Cables do make a difference. How much is sometimes a subject of debate.

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Just think of how awesome a guitar player you could have been by now if you had only spent the last 10 years practicing instead of obsessing over pickups and roasted maple necks.

Just Got a Orange coil cable from bullet cable and I realy dig it!

http://www.bulletcable.com/bullet-cable ... oil-cable/

Mogami and Live Wire

PLANET WAVES CIRCUIT BREAKER CABLES!!!!!!!

And yes, they replaced one free of charge graciously, for this picker, as was as Chet's experience.

Highest recommendation. Used one for 270 Masses already and on-off a bunch of times per service, never a problem.

Firstly I avoid curly cords. For a while back in the late 60's until the mid 70's the curly cords were THE cords used by almost everyone including Jimi Hendrix. Curly cords have an obscenely high capacitance and frankly tear up in no time. I was buying 2 or 3 a month at one time just because they kept failing. They are enjoying a resurgence in popularity over the past couple of years solely because most of the people who remember how sucky they really were then have died or no longer play because it is hard to hold a guitar on your Rascal Scooter. Someone thought it was time to rip off struggling musicians looking for the next cool thing so they dragged curly cords back from the dead.

Secondly, there are 4 things that matter to me in an instrument cable.
1. Capacitance and quality of the wire itself. George L's cables are very low capacitance. The all-silver cables are too. Cables made with Canare and Mogami cable are low capacitance compared to most others, but not as low as George L's or 100% silver. Low capacitance cables pass a high fidelity signal for quite a ways before degradation begins. Cabling with a lot of capacitance will have less bass and highs getting through. (Actually part of the the Hendrix sound turns out to be the ultra high capacitance curl cord cables he was using.) The cable needs to be shielded with a braided ground and have a durable outer insulation wrapping to cut down on cable noise. Some cables are so noisy that with the amp cranked up but the instrument volume down if you crack the cable like a whip it will indeed make one heck of a racket. That is called microphonics. The cable itself is picking up noise.
2. Quality connectors. The hardware attached to the cable needs to be high quality and sized appropriately with adequate strain relief. Molded plastic plugs are by and large junk. Usually the strain relief will be shrink wrap. It is beneficial. Look for good quality connectors. Switchcraft used to be the standard but GH, Neutrik and others also now make great quality connectors. Imported Asian made connectors are often off-sized a tad. Gold plating is snake oil.
3. Length. Use the right length for the right purpose. The longer a cable is the more capacitance it has and the more it messes with your tone. 20 feet should be enough on a passive instrument.
4. Ease of use. The tiny diameter of George L's cables make them less convenient to use for some people. I agree they are a great cable and George L's is probably the best pedalboard cable out there, but this small diameter cable can get kinked easily when gigging. The giant hard covered stiff Monster cables can be equally difficult to work with as they don't drape well. Mogami and Canare get the advantage in the ease of use department as they are extremely flexible and drape well. So did the old Belden shielded audio cable which almost everyone used to use. The Elixir cables have ultra low capacitance and drape reasonably well but are huge in diameter and sort of heavy.

Anytime a cable maker markets a cable as designated for a specific instrument, that usually means the capacitance of that cable is what effects your tone.

Radio Shack with the gold jack. Avoid fancy cables with fancy names.