I'll assume recording studios by pre-made XLR cables for most of their connections, mostly because no one has the time to make them. I doubt they seek out the more expensive high-end brands, but would accept them if given in exchange for "promotional considerations."
I use my own homemade speaker cables, but haven't made interconnects. Yet. I use whatever came with the equipment. I buy the Toslink F/O cables at the discount appliance/electronics joint down the street. I do own one pair of Audioquest "Sidewinder" interconnects that I bought for about $45 back in the late 1990's, only because I have them and Audioquest recently fixed them under their lifetime warranty. I am grateful that they honored the policy.
It is an endless debate, and no clear answer has or will ever applied to all listeners. Some folk insist high end cables are better, some insist there's no difference. If I had the resources to own a pair of 802D3's I'd also want something reasonably good looking (yet functional) to connect them. I wouldn't use 16 gauge zip cord any more than I'd connect them to a 1964 Philco console stereo.
KEF R500, R200C, R100, R50, SVS SB2000 sub, NAD T758v3 AVR, LG UP875 4K BlueRay, Samsung UN55JU6500F 4K LED TV, KEF M500 headphones, Sony CDP-CE500 CD changer. Office: NAD M10, KEF LS50, KEF Kube 10b, Pro-Ject RPM1 TT w/ Ortofon 2M Red. Guest room: Hafler 300 L-R, KEF Reference Model 100 center, KEF iQ10 surrounds, modded M&K V-90 sub, Bluesound Vault 2.