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I'm with Roland

I feel I need to interrupt your friendly debate. Roland is correct in saying that adverse HF effects of cable lengths occur at distances over 300 meters (or 1000'). This is true assuming the cable is properly balanced. Lengths under that are not subject to appreciable losses. Now to address the impedence issues, 110 ohm cable is best suited for AES and other digital audio signals. To boot, StarQuad is the recording studio standard; It has the best shielding against EMI and RFI signals, making it the most appropriate for analog audio signals.
Now, live sound. The ultrasonic frying of amplifiers and speakers is a bit over the top. There are plenty of possible factors to the frequently inefficient sound reinforcement systems we use in clubs & arenas. As far as cabling, for years people have been running mic and line level to FOH, monitor & FOH feeds (at line or speaker level) to the stage, AC cables, clearcom, MIDI, etc within inches of each other. In theory it's problematic and of course it is not recommended. Much of the time, however, it happens anyway, and it's fine. We can't all afford fiber optic snakes and sometimes there isn't enough time to separate the cable runs.
For a studio or any permanent installation situation, you absolutely should keep mic level, speaker level and AC cables at least a foot apart from each other. This is fairly common knowledge.
Get StarQuad for your XLR cables, make sure you have a shield around the pairs, and strain reliefs at the ends. You'll be fine. Oh yeah, don't forget to feed the back shell of the connector on the cable BEFORE you solder the insert! ;-)


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