How do you get "THAT" sound

What are you using for distortion now?

I was trying lots of distortions. I found that a fuzz box (which I avoided for years) ended up being the ticket for heavy distortion, but yet be articulate. Also, I think compression can lead to killing overtones and harmonics, so be careful with that.

I think the best bet for you though is to compile a sample of various sounds from songs you like, and research what they used to get them.

The trick is to record multiple passes through different amps with the gain dailed LOWER than you might think.  The combination of all the slightly-dirty tracks should get you closer to THAT sound.  Needs to be played tight, of course.  If the best sound you're getting is from the DS-1 maybe you just have a "unique" sense of taste?   The DS-1 isn't exactly known for it's metal tone.  Better for sustained chords.  You will also need VOLUME to make those cabinet speakers move.  Have you read the Slipperman guide to distorted guitars?  That helped me a lot.

Bristol, you're right ... it is quite complex.  Besides using a Fender, Ibby, or Les Paul with their 'special' pups ... a virtuoso metal guitarist has his work cut out for him/her ...

Ax-Fx Pre-Amp Processor by Fractal (if you wish to shell out $1500 to $2000) is a valid tool ... for ax-masters and the faint of heart ... to achieve something near "that sound".

... has all the metal signal-chains (configurations) of the metal and fuzz masters

... hundred or so 'metal' presets with all the solid state equivalents of fuzz, gates, compressors, EQs, harmonizers, flange, reverbs, multi-bands, cabinets, pre-Amps ... etc.

But, I have not (yet) gotten even it .... to produce distortion sounds nearly as beautiful as those rare guitar masters and their producers ... who know their sh!t like rocket science.

Doubtless we'll get a sweet piece of their mega tones ... little by little.

You will hear engineers say over and over that metal players want a lot of high gain and almost every time in the playback they hear and complain how washed out the sound is and wish they had cut back on the gain. I have yet to understand why the same ears here it very different ways from the "take" to the playback, but it happens, and I was the same way. The high gain sound as you are playing sounds SO good...then when you hear the playback it can be very different.

I know this isn't exactly the answer you want, but I've also heard time and again that it's the "moving air" that gives "that" sound. And this means volume. I tried for months to get "that" sound with effects or going direct in from the amp and never got anything close to a miked amp sound. And I used three different PODS and several different Line 6 and Behringer amps that had literall thousands of variations in amp and tone simulation. And remember...a simulator is just that...a simulator...I'm still going for the real sound. You can get close with the amp models, software, going direct, but to me it's just not the same as a good miked hot amp with some volume.
 
At first I didn't like the sound of the SM57 mic, but I experimented till I got a good sound. The SM57, doubled (not cloned) with a Peavey PVM 22 (yes, that's right) give me my hottest sound. A Sterling ST33 does a good job as well, very good.

I know the software and simulators are getting better, but I just like that old miked amp sound. Countless thousands of rock songs (and metal) have been recorded with just an SM57. The old saying "if it ain't broke, don't fix it" comes to mind. Every studio in the world has the classic and inexpensive SM57 and SM58, and for a reason.

If you have the patience, find the sound you like on one of your favorite artists CD and pick a guitar part, maybe a lead break or intro, where you can sort of isolate and focus on the guitar and listen to it closely. Then sit there and do recording sound check after sound check till you get right on the money or as close as you can. And be sure to take notes. You can also takes "notes" by just talking so the mic can pick you up, as you describe the mic, the position, the amp settings, any effects settings, the POD settings, and so forth.

Another thing to remember. Some of these guitar slingers do some exotic things, but when it gets right down to it nothing beats simplicity. I've read articles where they also blow a lot of smoke detailing methods too complicated to be practical for the home studio musician. You can easily complicate it beyond the point of being "good" into the land of frustration and diminishing returns. This is supposed to be fun, not frustrating.

In the end it will be you, your guitar, amp, mic, (or simulators and effects)and the recorder. Just play and have fun and keep at it til you get your sound. With patience, you will.

Hope this helps.

DS