A bit more clarity about tracks and clips in The Montage (at least from my perspective):
Clips are, of course, just areas of files that you place in the project. You can copy and/or move them anywhere (within one track or many), as well as mute them, split them, do level adjustments ad infinitum, add effects only within the clip, etc., etc…As stated above, this is all non-destructive (to the original file being referred to), but you can also create permanently altered new files from any clip through a save or render operation.
Tracks, unlike with many multitrack software packages, are simply organizational tools…unless you are working in a multichannel (i.e., surround) project, where they can suddenly have more meaning. In a normal stereo project, however, tracks can be created and deleted at will simply for organizing whatever you are doing at the moment. If you are not using tracks for applying effects (track effects) to a group of clips on the track, deleting or creating a track has no overall effect on the sound of the project unless you are deleting or creating clips along with it.
Being able to mute and solo tracks is one of the organizational tools I frequently use. I tend to do several live albums or live radio shows every year, often compiled and edited from multiple performances, requiring me to fake audience reactions and applause transitions. In Wavelab, I will keep one track for holding applause and laughter clips (actually whole, small files) I have on file. This track will remain muted most of the time, but will be soloed when I need to find something to make a new transition work, when I find the right clip, I will either copy and paste it to a track above that is adjacent to the transition, or simply move it up there), then remute the audience response holding track until I need it again.
I will often create tracks temporarily as I record a new segment or work with an audience transition. This makes it easy to see what I am doing and slide things around, and solo things as I fine tune it. When I am happy with everything, I will often slide all the new clips onto the same track while maintaining their place in time (shift/click and drag up or down on a PC) and delete the temporary one should I wish to unclutter my workspace.
While it matters where the clips are in time, it never matters how many tracks you have them splayed over. Your mix will be the same…unless you have track specific effects going on, or are, as stated above, working with multi-channel projects with track outputs assigned. But a clip that overlaps a clip on a track above it or below it will mix the same as when it overlaps a clip on the same track.
You do have to pay attention to all your tracks, especially since you can fold the individual tracks out of site and/or reduce the number you are looking at in your workspace (reduce the height of the view). When things get complex, using the Navigator bar can help you keep from making mistakes.
I find that in the end for these heavily edited live albums with hundreds of clips, I rarely wind up having to have more than 4 tracks most of the time, even with the audience response “storage track” I described above. If I want to copy and move a clip a half hour down the line, I may temporarily create a fifth or sixth track, but the final Montage will usually only have 4, with the “storage” track staying muted during the final render/DDP creation.
It is actual a very fluid working setup, and can be used in many different ways.