> I am still confused about the importance of using the box type caps in the audio path.
The shape of a cap is pretty unimportant.
The main idea is to keep moisture out and protect the thin foil/films against physical damage.
Early film caps were just dipped in wax. This was OK for home radios, except if the wax was not super-pure then mice would nibble it, and in tropic air it would grow fungus.
Micamold used a teeny "waffle iron" to seal caps in a block of bakelite. Pretty solid. Other techniques include dipping in liquid plastic, and molding plastic around the naked cap. One euro company favors making 5-sided plastic boxes, rolling caps to fit, and then pouring sealer in the bottom.
Dipped caps are often lowest-cost. Making little boxes and sealing them costs a few cents more. But dipped caps can vary in size; box-caps are uniform. In high-density mass production, that may be worth the price. And they look neat. But dipped caps can be just as good.
Use a good brand of polyester. Be sure the voltage rating is well above the circuit voltage. In this case, look at temperature rating: mostly all polyester is the same, but small refinements or simple over-design may give better temperature/life. Size must fit the available space of course, though lead-spacing can often be bent to fit a 8mm-centers part in 6mm-centers holes. Shape, apart from "does it fit?", really isn't an issue.
The real differences between caps are mostly invisible and, for audio purity, mostly unmeasurable. Most caps sound good, or rather they don't have any strong flavor like tubes and transformers and mikes/speakers. Caps can have subtle flavors: not good and bad, but more like rosemary and tarragon: you use different spice-harmony in different dishes, and sometimes in a new dish you won't know what spice goes best until you try it different ways.