Thinking about taking the plunge and finally learning how to play music? Or maybe you have a child or loved one who’s been begging to get an instrument of their own to learn on, but you don’t know which one to suggest? Well, look no further than the humble ukulele!

First developed around the late 1800s, the ukulele has grown from strength to strength, gracefully weaving itself into popular culture and music in just about every corner of the globe. It’s an instantly recognisable instrument, and in our opinion, ukuleles are some of the best instruments for beginners. So, in no particular order, here are our five reasons why you need a ukulele. But first…

Which type of ukulele should I buy?

Before going into why you should get a ukulele, it’s probably worth mentioning that they traditionally come in four different sizes: soprano, concert, tenor and baritone. It’s a bit like the string family in an orchestra, where instruments such as the violin, viola, cello and double bass each occupy their own range of notes and octaves.

Fortunately, soprano, concert and tenor ukuleles are all tuned the same (G-C-E-A), which means that if you learn one, then you can actually play all three. A baritone ukulele is tuned D-G-B-E instead, and while different, the chord shapes and patterns remain the same. They just have a different name which you’ll have to learn (it’s all part of the fun!).

Here’s more on how they compare:

• Soprano: The classic ukulele shape. It’s the smallest of the ukulele family and has that traditional, sweet sound that put ukuleles on the map.

• Concert: Pretty much the same as a soprano, just a couple of inches bigger which results in a slightly bigger, fuller and richer sound. The increased size also makes it the perfect option for those with bigger hands.

• Tenor: These are even bigger still. They’re tuned the same as the previous two ukes, but the fourth string (G) is tuned an octave lower for a deeper sound.

• Baritone: The largest of the ukulele family and tuned lower than a soprano, concert and tenor. Its big sound is similar to what you’d expect from a guitar, making it ideal for those who want the benefits of a uke but ultimately want something that sounds a bit like a guitar.

It’s also worth mentioning the bass ukulele. While not technically part of the official ukulele family, this modern instrument is a sort of hybrid that blends the typical tuning and low pitch of a bass guitar with the portability and vibe of a ukulele. This makes it great for taking care of the low end in ukulele or acoustic instrument ensembles.

Watch Danish Pete and Sam Bell as they compare (and shred on) a bunch of different ukes!

1. They’re affordable

One of the most enticing aspects of ukuleles is their affordability. With starter ukuleles from reputable brands often costing less than £30, they’re a perfect way to start learning how to play music.

And the good news is that their low price point continues to appeal even as you move up the ladder to more intermediate and pro-level instruments. With solid top and electro acoustic ukuleles available for as little as £100, it’s one of the few instruments where moving up to the next level doesn’t necessarily mean that you have to break the bank.

2. Small, lightweight and portable

Learning any musical instrument can be overwhelming at first. In many ways, it’s comparable to grasping a whole new language, with the added challenge of developing the hand-eye coordination and dexterity needed to navigate the fingerboard.

But the ukulele’s dinky design takes away some of the stress of learning how to physically handle the instrument. It comfortably fits between the arms in a natural position and it’s light enough that it can effortlessly be held up while standing — even without a strap. Its small size also makes it handy for travelling between home, lessons, clubs and gigs.

3. Relatively easy to play

As mentioned above, learning an instrument is challenging. Especially if you’ve never played or tried playing one before. However, the ukulele is one of the easier ones to get something half musical sounding out of. It has a sweet and cheerful sound that leans on the more forgiving side of things, with no scratchy bow scrapes or majorly off-putting noises to worry about.

Low-tension nylon/synthetic ukulele strings feel relatively soft on the fingers too, which means that not as much effort is required compared to other stringed instruments like acoustic guitars and basses. Plus, its short scale length, four strings and easy-to-manage neck mean that getting your head around chord shapes and moving up and down the fingerboard feels much easier than some larger instruments.

4. The perfect gateway to guitar

Although an incredible instrument in its own right, the ukulele is also a great stepping stone to other instruments. Once you’ve built confidence with your right and left hands doing vastly different things and become comfortable with rhythms, chord shapes, scales and patterns, it’s actually quite easy to transfer those skills and developed musical theory knowledge onto other instruments — especially classical guitars and even electric guitars.

5. Great for being social

With the ukulele more popular than ever, picking one up is not only a cool thing to do for yourself but also a brilliant way to open up some extra social doors. Many towns, cities and even villages offer community ukulele clubs where people of all ages get together to learn songs and eventually build up a repertoire with the ambition of performing live.

It’s a nice way to meet new people and really take music back to what it’s for — bringing people together. Many schools also offer ukulele clubs, so your kids can get the opportunity to meet other children outside of their usual classes and friendship groups.

Final thoughts

Learning to play an instrument can be one of the most life-changing, rewarding and fulfilling things anyone can do at any age. It has so many physical and mental health benefits and is proven to help with memory and confidence. Plus, it can be one of the best ways to relax after a tough day at work!

We love the ukulele because it’s one of the simplest, most fun and affordable ways for people to take their first step into playing and making music. And with so many lessons and online tutorials available for free online — what’s stopping you?

Start strumming today!

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Want to learn more?

If you love staying up to date with the latest kit chatter, our gear news page is one to bookmark. Or for full-on nerdy deep dives and practical how‑to guides, check out our learn section.

The post 5 Reasons Why You Need a Ukulele appeared first on Andertons Blog.

You may have just started out playing the guitar or you’re looking to start playing, and you’re probably asking yourself: “Do I need an amplifier to learn the guitar?”

Do I need an amp to learn the Acoustic Guitar?

