So 5 tracks. Here would be my chain when recording my own stuff.
So guitar in the control room, plugs straight into a Boss TU-2 Tuner. The bypass goes to a preamp, the output goes to my cable snake and into my live room. In the live room, snake goes to a Little Labs STD, Little Labs S T D Signal Transmission Device, a guitar / instrument cord line driver | VintageKing.com
That splits the signal again so I now have two cables coming out of the STD that go to two Stacks, an Orange and a Marshall.
Track 1 - DI input, clean.
Track 2 - 414 on Orange stack.
Track 3 - sm57 on Orange stack.
Track 4 - EV/Blue Cardinal on Marshall stack
Track 5 - sm57 on Marshall stack.
Make sure you isolate the hell out of the two cabinets. When using the two mics, be extremely cautious about phase. Use logic. Put your ear up to the cab and find a speaker you like. The place the mics equidistant from the speaker. So if you're aiming at the edge of the cone, get both mic's capsules the same distance from the edge of the cone on each side. So mic 1 is 2 inches back from the left side of the cone, mic 2 is 2 inches back from the right side of the cone. If you're going off axis, make sure both mics are at relatively the same angle.
Just remember that the entire speaker moves the exact same way, so the top of the speaker will sound exactly the same as the bottom of the speaker (in theory.)
As mentioned, load a trim plug in on one of the tracks and flip the phase. (the null symbol) The sound should go from LOUD
to thin, fuzzy, awful, crate amp distortion status.
If youve got some nice isolation headphones, you can try another trick.
Send a signal from your DAW of white noise (under instruments and signal generator) to your amps. Flip the phase on one of the mics and send the signal of the two to the headphones in the live room. Move the mics until you get everything to cancel out as absolutely much as possible.
Also keep in mind that this is only for a certain sound. If you want a wall of guitars this is the way to do it. Layers and layers. Change the settings on the amps for each guitar part and use a different guitar. If you can, use completely different amps. (I usually have 3-4 different heads that I switch between but typically use the same cabinets.)
For many and most records you will be fine with one mic, two tops and one cab recording one take of each part. Its when you get the rock bands and metal bands that want super human production that you need to go extreme.