As long as it’s properly made to spec, and both components to which it is attached are as well, then it shouldn’t. But, that’s not a unanimous consensus in this hobby. 
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That is a POV that i generally subscribe to, but there is always the nagging doubt of “what if”
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But what practical cable is made to spec? The raw cable used may be nominally 75 ohm characteristic impedance but nothing else can guarantee this is maintained in a real life audio cable with soldered joints and connectors. Nor that the 75 ohm characteristic impedance relates to the frequency band of interest. Or is maintained via the chassis receptor connector, through the hook up wire to the PC board and thereon via the traces to the actual receiver device. Fortunately the distances involved are short and the significance of the specification reduced. However that fact in turn questions the need for strict adherence to to that 75 ohm specification in the first place in this context.
All I can aver currently is that different cables measure differently. However it is often asserted that such measured differences are too small to result in audible changes. Nevertheless when cables are compared subjectively differences are often reported. However those measured differences seem not to correlate consistently with the subjective impressions.
So I do not think that there is currently a clear answer to Russell’s question. However I cannot imagine any experienced listener being unable to distinguish between , say, the unbranded cable supplied in the box and any of the aftermarket cables used by enthusiasts on this forum most of which will claim adherence to the basic specification.
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What if =audiophoolishness. 
Speaking only as a lifetime member of the cult. 
Still, at some point, one almost feels fortunate to say “I’ve heard enough to know I am happy with what I am hearing now.” I am close to settling there, setting “what if” aside, and not worrying any more.
Of course I agree with Pete’s observations, in response to which I refer back to my specific caveat: made to spec, and subject also to the equipment to which it is connected which, definitionally, means it’s not just about the cable. But in the abstract, if we could know those things definitively, then it truly shouldn’t matter.
Another way to answer @xcentric, I suppose, is that we don’t know everything about how and why they matter, but we know that to some, they definitely produce audibly different results. I never plugged in the OEM cables. I have yet to try the Shunyata might dealer is offering. I don’t know all the characteristics of the clock interfaces in my Vivaldi and Cybershaft, so I cannot know for sure that they are performing as the spec intends or behaving together as intended. I do know that to my ears, the Geistnote Wyde Eye, Van Damme, and Blue Jeans clock cables are essentially indistinguishable in my home, and I have a fairly resolving system.
+1 for the audiophoolishness, but it is a hard habit to break!!
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can’t wait to get the clock, i hope it doesn’t take as long as the Bartok (12 weeks) the the fun will begin.
The clock does make a difference - you’ll enjoy it. But then you’ll want the Rossini 
No!! - I use headphones a lot so the Bartok fulfills that requirement.
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Your comment got me curious, and so just for kicks I just measured two 75 Ohm BNC cables that I had laying around; a 2 meter “RG-59/U 75 Ohm Coaxial” cable that came free with dCS, and a 1 meter Crystal Cable Diamond Digit Standard.
Here’s what I got (@ 10kHz and 100kHz respectively - the closest frequencies to 44.1kHz/48kHz that my meter would support).
RG-59/U; 88 Ohm / 85 Ohms
Crystal Cable; 76 Ohms / 78 Ohms
The cheapest RG-59/U goes for around $5, while the Crystal cable is about 100 times that. I’m not especially partial to Crystal Cable or anything, but clearly (some) cable manufacturers aren’t bluffing when they say 75 Ohms 
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That is really interesting. Given your comment a few weeks back that a reflection in a cable caused by an impedance mismatch requires a magnitude of difference then considering this aspect only the two cables should sound the same if used for wordclock, but do they?
If they do not then what other factor(s) might be of significance ? I would be inclined to discount the difference in length but who knows?
On the other hand if they do sound the same then what property are Crystal Cable selling given the huge price penalty in comparison to the length of RG-59U?
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Not wishing to be to critical, but in light of Anup’s findings one would hope that dCS could maybe be a bit more diligent with the cables they supply.
88 ohms is pretty close to the 75 ohm spec in practical terms especially given the frequencies for which measurement was available and the cable lengths involved. I would be more concerned if the cable measured 8 or 880 ohms.
I’m sure it is & i am not technical in anyway on this subject, but is that not nearly a 20% tolerance or does it not matter.
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As the cables used are very short in home audio ( 1M is very very short in the world of transmission line theory) losses caused by such impedance mismatches would be insignificant or zero. In the case of a studio with 100 metre runs it is a different matter.
However I am also no technician so it would be great if Anupc would also answer your question as he is the real thing with huge knowledge.
Fiddled around the back of my Bartok/Rossini-clock with these cables yesterday (replacing my Oyaide DB-510 BNCs), couldn’t tell a difference during brief headphone listening 
I’m not sure who dCS uses for their supply, but there are actually plenty of “RG-59” suppliers, not all at $5 per piece. Telegärtner for example apparently makes very good RG-59s that are about $25 each.
Except that could raise the price of , say, a Rossini clock by <$225 at face value as a cost to a factory escalates roughly 5 fold by the time it gets to retail ( remember there are 2 wordclock cables). That turns into an increase to the customer of a currency equivalent of $270 in many European countries due to VAT. And what would be the point as they will almost certainly not be used after an initial period or if at all?
I am sure that dCS will have looked at the test eye pattern produced by the existing RG-59 on a 'scope ( which is what really counts rather than theorising about impedance) and, before ordering thousands of pieces, will have been satisfied that they meet their criteria for supplying: “a commercial grade” cable as " most owners will have their own audiophile cables or prefer to make their own cable choices".
Hmm, that is another one thrown into the mix! I know that a better quality cable would add to the cost, but they are not shy about price increases seeing as the clock price has gone up £600 here in the uk.
Thinks: Is it dCS or the UK distributor or both that influences the final price? Of course in UK law the final retail price has to be set by the retailer as retail price maintenance is illegal here ( hence general price information has become " manufacturer’s suggested retail price" implying that what you are charged can be different from the suggestion) . Which is also why many manufacturers no longer mention retail prices at all on their websites unless they supply direct. What the retailer chooses to charge is accordingly related to what the distributor (who also adds a margin to the factory gate price) charges him plus what he considers a suitable margin.
Knowing who the distributor is then!!! Luckily my dealer looked after me.