First of all, Canare may be better connectors than all the others, but will you hear a difference? I doubt it!
Also, you seem to imply that Nickel is a better than Gold for connectors. Nickel is not as good an electric conductor as Gold and, on top of that, it oxidizes while Gold won't. My choice is obvious.
You should be seeking out the conventional literature for answers to cable construction questions. I am not referring to "exotic" constructions, but basic Electrical theory; the buttons that should be pushed to construct a fundamentally sound interconnect, which is what any basic DIY cable should answer.
If you build a chip amp, you are cautioned to place certain capacitors as close to the chip input pin as possible, and you will read guidelines that suggest even a few millimetres can affect performance and stability. It's easily repeatable and viewable on an Oscilloscope, not to mention the tendency to introduce oscillation, which doesn't require any equipment to reveal. The dielectric of your cable and connector act as a capacitor affecting the signal fidelity. The debate isn't whether it affects the signal integrity ... everyone agrees it does ... but rather whether it's audible at audio frequencies.
That brings up the next question that needs to be addressed. "Audio Frequencies" are not limited to 20 KHz at the upper level. Any transient signal can be described electrically as a high frequency signal beyond 20 KHz (it's the rate of change in level over time). It's irrelevant whether humans can "hear" a steady state sine wave at that calculated frequency.
Nickel plated brass is not ideal if you have the option of beryllium copper as an alternative. The Gold plating is not actually that relevant, Sound Quality-wise.
You also want true 75 ohm connectors to avoid reflections smearing the signal. That is where the "above 20 KHz" performance becomes an issue. This is all basic stuff any competent Electrical Engineer right out of graduation can confirm; the type that is most likely to say "all cables sound the same". They say that when all the relevant criteria are met.
It's not an issue whether "you will hear a difference" (meaning me). I know I will, I've proven it to myself. The question is really whether *you* will hear a difference. That requires you construct two examples and discover the answer yourself.
We know from Audiology research that about 10% of the population does not have the cognitive support (their brains) to react at all to music. It can't be corrected by ear training; they don't react to music and never will; it's an un-correctable condition. Yet we do not exclude such individuals from Double-Blind testing.
Another 10% can't discern even obvious differences (ones that the other 80% have no trouble discerning). We don't exclude them from DBT either. And so on.
A small number of listeners can discern very subtle differences. We should also remember that the science of Audiology uses very rudimentary equipment and almost always is limited to an 8 KHz upper frequency limit (because research must be repeatable to be validated by other scientists; the essence of the Scientific Method and Peer Review, so they use the same limited fidelity gear worldwide). So some research is not very applicable to High Fidelity audio questions about audibility.
Which one are you? There is only one way to find out.
I am not a proponent that every audio question must be decided only by listening tests. I believe that fundamental science is a prerequisite to subjective conclusions. But, we don't buy Audio gear to play games with test equipment; we buy it to sound good to our brains *, to reproduce an emotional event stored in a recorded media. So the final answer must always be determined by listening because, simply put, that is the task our gear is supposed to perform.
* We don't "hear" only with our ears. Our brains don't restrict it's interpretation of audio events to just one sensory input. Our skin and other organs are pressure sensors, for example, and our brains use that sensory input to provide part of the auditory response. Other senses also play a part. We don't react to low frequency sounds with our ears alone, for example. The space between our ears is very small and corresponds to small wavelength responses and cancellation / doubling effects are distance related, yet we can discern the location of sounds in a 360degree sphere that correspond to very high frequencies. The physical construction of our ear canals themselves introduce 3rd Harmonic Distortions. There is much to this "audio reproduction" thing we are interested in that cannot be limited to simple 20~20KHz sine waves.
