Current recording engineers - what cables used?

Shadorne,
In my experience, Blue Jean is incorrect that a digital cable doesn't make any sonic difference as long as it works. I believe it may be in their best interest to make a statement such as that but I've achieved a real sonic improvement when changing from the audioquest cinnamon coax cable to the VH Audio silver coax cable. Just my experience.   

@knownothing
I agree with all of your points. On one hand I'm lucky enough to have a fully digital system. It starts with the shortest runs possible to digitally-controlled mic pres around stage. From there it is converted with excellent ADCs to 24/96k and stays that way straight through the entire production chain. The only time it goes down to 16/44.1k is for radio production deliverables, but that's with careful utilization of dither via an excellent SRC. That it goes out for distribution to radio stations which each use their own flavors of equalization and compression is disturbing. In my market however, these are minimal, and the end product isn't too incredibly different from how it sounded upon capture.

But I digress! I mentioned on one hand I'm lucky to have a fully digital system. My predecessors had tools I drool over every time I think of them: tube and ribbon mics everywhere, tape machines, huge audiences (I primarily record live performances) and better hall acoustics. While it's debatable whether the talent was better now or in the 50s, 60s and 70s, the attitude towards recording certainly was better then. Orchestras spent large sums of money to capture recordings well, conductors cared what their product sounded like, and musicians lived to play their parts with conviction and heart. Would I trade what I have for what they had? That's a tough one! 

Sorry I got a bit off-topic. I think of any crowds, though, this one would forgive me. 

@boxer12

In the case of a digital coax cable it is carrying the clock signal which is an analog signal. The reconstruction of the analog clock at the other end (in your DAC) is usually through some form of phase locked loop but these systems often fail to eliminate jitter.

The best solution is to find a properly designed DAC that will reject all the audible incoming jitter on the coax, USB, Toslink or any cable. Unfortunately most DACs are terrible at rejecting jitter and this means that any tweaking of the clock signal through a cable change may audibly effect the DAC.

The problem is not the cable. The problem is the DAC.

Shadorne / Can you recommend a couple DAC's? Which one do you use?