@mcmanus they just hear something that you do not
You have it backwards.
Having been a Grammy nominated professional recording engineer, consultant to Monster Cable, Ibanez, principal engineer for several electronic firms, Chief of Analogue Design for AMS-Neve, I, and those who hired me, think my hearing is just fine. Sadly, not what it once was.
Over 5 decades, I have evaluated cables and if they differ electrically, they probably differ sonically. Whether they are a +/-
depends on the gear they interface.
Unless one sits in the recording studio, swapping out cables, mics, preamps, compressors and EQ to get what's in the booth on tape and/or records live acoustic music and/or regularly attends live acoustic performances, then one has no frame of reference, just an opinion based on preference.
I recently auditioned some $12k vs $6k interconnect cables [same manuf] in a well setup dealer BW 800 D3 system. All McIntosh electronics. A really superb system. Swapping the $6k cable for the $12k
totally destroyed the excellent presentation. Vocals became boxy, the image split, the hi-hat sand-papery and the harmonics would rip your ears off.
Some may prefer the $12k,
but they didn't record it and thus haven't a clue of how it should sound. I did and it sucked!
What I would take from the demo is that performance is inversely proportional to $.
Cables are an interface between two devices
and dynamically interact with those devices and cannot be evaluated
other than in situ. Ultimately their effects are transduced by the loudspeaker. If cable colorations compliment the speaker flaws, great. If they don't, no amount of DoReMi will change that.
As point of reference, my speaker cables cost about 8x my speakers. I bought them because they are well designed and based on solid engineering principles. They got me closer than anything else I tried.