For years whenever I tracked something I would just play record the part over and over again until I had a virtually perfect take. If there happened to be a minor flaw somewhere then I'd raid just a small section from one of the other takes but tried to avoid it as much as possible because a) comping is (or was) a pain and b) as an "artiste" with "integrity" I preferred to have my tracks as pure as possible.
 
So I set about doing that with my current bass tracks and pored over them for ages until I ended up with a pile of "perfect" takes to pick from. Because of how ridiculously easy it is to cobble together a comp though without endlessly screwing around with fades and crops and whatnot I just trawled through all the takes picking out parts with subtle nuances like superior tone, feel and pick attack. Now I have an ultra take.
 
"Integrity" be damned.
 
lulz

+1 - bumping a good news story.

Agree, Beep!  xactly what I do... and it lets me explore all kina twists and turns I never would have considered before as the stitching process is so...intuitive, visual, and just plain ol' wonderful!
 
Getting into more orchestral/virtual guitar underpinnings on climate music, having picked up a slew of new tools and comping will be invaluable in my exploratory growth/stumbling around phase!