If you play an acoustic guitar, you do not need an amplifier to practice as the sound is generated from inside the guitar itself. When playing to an audience, you may well want to boost your sound via an acoustic guitar amplifier, and there are various ways to do that, but, if you’re just starting out, you won’t need to worry about that yet!

Beginner Acoustic Guitars

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What Amplifier Options do I have for Electric Guitar?

An amp is a must-have when you play an electric guitar. Unlike an acoustic, an electric guitar’s sound is generated via pickups, which convert vibration into electrical signals. An amp then converts those electric signals into sound. Unplugged, an electric guitar will sound very quiet and quite bland. These are instruments designed to be heard through an amp. The great thing about that is how you can customise your tone to suit the style of music you’re playing.

Luckily when it comes to amps, there are a plethora of options available today for guitarists. Many of these are tailored to beginner players or for practicing more generally.

In the following video, guitar teaching legend JustinGuitar demonstrates the differences between beginner amplifiers.

Here are a few different types of amps you’ll want to try out as a new player:

• Practice Amplifiers – Built to be your perfect partner for all things practice. Practice amps work well at lower volumes and tend to be equipped with smartphone apps that work alongside the amp and contain anything from tone selection, metronomes, a guitar tuner, and even chord charts for songs to help you learn!
• Micro Amplifiers – A micro amplifier does everything the practice amp does, but takes its larger size brother and shrinks it down into a small, compact amplifier packed full of tone.
• Modelling Amplifiers – A digital amplifier that has a range of different tones & effects. This is an especially good choice for those lacking in space. Want to sound like your favourite band? Dial in the exact tone that you like! Read our Ultimate Guide to Modelling Amps for more details.
• Headphone Amps – If you fancy playing with an amplifier but want to practice without disturbing anyone, why not plug in a headphone amp into your guitar. Simply plug a pair of headphones into the amp and you’re ready to go.

Practice Amplifiers

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What Amplifier is Right For Me?

In this video, we demonstrate the differences between some popular practice amplifiers to help you decide what amplifier works perfectly in a home situation – after all, this is where most guitar practice takes place.

Summary

Depending on what type of guitar you want to play dictates whether using an amplifier is needed, however, with the options available to us now, practicing the guitar has never been easier. Practice amps offer great versatility, especially with the handy smartphone apps which work with them to give you the tools you need to learn effectively, and most importantly – fun!

If you’d like to know more, check out these handy articles, guides, and collections:

• The Rising Popularity of Desktop Amplifiers! But Which One Should You Go For?
• A Guitarists Guide to Practice
• Ultimate Guide To Beginner Guitar Gear
• Shop The Best Gear For Beginners

The post Do I Need A Guitar Amp To Learn Guitar? appeared first on Andertons Blog.

In a relatively short space of time, Behringer has gone from being a peripheral player in the synth market to one of its most recognisable names. Whether you’re a first-time buyer looking for an affordable entry point or a seasoned synthesist chasing classic sounds, chances are you’ve come across a Behringer synth.

Their ever-expanding range has helped introduce countless musicians to the world of synthesis, while also appealing to experienced players with faithful recreations of sought-after vintage designs. In a nutshell, their popularity comes down to a few key factors…

Behringer synths are:

• Affordable
• Very accessible
• Excellent sounding
• Great for beginners
• Influenced by legendary designs and historically significant instruments

The machines that changed music

Since the late 1960s, synths became more and more integral to bands, artists and even composers due to their superior sound design and versatility when compared to a guitar or a piano. Instruments such as the Moog MiniMoog and pretty much the whole of Roland’s numbered instruments gave birth to or heavily influenced music at the time. The Roland TR-808 was a force in hip hop, the TR-909 was loved by techno and house artists, and the TB-303 practically gave birth to acid music thanks to Phuture. Van Halen would have never jumped without the Roland Jupiter 8 either! And the Roland SH-101 is still used heavily to this day live by bands like The Prodigy and the Kaiser Chiefs.

We could talk for hours about the influence of some of these machines. But funnily enough, lots of these instruments were commercial flops at the time, with the TB-303 being the textbook example that later became legendary (vintage units now command extremely high prices). This writer has been actively looking for a Roland TR-909 and, at the time of writing, they stick around the £4,500-£5,000. Now, he wants one, but that’s a steep price; is it worth it? Maybe, but that means they’re out of reach for many who want to experience those classic instruments, and this writer is still looking.

Where does Behringer come in?

Behringer has been creating synths ever since their first hit with the DeepMind, which was heavily influenced by the Roland Juno-106. Then they released the Behringer Model D, which was a great analogue synth based on the Moog MiniMoog. Since then, we’ve seen the TR-808 (RD-8), the TR-909 (RD-9), TR-606 (RD-6), SH-101 (MS-1) and even some very obscure and legendary synths such as the Kobol and Wasp.

They give younger musicians the chance to get hands-on with some physical instruments with cool chunky dials and switches, a nice break from some of the mini synths that became popular in the 2010s. Plus, they allow people to use fully analogue instruments away from a PC and invoke some of the inspiration of yesteryear without being tiddly tiny.

Are they full clones?

They aren’t full clones, unlike companies like DinSync or Steda who focus on one-to-one recreations. Behringer instead focuses on bringing the sound as close as possible, but also introducing quality-of-life improvements. A prime example is the RD-8, which features all the sounds produced by the original TR-808 but with knobs that are bumped up in size, making it easier to use. The sequencer is also expanded and redesigned, and the I/O is improved with modern staples such as MIDI and additional controls while being a bit more portable than the originals too. Want another example? Let’s take a look at the TD-3. This is a clone of the Roland TB-303, which gave birth to the sound of acid. The TD-3, for the most part, keeps this quite faithful, including the legendarily complicated sequencer, which is known for being a bit of a happy accident machine. Behringer has brought some welcome improvements, such as some expanded CV connectivity and MIDI so it can easily be sequenced with modern gear and a built-in distortion circuit- distortion unit, you say? Yes, one of the most iconic sounds of the TB-303 was the unit being run through a distortion unit, or heavily driving a mixer, so they included one right on the unit, nice.

