Blues/Pentatonic in diatonic
Modes still based around the diatonic, despite the shifted tonal center.
All well and good, save for the fact that you sound like many other soloists who have already treaded this ground. The difference between a good guitarist and a great one is the ability to innovate. There are three strong tools to use to sound more like an individual and less like a guy copping licks everyone has heard before ((those modes have really been flogged to death--too bad, because they are awesome))
Arpeggios
Modulations
Chromatiscisms.
Different types of scales.
The first and foremost of course is arpeggios, and not just the classic 'I play I, III, V, III, I arpeggios. I'm talking about the triple octave, permutated and blue-noted arpeggios. Get familiar with all of them. You don't have to play arpeggios at warp speed to sound badass with them, either, there are several awesome slow ideas that can be developed from an arpeggio with one or two extra notes thrown into the mix.
When I say modulations, I really just mean 'play the changes.' For example, in a I, IV, V progression, I rarely ever see a rock guitarist play outside the I key. Almost never, actually. If the key is C, they'll start in the C blues/maj pentatonic scales and when the progression moves up, they'll begin playing the same scale, just in a different position and with the IV note for emphasis, but still the same basic scale. ((i.e. running modes))
Don't do that
Or at least, don't do it all the time. Experiment with playing in the IV chord as if it were the I chord ((i.e. From C to F, you would play a non-modal scale based on F)), or if you are a daredevil, experiment with playing in another chord or key altogether.
Contrary to popular belief, you can play based around an entirely different chord than what is being played and make it sound very colorful, if you know what chords can substitute in for what and the like.
Example: On your next blues progression, instead of playing the V mixolydian, V blues, or even V major, try playing in the iiadd9 key for colorful results. The ii7 can also sub in for the I chord as well.
Chromatics are also another great way to diversify yourself, provided you get acquainted with using them correctly. Just become familiar with the key leading tones within every scale so that you can deploy chromatic licks for the best effect.
Experiment with different scales beyond octatonic and pentatonic. Hexatonic scales are very awesome and in my opinion very versatile. Speaking of a 'magic' scale that works fairly well over everything---Use the Diminished Scale! ((No you don't have to run heavy metal diminished arpeggios)) That scale can be made to sound dissonant, exotic, jazzy, and yes, even bluesy in the right hands. It works over so many chords that it's sick.
Back In Black isn't a song. It's a divine call that gets channeled through five righteous dudes every thousand years or so. That's why dragons and sea monsters don't exist anymore.
