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Inside Brad "Guitar" Wilson's World of Guitars, Tone & Blues

The acclaimed blues-rock guitarist talks Boundless, B.B. King's Lucille, tube amps, pedals, phrasing and why sometimes the simplest rig says the most.

By Magesh MageshContributing Author

I was lucky enough to talk to a true musical virtuoso, Brad "Guitar" Wilson. Few guitarists can combine the raw energy of the blues with the kind of soulful, expressive playing that immediately grabs your attention. With a distinctive tone, powerful vocals, and a playing style that draws from blues, rock, and soul, Wilson continues to establish himself as one of the most exciting contemporary artists on the scene.

Now, with his brand-new album Boundless, Wilson takes his music even further, delivering a collection that showcases his versatility as a guitarist, songwriter and performer. I also asked him for his advice on guitars, pedals, and the gear behind his sound. If you're a guitar fan, you will definitely benefit from his sage-like advice.

Magesh Magesh, Musicngear: Boundless was recorded in both Brussels and Hollywood. Did the locations influence the tones we hear on the record?

Yes, because ICP Studios in Brussels is a historic studio with lots of vintage equipment available to the musicians. I used an authentic BB King Lucille Gibson guitar purchased from BB King for the recording of 'The Thrill Is Gone'. The recording studio has so many gold records recorded there because the sound is truly amazing! The musicians on the BOUNDLESS album in Brussels are the best in this beautiful city, with Toto Poznantek on drums, Fabrizio Erba on bass and the multi- instrumentalist/singer Luca Catalfamo.

Hollywood & Musicians Institute Studios is a brilliant centre for learning and is home to Francis Buckley, the producer. The musicians on the album in Hollywood are the renowned keyboard wizard Chris Rhyne; monster bass players are Hal Cragin and Brian Beal. On drums is a long- time friend and excellent musician, Chris Ross.

Musicngear: Is there a piece of equipment you use regardless of being in the studio or playing live?

I have a guitar and amp rig in Europe and in California. In Brussels, I love selecting from their vast department of equipment for tones that fit the song. In California, I always use my Mesa Engineering amp, which is a 50-watt Badlander amp head that uses EL 34 power tubes and 12AX7 preamp tubes. I honestly think the hotter the tubes get during the sessions, the better the amp sounds. Usually, I am on one of my Gibson Strat guitars anywhere.

Musicngear: Guitarists are always searching for the perfect tone. Are there certain string gauges that help give you your custom sound?

Strings are very important to tone. I'm a little disappointed in some because of the quality of mass production. I consistently use Ernie Ball Super Slinky 9 - 42. I like to bend the string to reach the note. Maybe some other guitar players will contact me with a better brand and I can check them out. If you change your strings often, they will be fine.

My sound stays the same and the variation comes from the guitar using the pickups and volume controls

Musicngear: You recorded The Thrill Is Gone using one of B.B. King's Lucille guitars at ICP Studios. What was it like plugging into that instrument, and did it change the way you approached your phrasing or vibrato?

It was an amazing guitar that had certification from BB King on it. The tone was there; however, no one plays like the great BB King, a true genius and legendary musician. For my version of this classic song, I was feeling and leaning towards Eric Clapton. Clapton can interpret the Blues so well; I just thought about the period when Clapton was with John Mayall from the1963 era Blues Breakers.

I got a cool amp tone from my touring Victory amp, a model called The Sheriff 44 and played straight through with no overdubs. Francis did a small bit of editing between two takes. The band in Brussels gave the groove such an amazing feel; it was a blast to hear the recording for the first time!

Musicngear: What pedals are you currently using to achieve your signature blues-rock tone?

The only pedal I use is the MXR Carbon Copy All analogue delay. It has a wonderful old-school sound. Because I sing lead vocals at the show and enjoy entertaining, my sound stays the same and the variation comes from the guitar using the pickups and volume controls.

Musicngear: Amp simulators have become popular in recent times, especially in the studio. Do you feel there are certain tones that can only be achieved on an old-school 4 by 10 combo amp?

Well, it depends on the work to be done. I rarely use amp simulators. When I do, it is for something that has to be done quickly, like a radio station ID with a guitar riff and the radio ID is only 30 seconds long.

For making records, I only use tube amps. I have a reissue of a Custom Shop Fender Deluxe that sounds fabulous! My first choice is a Mesa Engineering amp with EL 34 power tubes. The 6L6 or 84 power tubes are not good for me. Nothing built today totally replaces tube amps. The simulators are great for cover bands doing a wide variety of songs and covering lots of different guitar sounds during a show.

Songwriting is my favourite part of the music industry, telling stories with the music that brings the stories to life

Musicngear: Can you talk a little bit about your amp setup?

For speaker cabs, I like a 1X12 so the speaker is easy to move and directional. I can point the sound up by leaning the cab back or set it away from my amp and work with the amp controls. I use Mesa in the USA and Victory in Europe. I use nothing over 50 watts for an amp. I like to have the tubes and speaker working at two-thirds or less of the maximum of the rig so I can move from clean to overdrive with my guitar. Pickups can give you a lot more if you work with the volume control to go from clean chords to overdrive solo lead.

I arrive with the amp head, cabinet, and delay pedal along with cables. For touring, travelling, and in general moving gear, small is better because the PA systems with the engineer are handling the house sound.

Musicngear: What projects are you currently working on?

Currently, I am promoting my new album BOUNDLESS, a sixteen-song collection on Cal Bee Music featuring lots of guitar. We have shows in the USA and Europe during 2026 and 2027.

I will be recording two Christmas holiday songs during October 2026 in Brussels at ICP Studios. I release a new album every year and will be writing and recording at the beginning of 2027. Songwriting is my favourite part of the music industry, telling stories with the music that brings the stories to life.

Connect with Brad "Guitar" Wilson
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About Magesh Magesh

Magesh is a musician and producer who has worked with Rihanna, Lionel Richie, Ricky Martin, Chris Brown, The Pussy Cat Dolls, Nelly Furtado, and Vernon Reid of Living Colour. He released an instructional drumming DVD called "Unique Beats" where he mixed the drum kit with electronics and Indian hand percussion. He recently moved from Australia to the UK to explore new musical opportunities.
Website: mageshdrumteacher.co.uk

Contact Magesh Magesh at magesh.magesh7@gmail.com

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