Yes. We have also compared, Purist, Kimber, Esoteric, Audioquest and Tara Labs. If the balanced equipment is doing its job properly, the differences between these cables go away. If the balanced equipment isn't doing its job properly then you here differences, sometimes pretty profound!Except that you havn’t run the same comparison with balanced cables made up of Cardas wire ( as one possible example) connecting the equipment that you list , against whatever balanced cable your “Golden Age Studios” were using at that time ! Or are you saying that you have ?
No. My claim is that if the equipment meets the specifications, then the cables will all sound correct and therefore alike.Is it your claim that if any XLR cable meets these specifications, then they will sound exactly alike?
Just for the record, in case that matters or anyone cares, we (Atma-Sphere) have been doing balanced line operation longer than anyone else for home audio. When we started, it didn't occur to us that it might be 'OK' if we didn't support the balanced line connection standards. So our preamps have supported AES48 from the beginning and have no trouble driving a 600 Ohm balanced line, despite an all-tube signal path. We got a patent on how we did that FWIW. But as time went on we found a lot of 'high end' audio companies either chose to ignore the standards or were ignorant of them. Not sure which.
So the 'balanced cables can sound different from one another' and the debate about whether balanced cables sound better than RCA cables arose (FWIW, they sound better if the balanced standards are observed) because the standards weren't observed. We literally would not be having this converation otherwise.
I've been doing this and running cable comparisons, demonstrating that what I'm saying here is correct, going back to the 1980s. When Robert Fulton (the founder of the high end cable industry) first showed me his new RCA cable back in 1978 I wound up buying it because my system sounded better with it than without. After that I bought his new interconnect when it came out and again after that for the very same reason. I found it annoying! Since I had heard years earlier how balanced lines eliminated this problem (and its merry go round), when it came time to design a preamp I chose to support the balanced line tenants of AES48 and the low impedance aspect. I've been harping for decades now what that's all about. I'm doing it here. My point is: this is real. Go look at the schematics of studo equipment and you'll see that they usually take care to make sure it conforms to AES48 and also low impedance.
So in studio gear you'll see that its output is stated in dBM such as +10dBM (my Otarai tape machine is on the latter standard), rather than state what Voltage or minimum load is to be used. +10dBm is 10 milliwatts into 600 Ohms. Usually with tubes you need an output transformer for that and there are special semiconductor circuits that allow the output to float in a similar manner as an output transformer without damage. That dBm part is important as it assumes a 600 Ohm load at the output of the cable. My suspicion is those loads aren't present in your studio for some reason.