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You don't have to get 15' speakers. Josh was mostly using ordinary Marshall 4x12s then, simply boosting his Marshall with an SD1. Not a plexi though but - if I remember well - a JCM2000 before switching to the Tubeworks head and - occasionally - bass cabs for the final album of Kyuss. Add a Dunlop Rotovibe, a wah and a Boss DD3.

What you are hearing is not just the equipment itself though, but the magic of Chris Goss and Joe Baressi (with lots of tricks such as overdriving the preamps on the console). There is no, and will never be, an 'album sound in a can'. Lots and lots of past threads on this, do a search. Yeah, proably a JCM900 and not a 2000. From my research I think the late Kyuss amp was a Tubeworks Mosvalve RT2100 ES. It's true Josh never used a fuzz while in Kyuss, but it might get you there - anything goes.

Aim for what I call 'the stoner's woman tone' by rolling off the tone, using a hot neck humbucker and using a crunchy boost on an already crunchy terribly loud bassy amp with a closed-back cab. A very slight amplike amount of fuzz helps, or stacking a gentle fuzz with an overdrive. In the past I was using a Catalinbread Super Charged Overdrive on a tube-equipped Vox Cooltron Over The Top Boost, now just a Jetter Blue on clean, loud, warm amps.

I don't think that Muffs help (the EH Germanium OD might), and another common mistake is to confuse Josh's tones in Queens with the ones from Kyuss - a very different story. Yeah, proably a JCM900 and not a 2000. From my research I think the late Kyuss amp was a Tubeworks Mosvalve RT2100 ES. It's true Josh never used a fuzz while in Kyuss, but it might get you there - anything goes. Aim for what I call 'the stoner's woman tone' by rolling off the tone, using a hot neck humbucker and using a crunchy boost on an already crunchy terribly loud bassy amp with a closed-back cab.

A very slight amplike amount of fuzz helps, or stacking a gentle fuzz with an overdrive. In the past I was using a Catalinbread Super Charged Overdrive on a tube-equipped Vox Cooltron Over The Top Boost, now just a Jetter Blue on clean, loud, warm amps. I don't think that Muffs help (the EH Germanium OD might), and another common mistake is to confuse Josh's tones in Queens with the ones from Kyuss - a very different story. @Spaceflunky: yes, I agree 100%, but the Ovation was a heavy guitar and the bright hot Dimarzios were making up for that. Any solid body guitar with humbuckers will do - I use an Eastwood Ultra GP (which is far more light than the Ovation) with Bare Knuckle Mules without covers.

Meaning PAFs but brighter since they are lacking the covers. The bassy sound from the guitar is necessary, but there should be some definition when rolling off the tone in a static-wah kind of way.

Homme, during Queens, started using EQs, a Dunlop Q Zone and a Maestro Parametric Filter to accomplish this. Another way to do that is to add a bit of high-end sizzle later by the pedals themselves, for example with the SD1 set crunchy and quite trebly. @Dirtytony: what do you mean less 'live'? You can actually hear the crunchy sound of the amp in the intro of some Blues For The Red Sun songs before the boost sets in. The gain is actually far less than most people think. It just sounds so heavy due to the downtuning and heavy strings, the loudness and the closed-back cabs. The Catalinbread SCOD can play the role of the SD1, but I personally didn't like it very much on a clean amp.

It gave me one of my best Slash-like lead tones ever on my neck humbucker, though. I read that it's going to be discontinued sometime soon, but there are plenty around in the 2nd hand market. @Spaceflunky: yes, I agree 100%, but the Ovation was a heavy guitar and the bright hot Dimarzios were making up for that. Any solid body guitar with humbuckers will do - I use an Eastwood Ultra GP (which is far more light than the Ovation) with Bare Knuckle Mules without covers.