glad you have found it helpful!  i am 100% with you on the 2+ band parametric EQ.  I would really like to know what the max requirements are for the unit per effect.  Obviously a 2 band parametric EQ shouldn't use more DSP than the smart harmony or pitch glide or spring reverbs...  So I can only wonder if there's a limit to the number of tweakable parameters.  I can swear some effects have 6 parameters though, which is all you'd need for the 2 band parametric EQ - just drop the "highs" and "lows" parameters and add another set of freq, Q, and gain.

I hope to have a revision and tone dump next month.  I got really set back because the guitar with all the low tunings I used I just found out the signal is really bad (either a bad pickup or bad wiring/tone-pot), so the patches are all set up for a guitar that has a completely unnatural sound (they sound good ONLY for that guitar).  So I have to fix that before I can dial in my good Periphery, Meshuggah, and Scar Symmetry tones.  I have 2 incredible Petrucci tones.  And I'm close to getting Metallica Justice and Black album tones.

As a couple quick updates...

I've given up using the XXL cab altogether.  I EQ the hell out of it to get a tone that I ultimately still don't like.  So F it.

I've given up trying to use the Uber in amp any sort of metal fashion.  The only place I use it now is for my Vai patch.  It does Legacy-type breakup.  It's not djenty at all but with a overdrive pedal it isn't really muddy either.

I've been using the Line 6 Elektrik a lot more - basically everywhere that I formerly used the Uber, except the Vai patch.

I've found that v1.4 seems to feature more power amp distortion (or maybe I'm going crazy), especially on the Line 6 Elektrik.  I've turned down the Master Volume parameter on most of my patches.  L6 Elek is at like 10-25%.  Mesa Recto I keep around 20-40%.  ENGL Fireball I keep around 50% or higher.  This amp gets more of a mids-boost/compression type thing rather than that "dink dink" splatty type distortion in the upper-mids/presence spectrum.  Marshall J800 depends on target tone.  Lower values can sound too much like a cheap stomp box distortion, but too high and it gets real dirty.  Sometimes you want a smoother distortion, but other times you want the dirt.

For most of my really heavy rhythm tones I use a dual amp setup - 2 amps with the exact same gain and EQ settings and the Recto (Treadplate) V30 4x12.  I use the SM57 mic on one of them, and the 4038 Ribbon on the other.  Then I put the SM57 amp volume at about 50% and the 4038 at 35-50%, depending on how bright vs. midsy I want the tone.  Try it - it sounds amazing.  The downside is that you will hit DSP limits if you want much else in it.  So I mainly use it for rhythm tones, but you can get a very basic lead sound out of it if you're willing to sacrifice.  Using this approach, I find I don't have to use as many EQ effects to get the tone I want - I can generally use the amp's EQ controls, as well as varying the amp volume levels.

For most of my leads, I've switched to the 87 Condensor, which I think might have the cleanest mid-range response.  You have to boost the highs to get it to sound like a complete guitar sound, but I find this sounds better than boosting the mids with the SM57 on axis.  Also, mids are generally more important that highs for a good lead tone.

Also, I have given up using the Screamer entirely.  If you use it on a completely clean signal, even with drive at 0%, it still causes the tone to break up a little.  I don't want that - I want it to mainly EQ the tone, and maybe compress it a little - no breakup.  So I've been using the Classic Distortion instead.  It stays clean and gets me the tones I want.

If I can get the pre-distortion tone I want with EQ's, I'll use that instead of the Classic Distortion.  The Distortion effect seems to suck some of the tone out the signal.  I get a richer tone using EQ.  I generally set pre-distortion EQ by putting a parametric EQ in front the amp and setting the Q to like 75% and the gain to like 80%.  Then I'll record a bunch of muted power chords, unmuted power chords, and single notes in the looper.  I let that play back as I sweep frequency between 35 - 70%.  There should be one spot that really brings out the djent around 50-55%.  35% is generally used for reference - it makes the tone more "honky" and like a dog choking on something.  I am failing to describe it well.  At 70% or higher, you really don't hear much effect on your tone - it might smooth out the distortion more, but you don't get that insane djent sound.  I am for right above the spot where you get the choking dog sound.  Then I'll widen the Q and start playing with the gain.

Sometimes you have to go the other way and suck out some of the "dog choking" lower mids to get the tone to get that crispy dirty sound.  So I do the same thing but put start with gain at like 20% and frequency between 15 and 40%.  Usually it's around 30%.

Finally, if the bass is a little flubby or muddy, suck out some bass with the "lows" parameter.  Suck out JUST enough to dial out the flub.  You might think the tone is thin afterwards.  If so, add some bass in after your distortion, with the amp's controls or with another EQ effect.

I set the new variable Z parameter to auto, which usually means it's 1M, as I hit an EQ or amp first.

The new hard gate is incredible.  Wikipedia "noise gate" if you don't understand what the new controls mean.

As a final piece of advice, you can really get a good metal tone by setting up your patch for the neck pickup.  It's not the one you'll be using for your tight metal rhythms, but if you can get it to sound good, your bridge pickup will sound incredible.  Usually the neck pickup has a bunch of bass/mids but not enough presence to dial in that sweet but dirty sound.