No - but I used to use 25 ft audio system XLR cable as mic cables (Audio Magic Presto II), on expensive mics, for exactly the reasons you stated.
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Most audiophile cables are designed for good sound over relatively short lengths. Almost all pro audio cables are designed for good sound, and particularly noise rejection, over long lengths, and so the design trade-offs made are typically quite different.
[Having said that, there are audiophile cables that borrow their design from the pro audio world, but they are generally more expensive than pro audio cables.]
If you are going to run long lengths of cable then looking at the pro audio cables is a good idea. In my experience the Apogee cables are very good, and a good deal better than run of the mill mic cables.
Note that I am a cable manufacturer so feel free to assume I have potential biases.
I have lots of mic cables (musician) and find that the better ones sound better. That said, I put a brand new pair of 1 meter Mogami Gold (gold neutriks, 2534 neglex) between my preamp and amp and initially thought it sounded better than some more exotic borrowed cables I was comparing it to. A day later I was listening to something that seemed to sound harsh in the treble frequencies (I was listening to louder stuff than my initial testing/comparing session). I was shocked and dismayed (in that order). I decided could not wait for the cable to break in so I returned it to Guitar Center for a full refund and stuck the original balanced cable (came with the preamp...non neutrik balanced "low pro made in USA" about which there is no information anywhere) back in there. The story doesn't end here however as I ordered a pair of Audioquest Diamondback XLRs and in a few days will try those AND my patience to see if they don't sound great immediately...and might force myself to see if "burning in" is necessary...to be continued.
look at it this way, that is the cable thats used in making the recording. Along with Belden 8451 (i think) line cable with Swichcraft connectors for connection between the mixing consols and all equipment in the studio. To me thats what was used in the making of almost all music and commercials in NYC during the 70s and 80's.
The most important issue was shielding
I dont know what they use now