Are Behringer synths any good?

Simply put, yes, they are. They’re an affordable way to get into hardware synthesis; they sound wicked, and they’ve been spotted with many professionals. We mentioned them earlier, but The Prodigy and Kaiser Chiefs have both been seen using the Behringer MS-1 live in place of their usual SH-101s. You can very easily build an old-school acid house setup with an RD-9, TD-3 and MS-1 and get jamming with something great immediately.

Enjoyed this?

Why not check out the rest of our industry and learn content? We’ve also collated a bunch of other relevant articles for you below:

• Hardware synths vs. software synths
• Synth 101: a guide to synthesizer terminology
• Desktop synths vs. modular synths
• What makes synths so expensive?
• How to use modular synthesizers

Shop Behringer synths

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The post Why are Behringer synths so popular? appeared first on Andertons Blog.

What Makes a Guitar Sound Good?

Before we tackle the burning question of guitar or amp, it’d be good to get to the bottom of what affects an electric guitar’s sound. How do you get great tone? And subsequently, how important is the guitar in finding your perfect sound?

How Does Wood Affect a Guitar’s Tone?

Now there’s a divisive question. To start things off, yes – wood does affect your guitar sound. That’s apparent when you compare a Fender Tele to a Gibson Les Paul. Ash and Alder sound more mid-focused and spanky, while Mahogany is warm and full of sustain.

Then there’s the neck and fretboard wood. Again, a maple neck is going to have a snappier sound than a Mahogany neck. A Rosewood fretboard will sound warm with plenty of attack when compared to the neutral, balanced tone of Richlite, for example. Consider your preferred musical style, and this will influence your choice of tonewood.

If you’re a hard rock or metal player, you might want an accentuated low end with a tight attack. A mahogany body and an Ebony fretboard would do the trick. Blues or country? Alder body with a Maple neck. It’s that simple!

(below) This PRS Private Stock Modern Eagle V features an eye-catching Quilted Maple top and fingerboard in partnership with a Swamp Ash neck and body for an open tone that’s full of sustain, as well as a beautifully articulate and snappy top end.

Want to know more about Electric Guitar Tonewood? Read our article on it here.

How Important are Pickups for a Guitar’s Sound?

The tone of a guitar is a team effort. Woods, strings, hardware – and of course, pickups. Pickups detect the vibrations of your guitar strings and convert them into an electrical signal for amplification.

This essentially makes pickups the bridge between your instrument and the amplifier. With this in mind, they could be considered pretty important. That’s why there are so many different varieties on the market, from single coil, humbucker and P90 to specific models like EMG 81s, Seymour Duncan Hot Rails, Lace Sensor Reds and many more.

These varieties each offer something different. A Mahogany guitar with a single coil in it will sound drastically different to a Mahogany guitar with a pair of EMGs. We’d go so far as to say that pickups make a pretty big difference! For more info on electric guitar pickups, check out our Ultimate Guide here.

How Do I Get the Best Sound Out of My Guitar?

There are a number of things that you can do to make sure your guitar is sounding top-notch – no matter how much it costs.

1. Fresh strings – spend a few weeks or months with the same set of strings and you forget the glorious tone of a fresh pack. Treat yourself and your instrument to new strings at least every few months.
2. A decent setup – setting intonation, action and truss rod can make a huge difference to the resonance and sustain of your guitar.
3. Find the perfect plectrum – struggling to lay down those gnarly riffs? A 0.75mm plectrum won’t do you any favours. Spend some time finding a plectrum that suits your hands and your style – you’ll be amazed at the difference!
4. Practice – yep, we played the most obvious card. Practising improves strength and familiarity, ensuring that your playing sounds clearer and more confident as time goes on.

(below) Taking time to setup your guitar makes a big difference to its sound – and to the way it feels. Check out our repairs and service page for more info!

Bonus Round: the Hands of the Player!

It’s all very well and good considering the make-up of a guitar, but the player is half the battle. Jimi Hendrix’s Strat probably wouldn’t have sounded like it did without Jimi himself at the helm.

Your technique and approach to playing will make a huge difference to the sound of your guitar. A Strat guitar sounds just as good with Mark Knopfler playing it as it does with Eric Johnson. The point being that you have the ability to influence the sound of your electric guitar, just as it much as it has influence over you. Want to use single-coils for metal? Fancy using a hollow-body for punk rock? Own it! But make sure you do your research first…

Looks vs. Feel vs. Sound – What’s More Important?

Though not everyone will admit it, we all care about how our guitar looks – some people perhaps a little too much. In most cases, you’ll see a guitar before you hear it, so it’s got to look the part. Ask yourself this: would you buy a pretty guitar that sounds bad or an ugly guitar that sounds great? Food for thought.

Then there’s the way the guitar feels. This is often a real deal-breaker for players. Your guitar is your instrument, your tool of creative expression. You need to feel comfortable with it. It needs to respond to you, and it needs to allow you to realise your musical ideas – with this in mind, you have to feel totally at home with it.

We’d absolutely always recommend trying guitars before you buy, if possible. Nothing compares to feeling the thing in your own hands – most players know very quickly whether or not they’ll get on with a guitar. At Andertons Music Co, we’ve got a number of sound-proofed demo rooms and playing areas for this exact purpose.

