For line level, low impedance, wire is wire 
In a high impedance connection, loss of high end is not always a bad thing. Between all those coily cords between the boxes, and the impedance loading of primitive guitar effects, Jimi's strat likely had a fair amount of treble "conditioning". And, there's Albert Collins, and his LONNNNNNNNNNNGGGGG cable for his Tele 
well arguing with you isn't going to change things obviously... to each their own... but it puzzles me why you'd care so little about the quality of the sound you achieve in the studio or live but can split hairs on an amplifier tone reproduced by a Kemper....
No arguments here - some prefer the brighter signal of low capacitance guitar cables, some don't. but, In a studio, it would take very little EQ in a mix to correct either situation, if need be.
For years, at gigs, I've used a VHT Valvulator to change the guitars to a low impedance signal, to prevent too much high end loss from long cable runs, and tailored its frequency response by selecting the 12AX7A that gave me what I considered to be right amount of transparency and frequency response. It made a HUGE difference with the feel and dynamic range of Line 6 and Roland modeling gear - but, it can barely be heard in a controlled environment with my Marshall, or my Fender, or, interestingly enough, with my Kemper. I don't use it for recording with the Kemper - it is that subtle of a difference.
Ah yes. E.g. some doesn't hear the difference between the KPA and other modelers
This being just one example 
No, 6 dB SPL too.
Thanks again 
but it puzzles me why you'd care so little about the quality of the sound you achieve in the studio but can split hairs on an amplifier tone reproduced by a Kemper....
Use the s/pdif for recording, not a cable. No variables, hidden, imagined or otherwise.
