Which is better longer xlr or speaker cable

Agreed that it's an advantage to have short speaker cables(still go with the best you can afford). Don't for a minute believe that, "the quality of the IC doesn't matter as much with balanced cable"! We're discussing a complex musical signal here, not the input of one microphone or instrument. At VERY LEAST: go with Mogami cables (http://accessories.musiciansfriend.com/product/Mogami-Gold-Stage-Mic-Cable-with-Neutrik-XLR-Connectors?sku=338011), which are built with oxygen free copper, polyethylene dielectric and use Neutrik XLRs. If you skimp on your interconnects: You WILL lose a lot of musical information. If the rest of your system is accurate/resolving, and you do a comparison between pro and high-end balanced cables: The differences are quite audible. Of course everyone doesn't have the same aural acuity, or knows how to listen for differences. Consider how big Stereo Review's readership was(compared to any of the high-end magazines), and it's primary reviewer never heard a difference in anything(in thirty years of writing). Keep the speaker cables lengths short as possible, and you probably won't notice a difference between bi-wired and not(with good jumpers). It's best to keep all cable lengths as close to equal as possible, but don't neatly coil anything, and don't run any power lines parallel to your signal cables(not within 8in anyway). Happy listening!

What you are sending to the amps is a signal composed of, not just one voice(vocal or instrument), but a compilation of everything and everyone performing, plus the imaging and ambient info contained on the recording, etc. A bit more complex than what is fed through one pro mic/instrument cable to the snake and console to be mixed. Do what you like. I've only been in the live music and home audio game for over 30 years. What do I know?

Ckorody- Then you should know that THE ONLY benefit of balanced cable is the reduction of RFI/EMI noise via common mode rejection/cancellation. The quality of the interconnect WILL STILL have a major affect on the quality of the audio presentation in the home when used in a fully differential configuration. That is- unless you are of the "everything sounds the same/I can't hear any difference" crowd.

CK- Belligerent? I merely stated a fact. Of course I acknowledge that everything produced(whether audio or video software) is processed via balanced circuitry. Every live(reinforced) music venue, recording, engineering, or production facility that I've worked has contained a plethora of power transformers, signal cables, power cords, etc, each a potential RFI/EMI(and now digital interference) generator. The whole concept of balanced circuitry was to combat the induced hum and noise that these sources can and will produce. I've yet to encounter a home environment that is that hostile to an audio signal(with even minimal care toward proper interconnect/cable/cord routing). How many home audio pre-amps are manufactured with fully differential circuitry? All but the best that are marketed today with "balanced" ins and outs will convert a balanced input to an unbalanced signal for the pre's gain stages, then back to balanced via active circuits(transistors or ICs). Most power amps with "Balanced" inputs are not fully differential either, which means yet another conversion(and more degradation) for the signal. With all that signal manipulation and additional electronics in the signal path, one cannot assume that a piece of home audio gear will inherently perform better in a "balanced" configuration than "unbalanced". You mentioned the processing and signal manipulation that is so rampant in the industry today(I'd only add "compression" to your list), and I agree completely. It's something we do have to live with though. The cable thing: Hopefully our recorded material was minimally processed and by producers/engineers that did as little damage to the signal as possible. Corrections and EQ's are unavoidable though, and all performed before the stamping process. I've found that the amount correction/EQ necessary depends largely on the quality of the mics and cables in use. Using the same mics: Audioquests in the studio DO make a difference too. From the outs of my BAT VK-D5 to the ins of my TacT RCS 2.2X(both fully differential), I've got a 1m pair of balanced interconnects. My first were Kimber Silver Streaks, then KCAGs and now KS-1130s. Each step yielded better tonal balance, focus, and a wider/deeper sound stage(none were slouches). If a change in a 1m pair of interconnects can provide an improvement in presentation, I have to assert that not going "cheap" on a 5m pair of cables would be a wise decision. YES- Two track: I'll take a pair of B&K 4133's and a Studer A-30 running at 30IPS please! My favorite recordings have always been direct-to-discs. For CDs- AAD made from 2 track masters like the Sheffield Labs(recorded during D-T-D takes) or Dead Can Dance material.

All true Mr K! I hadn't thought about the contact protection feature inherent in the XLR.