If you don’t have a chance to explore the feel of a guitar, you could make an estimated guess. Mahogany bodies tend to be heavier, satin finished necks are often easier to play, thinner neck profiles are faster still – and so on!

What Makes an Amp Sound Good?

We’ve explored the things to consider when shopping for a guitar. So how about amps? Let’s dig a little deeper to see if we can answer our question.

Do I Need a Valve Amp or Solid State Amp?

One of the most common things you’ll come across when looking at amps is the pros and cons of valve amps vs. solid state amps. Valve amps are powered and amplified using vacuum vales (or ‘tubes’), while solid state amps use electronics (transistors and similar components) to make noise.

Many guitarists swear by valve amps. Vacuum valves produce a warm, dynamic tone that handles volume extremely well. By comparison, solid state amps aim to reproduce similar tones, but many musicians can easily tell the difference. If you crank a distorted valve guitar amp alongside a distorted solid state amp, you can generally hear a difference in clarity and warmth – though this is subjective and depends on the amps in question.

So, are valve amps better than solid state amps? While valve amps arguably produce a richer sound, they tend to be more expensive. Not only that, but vacuum valves are generally considered to be a little more fragile – they need to be looked after! Valves will degenerate in terms of sound quality as they age, while solid state amps remain consistent. If you’re looking to play at high volume and make the most of dynamics in your tone, valves are always a good choice. But for practice and home use, solid state amps get the job done and tend to be a bit cheaper.

Combo vs. Stack

A guitar amp stack consists of at least two components: a head and a speaker cabinet. You can always add more cabinets to this sort of setup if you feel like making more noise or looking like more of a rockstar.

A combo guitar amp, as the name suggests, combines both of these components into a single unit. Combos provide you with both consistent tone and volume without the need for any external speakers. On the flipside, stacks are more versatile in that they can be chopped and change to find your own sound. This also comes in handy when gigging – you can easily show up to a gig with an amp head and use a shared backline.

You can find out more about amp combos and stacks here.

Do Speakers Make a Difference to Guitar Tone?

To this, we can safely say yes. Different speaker sizes, materials and configurations can have a huge effect on tone. If you listen to a preamp or distortion pedal without a cabinet, it often leaves a lot to be desired.

If you’d like to know more about the different types of guitar cabinets on the market, check out our article here!

Does Volume Affect an Amp’s Tone?

This depends on a number of things. First of all, valve guitar amps tend to sound a little hotter and more responsive at loud volumes because the valves are pushed to operate at a higher temperature. This is essentially the cause of natural overdrive, as your signal starts to break up and distort in an organic way. Many guitarists consider a cranked, overdriven valve amp to be something of a tonal holy grail.

Then there’s a guitar amplifier’s power rating, or wattage. This determines the amp’s capacity to handle volume; the higher the rating, the higher the volume can go without sounding rubbish. That’s why low wattage solid state amps tend to sound a little flat at high volumes. Higher wattage amps tend to cost more because they can handle more – making them better for gigging or recording at high volume.

Bonus Round: Modelling Amps!

If you’re working digitally via a computer, modelling amps are certainly a thing to consider. Using sophisticated software, modelling amps aim to replicate the sound and behaviour of real amps and can provide fantastic results without the need for a bulky setup. Will they sound totally convincing compared to the real thing? A trained ear will arguably notice the difference, but again, it completely depends on what’s important to you personally. For practising at home, or even home recording, modelling amps make a lot of sense.

Summary: New Guitar or New Amp?

So we’ve established what to look out for in a guitar and an amp. We’ve boldly gone where no guitarist has gone before – well, not quite, but we like being thorough.

There’s an awful lot that makes a difference to the tone of your guitar and amp. But more importantly, different components in your rig have varying effects on your tone and on your playing experience.

Many will say that a bad guitar into a great amp might just sound nice, while a great guitar into a bad amp probably won’t. But you’ve missed a number of crucial details. How does the guitar feel? How does your rig look? Will you be gigging or practising, or both? What sort of style do you play? Each of these questions emphasises the importance of your guitar and amp in different ways. Without your amp, your guitar is nothing. Without your guitar, your amp is nothing. In summary, consider these points when making your choice:

• Sound – do you prefer clean or distorted? Warm or bright? Or a decent all-rounder?
• Feel – this only really refers to the guitar but is extremely important. As mentioned earlier, your guitar is your musical tool – you have to be totally comfortable with it.
• Looks – we all want to look the part. Again, the guitar arguably plays a bigger role here.
• Volume – while some guitars offer more output, volume is largely dependent on the amp. Will you be gigging? Practicing? Louder amps tend to cost more, depending on their design!
• Style – requirements for metal will be different to requirements for jazz fusion. With jazz and blues, you may want a little more dynamic versatility, while metal is a bit more straight to the point!

So what matters most to you? The above should help point you in the right direction. Your amp is crucial to your musical style and the volume you’ll be playing at, while your guitar has a direct effect on your playing experience and tone. There’s no right or wrong answer!

A final thought: here’s Chappers and the Captain with their take on the question:

We hope you enjoyed exploring with us. Want to learn more? Check out some more interesting content right here.

The post Should I Spend More On a Guitar or an Amp? appeared first on Andertons Blog.

Learning guitar can be one of the most rewarding hobbies you’ll ever pick up. Whether you’re 17, 37 or 77, there’s no expiry date on making music. Thanks to affordable beginner instruments, great-sounding practice amps and an endless supply of online lessons and resources, there’s never been a better time to kickstart your guitar journey.

If you’re just starting out, no matter your age, here are our top tips for learning to play guitar as a newbie…

Manage your expectations and enjoy the process

The most important thing when learning guitar is to keep your expectations realistic. No one becomes a rock star overnight. Even teenagers jamming away in their bedrooms have had to put in the hours to develop their skills.

