When I have newish tones I almost always have to knock off a hair or two of drive and add a hair of mids or treble...with clean tones, sometimes the compressor is tto much....really hard to say...My first thought would be maybe the tone is a little too mid scooped...just guessing Texxxxx...

I would experiement using the pre- version of the models. I find them to be a little brighter-more presence.  You may also need to dial up the signal with the channel and or Master Volume to really push the tubes in the 50/50.  I've played exclusively live with my HD since it was released.  Playing both direct and DT-50 to a mic'd Blackeart 1x12.  Both ways I've had no problem cutting through and having a good sound (at least when the FOH sound guy was good).  I'm mostly playing about 1500-2000 seat venues so I've got what I need dialed in pretty good.  I'd also suggest getting away from the stereo patches  and go mono.  You may have some phase canceling which is cutting some of your frequencies.  There's really no point if you are going through a 4x12 to be in stereo.  If it were 2 2x12's spread on opposite sides of the stage then you might get a true stereo feeling. But even with that if you're going through a PA of any sorts you're only going to be mono in 99% of cases.  I really would be surprised if this is the reason it lacked punch.  I go $2 on it! LOL

I have come to find in my many years of doing sound that there is a fine line between what sounds good alone and what sounds good in the mix. I have heard guitar and amp combinations that sound like absolute *** when played alone, but as soon as the band comes in it sounds like gold. If you listen really close to many of your favorite recordings and to the tone of each instrument, you will quickly find that each one is pretty unrealistic. It has to be that way in order to make it all fit. There isn't as much bass as is perceived and the mids are very muted in order to get the vocals on top. In the live world things are a bit bigger and rounder. The nice studio like sound you shoot for at home just doesn't always translate on the stage. You can get any amp to cut like a hot knife through butter, it just may not sound as good when you do it?

I find that every venue is different and each one will require a slightly different EQ for each instrument. I start with the lows and get as little as possible before it sounds too thin. You don't want to walk all over the bass guitar. But you don't want to be so thin that you are set apart either. The low end registers should meld together, but not create a huge build up of low end when played together. Next is the mids and this is the most important part. Too much and you get a nasally, honky and harsh sound and not definition may start to go away. Too little and you get buried in the mix and you lose your spot in the mix. You want to get as little as is needed to be apparent in the mix, but not so much that you walk on the vocals or keys. The highs are a matter of taste. There is an old saying that brightness is next to godliness............. This is where your true presence comes in. Too little highs and you have no note definition and it will be hard to distinguish chords and soloing. Too high and your going to pierce peoples ears. When highs are to high, they tend to get ice picky and every note just sounds the same with a high pitch eeeeeee in your ear every time. Solos will destroyed if the highs are too much as it just sound so disruptive. You want to have just enough highs to cut, but not soo much that that you start to hear every little noise the guitar makes pinned to your head. It's all about balance. And this balance is a team effort. It takes a realistic effort from everyone in the band to acquire a sound that melds together. If everybody does a good job shaping their sound so that everyone can fit in the sonic palette, you will be full of win.