I enjoyed that and it sounded like you did too. Your guitars do have a very good core tone. I've had some pointers thrown my way a few years back and I'd be glad to share. Other than the standard "play with your mic positions" and whatever else you prob already know, that is. Take it in moderation, though. We all do it a bit differently.
Quad track the guitars and pan one pair 90% left and right and the other pair 75% left and right. Not exactly those percentages, but it's a good place to start. The outermost pair use more distortion than the innermost pair so you get a perception of great overdrive, while the innermost will have extra definition in the stereo spectrum where they compete with the other instruments due to less amp gain. Eq wise you can get a little more selfish with your outermost pair, but try to keep the inside working with the rest. You can play with this setup for hours, but the quickest way I've found is to EQ all of them as close as possible to one another and then start "taking" from the inside and "adding" what you took to the outside. This will give you a huge sound without crowding the inside where the snare, bass drum, bass and vocals sit. Don't be afraid to use a touch of delay on the outer tracks, synced to the track BPM. It won't cloud up the areas you want to keep punchy.
Also, I always had the impression Chancellor used a DI to track his bass parts. Just has that super clean high headroom DI sound to me. If you take that new mic of yours and mic the bass around the neck pup(yeah like an acoustic) you can add some really nice "metalness" to the bass DI track. I don't mean heavy metal, but rather the sound of the strings. Don't mix that too high. Around 2-5 percent. You want to not know it's there, but can tell when it's gone. If that makes sense. It's worked well when I've wanted to do a Toolish bass sound.
