I would say the only advance I’ve seen to XLRs in 40 years of professional recording is star quad it uses a ground and 2x + and - signals that phase out physically along the cable. Nearly all of the studios and all the production sound I’ve done with XLRs have been Canare star quad.
If you use 10k$ XLR interconnects in your system you will never get more info than the original XLRs which cost about 2$ a foot, and we generally never used more than 100 feet of it. If an XLR changes the signal of the channels on the mixer there is a problem with that cable there has never been a time when an XLR changed the imaging of a recording in the studio we would change the cable (there are probably 3 of them between the mic in the studio and the mixing console in the control room). Most mics are phantom powered usually 48v and if one conductor of the XLR has a problem there is a 48v pop and it blows your head off. I’ve seen frequency problems on 3 conductor XLRs with dynamic mics but never low level (changing imaging). Also after the audio signal gets into a component it goes through lots of changes in both analogue and digital circuits so the external XLR is the least of your problems. It’s the cheep unbalanced internal wiring of the component or audio transformer that makes the difference.
Hey its your money but it reaches a point when physics doesn’t care about your psychobabble about a wider and deeper image created by XLR cables and the money you waste could be better used by buying needy kids meals at the rescue mission. Look up 2nd law of thermodynamics then talk about how XLRs create information that doesn’t exist on the original recording.
