Since the search feature here doesn't work...I thought I would ask how you guys most often use Audio Snap. I've been playing with it this morning on audio tracks (I've never used it before) and I think it's something I probably should have started learning long ago. I was just correcting the downbeats of the bass and keys to lock in with the snare a bit tighter, but I didn't keep or save anything. It's hard to tell if it's working well until I freeze the track and listen back. If I ever get something I like, should I bounce to clips, or bounce to a track, and keep the original?

What I usually do is create a separate take lane within the track, create a copy and mute the original while bouncing the version processed by AudioSnap. The results typically depend on the amplitude profile of the element. If it's not percussive then I might have to bounce and undo a couple of times to achieve the results I'm looking for. In any case, keeping that muted copy on a separate take lane can help.

I'm not getting very good results with it so far. The bass has some warbling noises after audio snap. This may take some practice.

I must admit, I've never got my head around Audiosnap... I have played with manually tweaking transient positions to fix timing, but that's it.
 
And now I've taken advantage of the Melodyne offer that comes with SPlat, so I'll be using that from now on, and it's real fancy seeing a polyphonic guitar track in that editing screen 

Yeah, manually is how I was trying it. I didn't even consider the automatic way...that never works well for me. Melodyne is very, very nice, but I would like to figure out how to use Audio Snap better. I don't want eveything to be perfect, but it would be nice to tighten up some parts in relation to each other and not the metronome. I'm thinking now that splitting clips and dragging them might work as well....I have more tutorials to read and watch.

I do not use AS often, so depending on what you are attempting, it can become complex quickly. I often perform simple tasks, and a couple things to bear in mind is to bounce afterwards, since the rendering is "dumbed down" to minimize CPU load (but can also be a good indicator that you are stressing the audio too much). Also, try to use the fewest transients required when moving (adjusting threshold), and remember you can lasso transients as well. For things in time with each other, you can lasso a set, and click-drag (or ctrl-click drag) them to only adjust what is necessary. Trying to edit every detail always seems to make a mess for me.
 
There is also nothing wrong with cutting a section from a clip and only working on that (bounce it before/after AS) and then reassembling the entire clip (if desired) afterwards.
 
Definitely save before playing with AS though as mentioned above!

I don't know how to use audio snap, so can't help you there, but since the search function doesn't work, you could try this Google search:   site:forum.cakewalk.com audio snap. 

When I'm dragging transients around, I leave snap off and just drag stuff closer to the correct position. I do the same with Melodyne too 

Make sure you are paying attention to Offline Rendering mode. I think it's the drop-down menu in the bottom right of the AS interface. There is a setting for bass, so try that one out. You do have to get a feel for it. You might have to add markers in a certain place, you might have to move markers together. Just try out a couple of things and see.
 
I use Melodyne at times too, but I do think that Melodyne and AS have different strengths and weaknesses. Depending on the material, correcting the timing can be quite frustrating but just be patient, give yourself a chance to get comfortable with using those tools. It probably won't happen overnight.

I use a Audio Snap manually to tighten up the timing. Just turning it on and observing the performance is a great place to start. It tells me if I am playing in front of, behind or on the beat, just observing the transient markers.

The next thing I usually do, is then nudge the entire performance closer as a whole, by a nudge or two. Then I find areas that are still a little to loose for me and try to lasso groups of transients at once and manually move them to be closer. I always audition the movement right after making the edit to make sure I don't hear any unwanted artifacts to the edit. They occasionally happen for me, but usually if I try to move to much around, to far, all in one spot.

I have found that it does a pretty fair job at locking my rhythm section together. I have my Bass track located directly under the drum track and then rhythm guitar tracks directly underneath the Bass. This way I can visually see how all the rhythm tracks are lining up for timing.

Quantinize has never worked well for me to do all at ounce. The smallest note increment is 1/32 and auto Quntinize always seems to send the transient to the wrong 1/32, for me.