There’s no doubt that improving at guitar takes practice, but progress comes from consistency, not cramming. If you’re short on time, make the most of the time you do have. Practising for 20 to 30 minutes a day will take you much further than saving everything up for one long weekend sesh.

And whatever schedule works for you, don’t forget to actually enjoy the process. Playing guitar has loads of benefits beyond simply learning a new skill. There’s nothing quite like sitting down and playing a song you’ve learnt or finally mastering a piece you’ve been working on for a while. It’s a rewarding challenge that can be a lot of fun, and who knows, you might even end up writing songs of your own one day!

But above all else, don’t rush. The joy of playing guitar comes from the small victories: learning your first chord, playing along to your favourite song or coming up with a new riff. It’s a fantastic creative outlet that can fit into almost any lifestyle.

Shop affordable guitars and gear for beginners

One of the best things about learning guitar these days is how affordable and reliable entry-level gear has become. Brands like EastCoast, Squier, Ibanez and Jackson all produce excellent beginner electric guitars that sound and feel great without costing a small fortune. Many even come as part of handy electric guitar starter packs, complete with a practice amp and all the guitar accessories you need to start playing.

Here at Andertons, we stock a wide range of beginner-friendly guitars and instrument bundles, so it’s easy to find the perfect axe to inspire you without breaking the bank.

Best electric guitars for beginners

Some of our top starter electric guitars include:

• EastCoast electric guitars: Plenty of budget-friendly models based on legendary designs with impressive build quality for the price.
• Squier Sonic Series guitars: Iconic looks and flexible tones, making them a great fit for everything from rock and funk to indie and pop.
• Jackson JS Series guitars: Perfect for aspiring rock and metal players, with slim necks, aggressive styling and a powerful sound.
• Ibanez GIO Series guitars: Stylish, comfortable guitars with versatile electronics and a range of cool colour options.

Ready to start rocking?

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Best acoustic guitars for beginners

Here are some of our favourite starter acoustic guitars:

• EastCoast acoustic guitars: Affordable, comfy to play and available in a range of steel-string and classical options, making them an excellent choice for complete beginners.
• Alvarez Artist Series guitars: Well-built instruments with impressive projection, rich tone and great playability, offering exceptional value for money.
• Fender acoustic guitars: Stylish, dependable acoustics that are easy to play and available in a variety of body shapes to suit different players and musical styles.

Superb starter strummers

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Make the most of practice amps and modern tech

Gone are the days when you needed a big, noisy amp to get a half-decent sound. Thanks to modern compact electric guitar amp combos and modelling amps, it’s simpler than ever to get amazing tones at low volumes, or even through headphones.

Options like the Boss Katana Series, Fender Mustang LT25 and Positive Grid Spark 2 are hugely popular with beginners with their built-in effects, Bluetooth connectivity and intuitive controls. With a small practice amp, you can jam quietly at home, play along to backing tracks and experiment with different sounds, all without needing a huge setup.

Pick up a practice amp

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Use guitar learning resources

Alongside modern guitar gear, the other area that’s come on leaps and bounds in recent years is resources for learning guitar. Whether you prefer one-to-one guidance or learning at your own pace online, there are more options than ever right at your fingertips. For example, you can:

• Take lessons with a teacher, either in person or over video call.
• Explore free content on YouTube, or follow structured courses from platforms like Fender Play, JustinGuitar and Yousician.
• Use smartphone apps for tuning, chord charts, metronomes and tracking your progress.

Pros and cons of different guitar learning options

As you can see, there are plenty of ways to learn guitar, and each comes with its own advantages and drawbacks:

• Traditional teacher (in-person): Offers personalised feedback, structured lessons and accountability, but can be more expensive and less flexible when it comes to scheduling.
• Remote teacher (video call): Provides many of the same benefits as in-person lessons, with the added convenience of learning from home. However, it still requires regular scheduling, plus a reliable internet connection!
• YouTube tutorials: Free and available on demand, making them a great option for beginners. The downside is that quality can vary, and there’s no one to spot mistakes or help you avoid bad habits.
• Online learning platforms: Structured courses with interactive features and the flexibility to learn at your own pace. On the flip side, they can lack the personalised guidance of a dedicated teacher.

Don’t get down (many famous guitarists started later)

Still think you’re too old to learn guitar? Think again. Here are just a few examples of guitar icons who didn’t even pick up a guitar until a little later in life:

• Tom Morello (Rage Against the Machine, Audioslave) only started taking guitar seriously when he was at college.
• Glenn Tipton (Judas Priest) didn’t pick up the guitar until his late teens.
• Wes Montgomery, one of the most influential jazz guitarists of all time, didn’t start playing until he was 20.

If they could all go on to shape entire genres, there’s every reason to believe you can learn to play your favourite songs, join a band or compose music of your own.

Essential tips for learning guitar as an adult

With so many tools and resources available today, learning guitar has never been more accessible. As we’ve discussed, there’s a plethora of learning material online, much of it completely free. And if you’d prefer to go the traditional route, there are still loads of experienced guitar teachers out there who can help take your playing to the next level, either in-person or remotely.

If we had to condense our advice into a few essential tips, these would be our key takeaways:

• Learn songs you love: Scale exercises are important, but don’t forget to learn a few of your favourite songs along the way. It’s a great way to stay motivated and keep practising fun.
• Be patient with your fingers: There’s no getting around it, your fingers will feel clumsy at first. You might even find they get sore and tired. But stick with it, and your strength and dexterity will improve over time.
• Balance practice with life: Life has a habit of getting in the way, so keep your practice schedule realistic. Even short, regular sessions can make a big difference.
• Don’t compare yourself to others: It’s easy to be impressed by players on YouTube and social media, but everyone progresses at their own pace. Try to focus on your own improvement rather than comparing yourself to somebody else’s highlight reel. Just keep pushing, and you’ll be amazed how far you can go!

