KHS
I said he had no clue because the slip editing method is actually how many pro producers are doing it.
You don't have to be a mathematician to know that many is less than all. Just because the producer of the moment does something a certain way, doesn't mean my particular project will turn better (or even as good) by using that same method.
If you need to have the tail of a guitar blending in with next part, it's no longer a single guitar and should be done on 2 tracks.
Change the word should to could and you'll have a valid statement. If you haven't heard the project, you're in no position to make blanket statements about the best way to handle that particular production.
Same with the more obvious overlapping vocals. You should always keep them on separate channels, else your compressor will slam it on the overlapping part and thus making it hard to hear the words.
Change will to might and again you'll have a valid statement. Yeah I know I'm picking nits but nits matter when it comes to this stuff. You simply don't know what vocalist is doing in each overlapping part nor do you know how the compressor is set. It might slam when they overlap. But not everyone uses compressors set to stun on all vocal tracks no matter what so then again, it might not slam the compressor at the overlap. And even if it does push the compressor a bit more at the overlap, how to do know that won't turn out to be desirable in that particular application?
Everything you're suggesting makes good sense for production general rules of thumb. But audio production is not one size fits all. Experimentation and alternative methods need to be an option if you're building a production tool that a wide swath of people will find value in. At least in my opinion.