EQing Distorted guitars.

There is also no reason to stick to a hard fast rule of any particular pan rate (85%) seems far for all 4 tracks in this case....
Try this just for fun...
Take your take 1 (and a either play it twice, use 2 mics when tracking for different tones, or duplicate it as you were)  Eq them either separately or on a bus, and pan one 60% Left and the other say 70-80% left.  Often the one more towards the center I will EQ with more bottom end  and have the highs rolled off more than the other & the one that's out will have a little more of the mid-high end information.   
  Take your take #2 and do the same on the opposite side.   Also you can make those contrasting cuts/boosts as needed and desired between your left pair & right pair.  This will sound wider/fuller than what you are doing now because:
a) You have 2 different performances one clearly from one side and the other from the opposite side.  The human element and timing variations is perceived by the brain and it registers as far fatter than 4 copies of the same one take.
b)  You can EQ to accentuate the best parts of each take, find the frequencies in your tone that make that guitar what it is and let them shine.  Remove the mud!
c)  Instead of having your guitars all at 85% and similar info from left and right all the time you have differing performances on each side and a fatter wall of music.
   You had:  Guitar1@85%L<-------------------------------------------------0--------------------------------------------------------->Guitar 1@85%R
                  Guitar 2@85%L<-------------------------------------------------0-------------------------------------------------------->Guitar 2@85%R
 
This is: Guitar1/mic1 80%L<-----------Guitar1/mic2@60%L<---------------0---------------> Guitar2/mic1@60%R-------------->Guitar2/mic2@80%R
 
You can play around with how far out or in, Eq's, reverbs can set a part to the back of a mix, Compressors (though you don't need much if any on distorted guitars as they are already comped by the distortion, speaker, and mic) can put it right in your face. 
I have had distorted guitars that I highpassed as low as 75hz and others that got lopped off at around 130hz because I needed the room for other elements and they were getting in my way.   There are no set rules, mix for THAT song.  I like to roll my highs off a bit too as you mentioned above.  Sometimes as low as 7 or 8K (maybe on the inner pair in the above example) or for say a less-than-vital rhythm  track to leave some room for a lead/rhythm part above it somewhere around 9-12k  ??   Every track and every song is different.   I hope this helps you some dude!
Take care.

Hey Fendicator!
 
I still think it's how you're eqing your sound inside Amplitube or the speaker sim choices you're making.
 
Then again, just about any sound you create (even with a real mic and cab) will need to be high passed to remove unwanted lows and and low passed to remove harsh highs. 2 points out isn't such a bad thing bro. There are times when I low pass down to 7k. So that means all the frequencies ABOVE 7k are curbed so that there is no longer harsh highs in my tone.
 
In other cases, I may not need to low pass at all or I may use the Sonar default in pro channel which is about 10k. Every situation is different. But removing frequencies by a few dB here and there is common and nothing you should worry about. The thing *I* personally worry about is when the sound I recorded, is no longer the sound I recorded once it's in a mix, understand?
 
Meaning, you start with the tone you recorded and by the time you make it work in the mix, the sound is drastically different. Even there, it's not a cause for major concern really. As long as you can make a tone work in the context of a mix, you're right where you need to be. But my point in even mentioning this is.....when you record a sound, that sound you record should be as good as you can get it before you press record. 9 times out of 10, if we end up with a tone that is totally different from what we recorded, we worked hours on it and more than likely, polished a turd to make it work. It's not supposed to work that way. What you record, is what you should end up with using minimal tweaks UNLESS you are going for a specific sound that is supposed to sound like a special effect. So just keep that in mind. Based on what you've said here, it sounds like you ARE creating a tone you're happy with that is just getting minimal adjustments. So I'd not even worry about it.
 
A word on modeling etc: You more than likely will NOT get identical sims. Meaning, just because you use a 57 on a cab in Amplitube....that doesn't mean that's what a real 57 would sound like on a physical cab. Look at all the mic's and cabs you have as starting points to create new tones. Don't worry so much about them being authentic or the need to do intense research. Sure, it's always good to know how a mic will make a difference and know what the stats on paper tell you. BUT...in this field...the thing that matters most is what your ears tell you. So mess with a few combinations and see how you fair. When you are ready to really mic a cab, then for sure, make sure you research how certain mic's interact with certain cabs. Even there....one man's experience may not be yours. So remember, even though what you read at times will be important, if your ears tell you something else, what you read can be a little less important in certain situations.
 
As for the strings and frets question you posted, it depends. Most times, dead strings give you dead sounding tone. Worn frets however, can force you to fret out. If you are hearing more fret buzz than actual tone and resonation coming out of your guitar, there's a good chance you are literally fretting out and buzzing which can DEFINITELY make your tone a bit more abrasive. Keep in mind though, there is a difference between "fretting out" and "a little string buzz".
 
Fretting out is nothing but buzz and very little tone coming out of the instrument. It doesn't matter whether the guitar is plugged in or not...it will buzz like mad and not give you any solid note "ring".
 
A little buzz is different. You hear the note, you hear the note ring, yet you hear a little light fret buzz going on. Most rock or metal guitar players allow a bit of this for two reasons.
 
1. They like low action which allows them to do some of the pyrotechnic licks they do.
 
2. A little string buzz also adds a bit of punch/presence to a tone. When you have 0 string buzz, the tone can be a bit too open sounding. Meaning, chocolatey and warm without any percussive string presence. When we allow a little string buzz, it literally enhances a little high end presence and gives our tone a bit more of a percussive sound. A jazz guy wouldn't want a tone like this...but a blues guy or rock/metal guy most definitely might. It depends on the style and tone you are looking for. I like a little string buzz on my guitars for tonal purposes. 0 string buzz made me have to turn up my treble and the treble you get from an amp is not the same kind of treble/presence you get from a little string buzz.
 
Hope this helps a bit. Good luck. :)
 
-Danny