higher or lower gauge for 3-6 feet XLR cables?

Hi everyone, I am trying to buy XLR cables to go from source to preamp to amp. I have heard that pure silver cables are better. However, I have seen XLRs of vary ing gauges, can anyone tell me if a 16 AWG is better than 20AWG or is it the other way around?
Thanks in advance!
The higher the gauge the smaller the wire; smaller wires have higher resistance. There is very little agreement on wire size; some [Mapleshade for example]use very small diameter, others use larger ones. The size alone will give little indication of the sound quality. Some like silver, I use it sometimes but usually use carbon or copper; it is a matter of taste and system matching. I would get ones from a company with a good reputation and not worry much about the cable size.
For signal level voltages, either is OK, The 20 AWG is more typical.
16 AWG is a bit of overkill IMO. (for interconnect level voltages)

For folks who are certain more is better... then 16 must be the one. Otherwise 20
20 guage is more than enough. Some would say 28-30g but could be fragile to handle. Solid silver does seem to be the way to go however. I'm very pleased with my homemade XLRs.
Be careful,not all silver cables sound the same! Performance can vary just the same as with copper or any conductor. So much depends on purity of the conductor metal,insulation choice,construction etc.
In my experience a well made silver cable can sound sublime in a good system, but not just any random silver cable will work.
Best of Luck,
I agree with all of the preceding comments. Both gauges are extreme overkill, and other less predictable factors will determine the sonic effects of the cables.

As Stan indicated, narrower gauge wires have higher resistance. Resistance in the signal conductors of a balanced interconnect cable only matters if it is significant in relation to the input impedance of the component that it is feeding a signal into. The resistance of six feet of even 28 gauge wire is much less than 1 ohm. The input impedance of most audio components is tens of thousands of ohms.

The same principle also applies to unbalanced line-level interconnects, except that the resistance of the signal return conductor (which may or may not be the shield) can sometimes be significant as a result of its relation to ground loop effects.

-- Al