Final thoughts

No matter your age, you’re never too old to start playing guitar. With affordable gear, powerful practice tech and more learning resources than ever before, all you need is the willingness to pick up a guitar and the motivation to keep going.

Take things one step at a time, enjoy the process and celebrate the small wins along the way. Before long, you’ll be playing your favourite songs and discovering just how rewarding making music can be.

Ready to get started? Check out our huge range of beginner instruments, including electric guitars, acoustic guitars, bass guitars and classical guitars.

FAQs

Am I too old to learn guitar at 40/50/60?

Not at all. Many people start in their 40s, 50s or even later. Consistency and enjoyment matter far more than age.

Will my fingers be too stiff to play guitar?

It will probably feel awkward at first, but with regular practice, your fingers will gain the strength and flexibility they need.

Should I start on acoustic or electric guitar?

Choose the one that suits the music you want to play. Acoustic guitars are great for strumming and songwriting, while electric guitars are more versatile and easier on the fingers.

Do I need a teacher, or can I learn online?

Both options are still valid. A teacher can provide tailored guidance and may be better at keeping you accountable, but plenty of people successfully learn using online courses and apps.

How long will it take to learn my first song?

With regular practice, many beginners can play a simple song within a few weeks. The key is to focus on consistency rather than trying to learn everything at once.

What’s the best affordable beginner guitar?

Models from EastCoast, Squier, Yamaha and Epiphone are popular choices for new players, thanks to their combination of quality, playability and value for money.

Can I practice guitar quietly in a flat or apartment?

Yes! A small practice amp or amp modeller with headphones makes it easy to play without disturbing your neighbours. You can also just keep the volume low when playing through a speaker.

Is it harder for adults to build calluses?

Not really. Calluses will form naturally as you practice, regardless of your age. Regular playing is more important than how old you are when you start.

How much should I spend on a beginner guitar and amp?

You can get a great starter setup for a few hundred pounds. For the best value, consider a starter pack that includes a guitar, practice amp and essential accessories such as a strap, picks and a tuner.

What if I only have 15 minutes a day to practice?

That’s totally fine. Short, consistent practice sessions are often more effective than occasional marathon sessions. Even 15 minutes a day can lead to steady progress over time.

Want to learn more?

Our Learn section is packed with helpful guides, buying advice and tutorials for musicians of all experience levels. Or browse our Gear News section to discover the latest product launches and industry updates.

The post Am I too old to start learning guitar? appeared first on Andertons Blog.

What is an acoustic guitar top?

Tonewood is an integral part of what gives an acoustic guitar its unique sound, defining the tonality, presence, overtones, vibrations through the body, and the overall volume of the instrument. The neck, fretboard and body of an acoustic guitar can be made of different woods, each one complementing the other.

One of the most important components of an acoustic guitar’s body is the top wood, also known as the soundboard. This is the piece of wood that makes up the face of the guitar. It’s one of your acoustic guitar’s first points of contact with the strings – the vibrations reach the rest of the body via the bridge and the top wood. It’s also the home of the bracing and the soundhole, both of which also shape the sound of your instrument.

Along with deciding on the shape of an acoustic, guitar builders pick from a variety of types of woods, with all sorts of traditional exotic options on the table providing different tones. In an ever-more competitive beginner-to-intermediate market, many manufacturers also turn to laminated woods over solid woods to make more budget friendly instruments. So, what’s the difference? Let’s take a closer look.

What is a solid top?

A solid top is essentially one piece of wood. This wood has been carefully selected, cut, carved and fitted, but always comes from a single source from the timber to the instrument.

You’ll know if an acoustic guitar has a solid top by looking carefully at the soundhole; because the guitar soundhole has been cut into the wood, you’ll be able to see a cross section of the grain when you look at the edge (see image below).

Occasionally, the solid piece of wood is divided into two and mirrored. You’ll notice a distinct divide in the middle of a guitar top when this is the case.

What is a laminated top?

A laminated top is made of more than one piece of wood. These much thinner layers are joined together using a combination of heat, pressure and adhesives, depending on the manufacturer. The process is common practice as it allows a manufacturer to increase their output while using less wood – a win/win in terms of both cost and build time.

For example, a builder takes a single piece of mahogany and divides it into four thin laminate layers. They’ve now got enough four acoustic guitars with rich mahogany tops, all of which came from a one piece of wood. What this also allows is the use of cheaper materials to make up the rest of the laminated wood. Because you can’t see what’s underneath the top layer, it could be anything from maple to plywood to plastic resin.

If you look at the soundhole below, you can just about make out the different layers of wood – the grain from the top doesn’t continue all the way through.

What is a veneer?

The term veneer is often used to describe the top (or visible) layer of laminated wood. While the layers underneath might consist of cheaper/composite materials, you still want it to look good. As mentioned above, manufacturers will take a nice-looking (and thin) layer of mahogany, maple, koa – whatever takes their fancy – and apply it to the top of the laminated wood. This ensures an organic appearance but uses less wood and a less complicated process.

Do solid and laminate tops look different?

The visual difference between laminated and solid tops is a divisive issue for acoustic guitarists. Many argue that the difference is marginal, as it’s essentially the same wood being used except veneers are thinner. Either way, the wood is picked because it looks great – you’ll rarely see a flawed top on an acoustic guitar as lot of builders like to make acoustics with a natural finish. Others argue that a piece of wood chosen for a veneer will be cheaper, and therefore not as pretty

What do you think? Below: a laminate top on the left and a solid top on the right – both are spruce.

