I posted this in the recordings section, but the tone method applies here. The guitars are in standard drop D like what
@Tahoebrian5 mentioned. I don't know if this tone is anywhere in the ballpark of what you're looking for, but here are the basic concepts.
1. Use less gain for a bigger sound. I had the SLO's gain around 2-2.3 and the Mesa's at 3.5 for the main rhythm tone. Using less gain lets you bring up the guitars without introducing unnecessary noise and makes your tone speak better in the mix. Mark Holcomb gave me some of his Periphery Juggernaut presets and he had the PVH Block's gain set around 2.5 or so. Those tones are huge, and you can still hear every note even in a dense mix.
2. Quad tracking can work, but you'll get a lot of cumulative low end build up if you're not careful, which is why the triple track method can do wonders by adding thickness without destroying your core tones.
3. In my earlier post, I mentioned the Orange AD30 model (an amp I used to bring to sessions for this very purpose). Play around with different models until you find the one that sits the way you like. For this track, I used the same concept with my DC-5 (which has a looser gain structure) by cutting out a lot of bass and bringing up the gain level. It lets the notes in complex chords retain clarity, but also gives you a little extra energy.
4. If you triple track or quad track, record those after you have the main rhythms and bass tracked. That will help you pinpoint what the tone needs, but more importantly, what it doesn't. If your main rhythms are bright, your supplemental guitar should be darker. If your main rhythms are on the darker side, edging in a brighter layer will liven up the mix without needing to EQ a bunch of stuff.