The dream would be for Apple to integrate a filmmakers' version of Logic into FCPX, like Blackmagic has integrated Fairlight into Resolve.
Not sure about explanation, per se, but it's certainly not something I have too much of a problem with. Having done a lot ofd music videos, with FCPX, there are several mega-tips that can help with the "keep the audio/music a constant, while building the visuals" approach.
This is easily one of the most valuable, accurate and honest assessments I've watched to date. Unlike many others I actually embraced X from the getgo and endured the pain of it having been released too early and unfinished. But now I'm glad. Very glad, for all the reasons you've so elegantly demonstrated.
Then I discovered Davinci Resolve, and watched it develop very quickly to overtake Premier and (I thought) threaten my beloved FCPX. I did what you just suggested to do with Final Cut — I gave it a serious, open-minded few weeks of dedicated learning, tut-watching, tips and tricks reading and real-world application. It's good. It's very good. The color, obviously, is untouchable. Fairlight is a real asset, negating the need to roundtrip out to ProTools etc. Fusion is all there, but means unlearning After Effects, which is a step too far for me (for now).
My conclusion, after genuinely giving it the benefit of the doubt: FCPX still wins overall, hands down, for speed, magnetic elegance, keywording, logging, and (biggest of all) never overwriting anything.
It's also much faster than Resolve. I can work in FCPX using non-optimized ProRes HQ 4k 10-bit and stack five layers of footage, without a hiccup on a 2014 i7 iMac. On the same machine, Resolve slows to a crawl when the second 4k video track gets filled, and I have to start optimizing and proxying like crazy.
I want to point out something CRUCIAL that your Compound Clip segment didn't mention:
Let's say you have a sequence, with several layers of video and audio, with color treatment, FX, noise reduction, stabilisation etc. The computer renders the sequence to cache in the background. Now everything plays back in real time. Then you go change something — say, a color effect on a continuous piece of video. FCPX has to RE-render to cache. Like all NLEs do.
BUT. If you put the entire sequence in a compound clip, the render cache file originally created is "protected" by the nesting process, and that compound clip can be bladed and trimmed and moved and transformed, without ever having to be re-rendered.
It's a HUGE thing "in the trenches", to be able say "this segment is done, let's compound it and protect it from having to be re-rendered". Huge.
Just wanted to add that in.
Thanks again for a great review.