It's hard to tell from the images what it actually sounds like, as there's no time-scale, but that's the criterion I'd use - what it sounds like.

If you can very clearly hear the timing difference; if it sounds 'poor', then by all means shift & stretch one until it doesn't. Small time-stretches will not be heard anyway, assuming your DAW has a decent algorithm to do it.

A good way to do this type of edit is cut early, before the next transient [always cut at zero-crossings anyway, but cutting early helps this too].
You can then slide your transient into place, time-stretch then apply a short cross-fade to the part before it.
Cutting early means you don't hit the transient with your cross-fade, it's done in the tail of the preceding note, so you'll never hear it.

What you don't want to do is end up actually quantising both takes so hard that all aspects of feel disappear & you have a perfect but completely sterile guitar part.

There's a lot to be said for interplay between almost identical parts spread left & right. If you sterilise them completely, the 'magic' will disappear.

Some DAWs can do this automatically, stretch & quantise [or iteratively quantise] to a grid. You can try this but be prepared to Undo, as it's not always the 'magic fix' they promise.

It's hard to tell from the images what it actually sounds like, as there's no time-scale, but that's the criterion I'd use - what it sounds like.

Sometimes, a good groove is based on the average beat-centre provided only by the whole band, it doesn't rely on any single part. Listen to some early Stevie Wonder for a perfect example of this - try Superstition.

If you can very clearly hear the timing difference; if it sounds 'poor', then by all means shift & stretch one until it doesn't. Small time-stretches will not be heard anyway, assuming your DAW has a decent algorithm to do it.

A good way to do this type of edit is cut early, before the next transient [always cut at zero-crossings anyway, but cutting early helps this too].
You can then slide your transient into place, time-stretch then apply a short cross-fade to the part before it.
Cutting early means you don't hit the transient with your cross-fade, it's done in the tail of the preceding note, so you'll never hear it.

What you don't want to do is end up actually quantising both takes so hard that all aspects of feel disappear & you have a perfect but completely sterile guitar part.

There's a lot to be said for interplay between almost identical parts spread left & right. If you sterilise them completely, the 'magic' will disappear.

Some DAWs can do this automatically, stretch & quantise [or iteratively quantise] to a grid. You can try this but be prepared to Undo, as it's not always the 'magic fix' they promise.

It's hard to tell from the images what it actually sounds like, as there's no time-scale, but that's the criterion I'd use - what it sounds like.

If you can very clearly hear the timing difference; if it sounds 'poor', then by all means shift & stretch one until it doesn't. Small time-stretches will not be heard anyway, assuming your DAW has a decent algorithm to do it.

A good way to do this type of edit is cut early, before the next transient [always cut at zero-crossings anyway, but cutting early helps this too].
You can then slide your transient into place, time-stretch then apply a short cross-fade to the part before it.
Cutting early means you don't hit the transient with your cross-fade, it's done in the tail of the preceding note, so you'll never hear it.

What you don't want to do is end up actually quantising both so hard that all aspects of feel disappear & you have a perfect but completely sterile guitar part.

There's a lot to be said for interplay between almost identical parts spread left & right. If you sterilise them completely, the 'magic' will disappear.

It's hard to tell from the images what it actually sounds like, as there's no time-scale, but that's the criterion I'd use - what it sounds like.

If you can very clearly hear the timing difference; if it sounds 'poor', then by all means shift & stretch one until it doesn't. Small time-stretches will not be heard anyway, assuming your DAW has a decent algorithm to do it.

A good way to do this type of edit is cut early, before the next transient [always cut at zero-crossings anyway, but cutting early helps this too].
You can then slide your transient into place, time-stretch then apply a short cross-fade to the part before it.
Cutting early means you don't hit the transient with your cross-fade, it's done in the tail of the preceding note, so you'll never hear it.

What you don't want to do is end up actually quantising both takes so hard that all aspects of feel disappear & you have a perfect but completely sterile guitar part.

There's a lot to be said for interplay between almost identical parts spread left & right. If you sterilise them completely, the 'magic' will disappear.

Some DAWs can do this automatically, stretch & quantise [or iteratively quantise] to a grid. You can try this but be prepared to Undo, as it's not always the 'magic fix' they promise.