Do laminate and solid tops sound different?

The sound is where the debate really heats up. Is there a difference in sound quality between solid and laminated tops? Given the fact that acoustic tops (soundboards) play such a vital role in the sound of your acoustic guitar, I would go so far as to say – objectively – yes.

A solid piece of wood has a consistent grain and density. Because of this, you tend to get good sustain and a richer resonance. Different types of woods offer different tonal flavours, but if it’s a solid piece, it’ll benefit from these factors, even if the overall sound is or isn’t to your liking.

An overlooked factor is that solid tops can age and will therefore increase in resonance as they get older. Veneers will not age in the same way because it’s a combination of different woodcuts and you simply don’t get the same effect.

The best acoustic guitars in the world are all made with solid tonewoods – it’s as simple as that. However, if you like the sound of a certain, it doesn’t matter what it’s made from, right? While solid tops offer a more resonant sound, you may simply prefer a laminate-topped acoustic guitar. That part is totally subjective!

What about durability?

It’s a well-known fact that guitar made of solid woods are susceptible to temperature changes, humidity and age. Because solid wood relies purely on its own sturdiness and thickness (and its bracing), it can fall prey to cracking, warping and other side effects.

If you’re a guitarist who’s always on the move, or for whatever reason you find yourself playing your acoustic guitar in extreme climates, you may want to consider the implications of travelling and gigging with a solid-topped guitar.

Laminates tend to survive better in their battle against the elements. Because they’re comprised of multiple layers and go through a combination of heat, pressure and adhesive processes, they’re more resilient. It’ll take quite a lot more than rapid changes in temperature and the odd long-haul flight to do damage to an acoustic guitar’s laminate tonewood.

Are solid tops more expensive?

For the most part, yes. If a certain piece of wood is selected for a solid top of an acoustic guitar, chances are it’s of the highest quality in every respect. It’ll look stunning for starters, meaning a lengthy selection process with eagle-eyed precision for flaws. It’ll also sound excellent, as we’ve discussed – solid tops are something of a tonal holy grail for acoustic luthiers. Finally, the wood used for solid tops tends to be ethically sourced from a sustainable supplier. This ensures that the wood is of excellent quality, that the trees are in good health and that the company does their bit to protect the environment.

We did say for the most part – many manufacturers manage to strike a balance between quality and affordability. Companies such as Yamaha, Fender, Alvarez, Faith Guitars and Sire understand the tonal importance of top woods, and the importance of making sure every player is catered for. Many of these guitars are well under £1000, each one with its own solid top. This means brilliant sound, stunning looks and a sensible price tag. A good deal if you ask me.

Want to know more about specific acoustic guitar tonewoods like maple, mahogany and spruce? Check out our full Acoustic Guitar Tonewood Guide!

Interested in finding out more about music gear to expand your knowledge? Browse all of our Learn articles.

Shop all acoustic guitars

The post Acoustic Guitars: Solid Tops vs. Laminate Tops appeared first on Andertons Blog.

Founded in Los Angeles in 1989 — at a time when spandex-clad shredders were tearing up the Sunset Strip and rocking refrigerator-sized rackmount rigs — Fryette Amplification (formerly VHT) has earned a reputation as one of the industry’s most respected builders of premium valve amps, guitar cabs and attenuators.

The company first made its name with cutting-edge power amps that became staples in the setups of players like Steve Lukather (Toto), Dean DeLeo (Stone Temple Pilots) and Page Hamilton (Helmet). It later expanded into high-gain, multi-channel amplifiers with the Pittbull Series, a range still going strong more than 30 years on, alongside the Deliverance Series — clean-to-mean amps that distil the signature Fryette sound into a stripped-back, single-channel design with immense power and dynamic range.

We were lucky enough to catch up with Steven Fryette himself to talk about what inspired him to start making amps, the products he’s proudest of and why the Power Station line of load boxes has resonated with so many modern guitarists.

10 questions with Steven Fryette

1. What first inspired your fascination with guitar amps and what led you to start building your own designs?

I grew up in a home where music was a constant. My father loved classical guitar and my mother plays piano to this day. They bought all the latest records from artists as varied as Elvis, Nat King Cole and Edith Piaf. The radio was always on and from the time I was 10 years old, American Bandstand, The Mahalia Jackson Show and The Liberace Show were part of my daily musical diet.

One day when I was around seven or eight, my uncle brought me his old Erector Set, which I still have, and I learned to tinker on that. When I was around 12, my older brother Jim and I started playing music together. He adopted the guitar and I chose the drums because, you know, Ringo.

Jim’s first amp was a National 1210 with a cool big chrome volume knob. I had already started exploring basic electronics at the local library and I couldn’t wait to get the screws off that amp to see what made it tick. That’s what started it all. After that, I cracked open anything with the irresistible smell of hot tubes and “hazardous voltages inside”. That and music were my twin muses that still drive everything I do to this day.

2. When you founded VHT in the late ’80s, what did you want to do differently from other amp brands?

After transitioning from drums to guitar, I spent my time doing repair work and playing in bands. From that experience, I started getting a sense of what did and didn’t work for me and why. I also got a very keen sense of how the term “quality” was interpreted by the companies that produced the gear and the players that used that gear.

That led me to seek out what seemed to me to be the best gear for me develop my playing and the most compelling to understand electronically. Of course, having the opportunity to tear apart everything that came into my shop and get paid to do it was a gift from Heaven, really. And from that, I learned how things were generally done for better or worse.

