hmm... Yes this is better! but humour me.....
high pass arp guitar at 150, low pass at 10khz, scoop a lot out at 1khz, boost some 8khz, if you brought up too much harsh then cut some 2-5khz, this will make your arp guitar (not the focus) give nice shimmery high end, turn it into a supporting instrument while clearing space in mids and clearing up the low end of your mix a bit.
Get your vocal back in there, I can't judge anything without the vocal. But for the arp, I am treating it at a part of the rhythm guitar group, rhythm guitar got the mids and bottom covered, arp can give you the nice highs. The arp probably needs to come down in volume further still though, let there be plenty of overlap though. don't go crazy.
Get a balance where your guitars sound the same in volume with the faders, use EQ to create further seperation, and to balance brightness. To me the arp stole ALL of my attention, it's just too loud and big.
If you like your vocal buried, as do i. it's fine. but you need to make it big, lots of parallel distortion, saturation on the main track, timed delays, stereo stuff, thickening. You will have the illusion of it being louder than it really is. needs to be dense, lots of compression, and some limiting even, parallel compression track, parallel octave track, some noise, etc, otherwise you will forever be struggling to find a fader position. it will be impossible in fact without the appropiate big track to small track ratios.
I don't think it's possible to walk you through this, it's not a dig, it's not possible to walk anybody through it. you need to make your 1000 mistakes per mix, and keep going like that!
I mean, after the arp gets massaged into place, there are plenty of other problems that need addressing, but it's mainly that I think you need to balance your tracks so they are of similar volume, then start making tracks smaller, or bigger to create that contrast
I was struggling with mixes in the past like yours, or with even less tracks even. it did not matter where I placed the faders, the issue was that supporting instruments were too big. so what worked with me was balancing the lead so it sat into it, and compressing the rhythm track with fastest attack which pushed it back a bit (without turning it down) and when that started to work then lights went off in my head and I added a chorus to wash it out a bit and it was like wow..... the rhythm was less focused and with the leads much drier, it gave an illusion that the leads was way up front without needing to turn it up (like a picture with a blurry background but focused front image), so then i started thinking about bringing the leads forward with transient design, drier effects, less decay times etc. the vocals kept stepping forward each time. parallel compression, saturation. etc. 1step forward, 2 steps. etc. not an EQ issue at all like I thought it was and had wasted so many hours on. and it translated soooo much better.
By the way, I'm still learning lots myself. I can't get mixes that compete with the guys im looking up to. And I'm having serious issues much like you are at the moment. But i'm not beating myself up over it just yet, realistically speaking im trying to compete with guys that have 40years more experience than me. I may never even catch up! But I like cracking small pieces of the puzzle a little at a time.