I know there are an abundance of threads illustrating the pros/cons using plug-in guitar amp modelers such as Amplitube...that being what it is...I am looking simply to get "warm" sounding guitars with some overdrive, similar to songs on the current country charts.  Think Rascal Flatts, McGraw, Keith Urban...even as "AC/DC-like" as the current Jason Aldean tones...
 
I run my guitars into a solo 610 (usually around 5 on gain and level), then into my Quad Capture.  Most of the presets I try to dial in sound like fizzy fuzz, nothing like the "Jimi Hendrix" or "Warm Tweed" presets that I start with.  Other than tweaking like a maniac, pulling out "EQ-honks", quadruple tracking parts, etc., are there any tips that I'm missing?  
 
I know this is rather vague, but I just feel like I MUST be doing something wrong when SO many people love these modelers and so far my reaction has been...."meh"...  I insert Amplitube as a stereo bus since putting it in the EFX bin of a track results in a mono output.
 
Thanks in advance for any suggestions!
Rizzo 

Recabinet by Kazrog helps with the fazizil of the sizzle for me. I think Craig Anderton had some tips somewhere to curtail the high end sizzle on amp sims. The sizzle seems to be more of a problem on crunchy sounds. I prefer the sound of a real amp mic'd up but turn to Amplitube with the speakers by-passed followed by recabinet from time to time.
 
Rocky

Do you have the Overloud demo included with Sonar?  It's a scattered interface, but you can do a lot if willing to figure it out.
 
Or did you have Sonar when the Guitar Rig demo was included?  Lot's of great sounds in there too.  Way back, Sonar came with an Amplitube demo, and though a limited teaser, it was the most natural amp sim I recall at the time.
 
Whatever you use, tweak it like it was a live amp.  Virtual mic choice/placement can really alter a sound from buzzy to smooth.  Cabinets, vintage vs modern mode, etc, etc... So much to consider, but find a preset that's almost there and you should have a great sound in little time.  Plus it's fun.
 
P.S. I've always used amp sims directly on guitar tracks.  Not sure how it would work as a "send" effect.  If the sim puts out stereo effects, you can switch the guitar track's inteleave to stereo, without resorting to a stereo bus.

caminitic
...I am looking simply to get "warm" sounding guitars with some overdrive, similar to songs on the current country charts.  Think Rascal Flatts, McGraw, Keith Urban...even as "AC/DC-like" as the current Jason Aldean tones...
Rizzo 

I am using the Twin model in Amplitude for recording and I have a Twin when I am live.  Can't really tell the difference (except for the ambient tube noise when micing the amp).  I am extremely happy with Amplitude.
Rafone

I have AmpliTube 3 for sale if you are interested.
 

I have tried several of the amp sims that are out there.....and none of them have made me a believer. I use my POD2 99% of the time. I keep telling myself I'm gonna use live mics on my combo on the  "next" session.....
 
My POD2 is a hardware solution (the red kidney bean) and with it I can get some very satisfactory sounds.

My advice is to forget using Amplitube presets and create your own from scratch. Most presets (with all the "modellers") tend to be over the top and too extreme. I'm not a great fan of modellers, but I've found Amplitube can make some pretty realistic sounds. However, the weakest area of modellers tends to be the spot where clean becomes break-up both in terms of sound and response to picking dynamics.
 
Use a stereo track if you want stereo output.
 
Set Amplitube's input level so it is just clear of the red on the loudest notes you play.
 
Keep it simple, starting with the basics then adding stuff one thing at a time and only if necessary for the sound you're after.
 
Select an amp of the type typically used to get the kind of sound you're after. Set up a basic tone then adjust the cabinet microphones - try different positions and types. The mics make a big difference with Amplitube.
 
Then add in pedals as necessary and only as necessary.
 
Place an eq after Amplitube and high-pass at around 70Hz, low pass at around 10KHz. Be prepared to tweak the mids as necessary.
 
A gentle compression placed before Amplitube can help as can a gate.
 
It has to be said though that it's easier to get a good sound by micing a low-powered amp if you can than by using any of the modellers.
 
(edited for typos)

Not aware of any highly regarded tweeter array designs in a 4x12 config. Come to think of it, none of the big boys, Vega, JBL, Peavey, are hangin 12's in bass bins either.
 
Now midrange? Yep, they got 12's there. In phase you can move some mids that way.
 
So what if you drop clean guitar on tape, wide a response as you can capture, and then clone it some. How many elements can you discreet in the clean playback?
 
Pick noise? Clone you a copy with it's own fader.
 
Midrange honk? You might clone a pair of these and pseudo double them left and right, how phat you looking for?
 
A clone for the lows, automate, comp, both, there when you need more punch, gone when the back line needs the room.
 
You could devote two or more clone tracks just to distortion, too much fizz take the guts out of any snarlin guitar, but once you have the mids on solid footing, a touch of fizz highlights your midrange crunch, just when you want it, if it's on its own fader. You're going to end up with at least one group sub once you get static mixes for each section, and I'm assuming rhythym guitar so far.
 
Back in the days when 2 synced 16 tracks were the gold standard, Tom Scholtz sometimes layered seven tracks of just lead guitar, in these days of infinite tracks, use as many as you need and clone a couple more while you're at it, just in case.
 
That chunky sound you're looking for is almost mandatory when the guitar is front and center, but try getting certain vocals to co-exist with it when the words are carrying the heavy end of the stick, and you might be glad you had that fizz and pick noise with the middle gone and didn't have to create it from scratch just to hear the singer.
 
Comps? I'll tell ya wut son, back in the days when skool wuz a six mile walk, uphill both ways, we didn't have these multiband plug wonders, we had to filter and split em our own selves,  stone tools and bearskins, and then find enough compressors to fashion our own multiband comps, you youngsters have it EASY now.
 
One thing though...
 
It goes against all standards and practices, not to mention the Official Rulebook itself, to get carried away with any of this, and start having fun trying to mix electrically inadvisably altered tracks with standard practice to achieve anything new or original. We frown on creativity around here. And we are professionals, we don't push the edge or break with tradition just for fun.
 
 

Jay Tee 4303
Not aware of any highly regarded tweeter array designs in a 4x12 config. Come to think of it, none of the big boys, Vega, JBL, Peavey, are hangin 12's in bass bins either.
 

 
My band had a pair of folded horns for bass bins with 12" EV's in them. the EV speakers at the time were $150 each and had 17 pound magnets on them. Talk about some bottom end.... those horns would shake the house and we never blew the EV's in the process. Wish I could remember what company made them because those things were solid.
 
We also had some home made scoops with a pair of 15 EV's in each of them as well...

Wow...thanks for all the replies.  Lots of stuff to try out.  Sounds like there are some serious guitar experts here.
 
Here's a challenging question...with the choice of my Ibanez RG550 or Epiphone Special with P90 pickups, any ideas how I can get a sound similar to the electric that enters around :32?  I think that tone with the EFX is amazing.
 
***Well...I can't post URLs yet since I haven't posted enough!  But the song is called Raymond by Brett Eldridge on YouTube