https://www.youtube.com/watch?v=BKZh714VdQw
 
Must have listened to that album a million time but it just never registered until tonight, while I was trying to find a solution to a panning issue.
 
The guitar is sort of split, lower frequencies on the left and high frequencies/brilliance on the right - makes the whole thing sound oddly 3D... Love it.

The Sonitus multiband compressor provides a useful quick tool for that in Sonar. (Not using it as a compressor). You can clone a guitar track 4 times, put the Sonitus on each of the tracks, and for each one you can solo only one particular narrow band of frequencies, lo to hi, then pan the tracks across the stereo field. It can give a huge chord sound.

Or you could just split it to a stereo (2 mono) track and process the left/right with different eq,  or double the guitar with a short, hard panned delay and eq differently...  or...  several ways to do this.
 
But it does sound good, yes.

Interesting. One of the things I'd tried which lead me to re-listen to that cut was to use a M/S EQ, to remove the high frequencies from the center, leaving them to the side only.
 
Results were funny in an odd way - really made the guitar sound 3D, but it didn't gel with the mix and a quick mono check showed that it wouldn't work. I guess I could have made it work, but I gave up the idea.

I quite like the Waves X-split widener, which spreads the frequencies back and forth across the stereo image in a sine wave pattern. You can tweak the spread in a lot of ways and the end result is a very natural sounding width which collapses well to mono. I've tried that low on one side high on the other technique too - sometimes it works very well, other times it can be quite jarring (to the point of making my eyes water).

my favorite way,
is to close mic and pan hard right,
room mic and pan hard left.
 
 
a classic example of a mono version of this is robin trower's 'bridge of sighs', right the beginning.
 
that track starts with the room mic only, and the engineer brings the close mic up just as the song launches.
http://youtu.be/PVBdnY3WgPY

I've done similar things with piano, but by automating the reverb wet/dry control. Makes it sound like the instrument is rolling toward you.
 
Another old-school technique for spreading guitar with EQ is to use a pair of graphic equalizers, each configured inversely to the other's settings. This results in a wide spread that's 100% mono-compatible. Works especially well on acoustic 12-string.

I've had success with this:
 
1) clone the track and pan each instance fairly hard in opposite direction
2) apply no compression to one side and a fair amount to the other
3) send both to a bus where you adjust the desired instrument EQ
 
Adjust to your liking and this creates a rocking back-and-forth sensation, where the quiet moments are only captured in the compressed track, whereas the louder moments really shine on the uncompressed.  I used as the concept behind a track on one of my albums, but applied the technique to the entire song (because it was a single-mic single-take demo-style recording) and think it works: https://smaltmine.bandcamp.com/track/oh-the-places-youll-go-demo
 
This works best with dynamic, down-to-mid-tempo material, not really as much for louder or faster parts...

The best way to do the low/high stereo split is probably how Neil Young does it. A Gretsch stereo guitar built to do exactly that. His "Le Noise" cd produced by Daniel Lanois uses the Gretsch stereo to go way beyong mere panning. Even if you don't care for Young much "Le Noise" is worth a listen as an example of how much is possible with a great musician, a great producer, a guitar, a few amps and modern recording technology.