I haven’t done that comparison. I had already wired my listening room before @Vince_Galbo had published his paper.
For my Cascade based system I have three, 120V #12 wire dedicated runs for amps and other equipment, i.e. a standard 20A dedicated circuits. Each amp is on a separate circuit. Originally I had Clarus power conditioners for each amp and the amps at that time were McIntosh MC901s. When I switched to 7000s for each amp my audio performance improved, particularly for imaging.
I’m using the same configuration now for my M500s but with different speakers.
@Battles was very successful in improving his audio by using the @Vince_Galbo technique. Here are his results
A system is the aggregation of its components, each component having some effect on other components . It’s hard, maybe impossible, to predict the difference between two 7000s plus 50ft of XLR, and no 7000s and 6 feet of XLR.
Recording studios often use XLR runs much longer than 50ft. Of course they are careful how they run it and a line buffer amp might be used on the mic. XLR by design is good rejecting common mode noise, but not all noise, and is not perfect. Under the right “wrong” conditions XLR can pickup noise/distortion.
If I were doing everything again from scratch I would use the @Vince_Galbo technique with the amps pugged directly into the wall (for me I would add a surge suppressor). Then if I thought that things just were not good enough I would add 7000s.
And just put one more fly in the ointment… noise/distortion in highly resolving audio systems is very tricky. Adding a 7000 could make things worse… you can’t know for sure until you try it.
Dan