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Here is ONE very traditional approach to creating a classic, big Dino guitar sound, in your recordings. What you want to keep in mind is how a guitar sound works within the stereo spectrum of your recording and how to achieve that sound through double tracking, and panning techniques.

The goal here is to record:

Left and Right side rhythm guitar tracks containing some degree of reverb to provide some depth. In the old days, producers captured room ambience rather than adding reverb.

When I record, I ofte use the approach outlined below (or some variation of it).

Two rhythm tracks one panned hard left, one hard right.  I then apply some amount of reverb to each of these and record the effect to another track, often panned to the opposite side. On my early recordings, I just recored the effect to an adjascent track.  These days, on a computer-based system, I use the sends, and put the effect on a bus so the effect comes up on an Aux track in the mixer.

Either way, the result is the same in principle.  You end up with Hard Left Rhythm Guitar and its reverb panned somewhere near hard right. Hard right Rhythm Guitar with its reverb panned somewhere near hard left.  Again this is just one approach and your mix will dictate the details

Use the same procedure to record lead (and/or melody) guitar tracks with delay rather than reverb, either panned center, or if there are vocals up the middle, try somewhere between 10 o'clock 2 o'clock panning type of thing to keep them out of the way of the vocals.

Aside from providing the sonic, Dino hugeness you're after, what this scenario also provides is the control of having your effect on a different fader from the dry track. This lets you ride the fader containing the effected track during mixdown (either manually, or through automation), and thus control the amount of effect you're getting in relation to the dry track. This can be very useful, for example, when adding delay to guitar solos.  If your solo has fast and slow parts, you're likely going to want less delay on the fast parts, and more on the slow parts. Using this method, you can control the amount of delay you're adding with the fader for the track containing the delay.