some conditions.
Many of the best sounding recordings we have today were very carefully done to tape. Yes, tape has audible flaws, but so do many all-digital recordings. Data converters keep getting audibly better as time goes on. Anyone remember what the early Pro Tools hardware sounded like?
Even today, Topping D90 (AK4499 version) has audible flaws. Many people may not notice, or their systems may mask it. Doesn't change the fact that it can be audible to at least some people under some conditions.
It's worth repeating what I wrote in the 2019 "Speaker wire" thread that has just been re-opened:
Both Wheatstone and Axia have products (Blades, Nodes, etc.) that include either analog, digital or both types of I/O. StudioHub has been the standard for moving analog audio over Cat5 for 20 years. That style of interface connects directly to analog I/O of both product lines. Where it is impractical to connect an analog source locally to the interface, StudioHub is the common answer, and has been for quite some time.
In the US we were resistant to abandoning the shield. Studios up to the early 2000's were wired with multi-pair shielded cables, then we jumped to Cat5, including multi-core cat5 UTP.
Brilliance is nice, but the other manufacturers are also nice. The noise immunity, particularly to magnetic field related sources, is not particularly special in any of them. The shield blocks electric and electromagnetic fields only, not magnetic.