So, to answer your question, I didn’t start out thinking about what to do differently so much as which of the designs or functional elements in products I’d already encountered could be blended into something that would allow me to tap into the sounds in my head, and the features that I needed instant access to in one box. So many of my peers at the time were consumed with modding Fender and Marshall amps, and that was of zero interest to me.

Initially, I wasn’t trying terribly hard to sell my work as much as I was trying to obtain what had thus far been unobtainable to me at any price. That morphed into a philosophy in which finding a solution for a problem I personally needed solved could become a real-world solution for my friends, and a growing list of clients who saw or heard something they hadn’t realized they were looking for. I suppose what I wanted to do differently was pretty much whatever anyone else was doing.

3. How did your approach to high-gain amp design differ from what others were doing at the time?

Simply put, I don’t hear “sounds”. I hear an orchestra of fundamentals, harmonics, dynamics and space. I wasn’t trying to get “the most gain” or a particular kind of gain. I was after whatever it was that kept that orchestra intact, and I came to understand that it was all about balance.

I listened to Pete Townsend and I heard all these gorgeous ringing, sparkling booming things simultaneously, and they always seemed to be in more or less perfect proportion. That’s why I love big amps. It’s not all about volume. It’s about balance. Everything about the instrument, amplifier and the space you’re in are ideally working together to create this immense experience.

For “gain” to be meaningful, it must be useful within whatever musical genre or context to which it’s applied. There can be a point of diminishing return in that, especially with respect to gain, so I’m genetically inclined to avoid pushing that envelope beyond the point of more simply for the sake of having more. When it gets to the point where you’re compromising whatever else you might do with this amp in service of more gain, then the whole design functionality is diminished.

4. What do you think made the Fryette Pittbull Series such an influential amp range?

Our sonic and cosmetic signature is recognisable and unique. You can pick it out a mile away. We were early enough in the specialist amp field to be able to create a distinctive voice, and to apply some discipline to achieve that and maintain it.

I always feel that I start the design, but eventually it will tell me where it wants to go. I never interfere with that impulse.

It’s so easy to just say “okay, here’s another flavour of brown”, and a lot of players will rush to get in line for that. We’ve been asked many times to produce an amp that represents “our take on Marshall”. And my reply is “that’s what we’ve been doing all along”. What Marshall, Fender or Mesa/Boogie represents is unique to them, and so it is for us as well.

I’ve made it my mission in life to navigate away from that crowded field simply because I hear things a certain way, and nobody is going to convince me that the “easy money” is worth discarding what my intuition tells me is our most important and valuable asset.

5. How did the rackmount revolution of the ’80s and ’90s shape your products and philosophy?

That was a classic case of pure dumb luck and being in the right place at the right time. My prior experience and many thousands of hours exploring how guitar power amps behave allowed us to offer not just a product, but a sonic approach that made a rack rig inspiring to play.

I made an assessment that loads of rack gear in a complex signal chain robbed tone and dynamics, so the right power amp could restore and enhance that lost magic rather than simply colouring the sound, which is what a typical guitar power section mounted in a rack chassis would be doing. By making something completely from scratch, I wasn’t constrained by any preconceived rules or outcomes.

All the best players and biggest bands were accessible to us, and they were always interested in the next hot development. I brought a rat’s nest of a power amp prototype to a couple of the most respected guitar shops in the area expecting a lot of advice and criticism to apply to the next attempt. What I left with was a handful of orders for a conglomeration of parts in a box that now needed to become a reality, and fast.

Our destiny was shaped by necessity, which is an enviable position, and especially so at that time. We could make our own rules. Randall Smith, whom I had already met while doing Mesa warranty service, told me he was blindsided by our power amps because all of his people were telling him not to put sound altering controls on the front panel, and now people are choosing VHT power amps doing the very thing he thought would be considered some kind of blasphemy.

6. You’ve worked with some huge artists over the years. Who had the biggest impact on your products and the way you think about tone?

While we do have a pretty deep roster of well-known and respected artists, they don’t necessarily have direct input or influence on product design in general, or my ideas about how things should work or sound. Sorry if that sounds a bit arrogant, but the artists that inspired and influenced me and my thinking about design and sound are the same as those who inspired and influenced how every musician plays and creates.

That not only covers any genre or time period, but applies to any instrument, not just guitar. Hendrix wanted to sound like a sax player. Jack Bruce’s overdriven bass melody lines sounded like a cello ensemble in a classical orchestra. Gregorian chants… The well that we all draw from to invent or reinvent music provides the stuff that goes into the design of a piece of equipment that’s intended to enable a creative musician to invent.

I certainly listen to what contemporary players play, but more often than not, I’m thinking about what they could do if they had access to X. I’ve had the opportunity to play in places where the likes of Jeff Beck, Jesse Ed Davis and Dick Dale either stopped and listened, smiled appreciatively, complimented me or started a conversation. The conversation can involve anyone great or small. But what’s important is that the conversation is what gets the wheels turning.

7. The Fryette Deliverance Series has become something of a cult classic. What was the original vision behind it?

Our general manager, Eriko Fryette, is a seasoned musician, educated graphic designer and long-time vinyl junkie with an incredible ear and an inquiring personality who asks lots of questions. She’s been very influential in the development of our design ethos. By the early 2000s, we were growing weary of constant requests for more features and functions on every new amplifier model, only to face criticism over the resulting complexity of the design.

Eriko asked me to demonstrate what I felt was our signature sound. She questioned whether or not it was possible for an amplifier with a limited feature set to achieve whatever that was. That seemed like a no-brainer to me, as long as players would accept the fact that one would have to work a little harder to make such an amplifier work for them and then be satisfied that it wouldn’t easily morph into something else at the flick of a switch.

I said players do it all the time with vintage amps, so there’s no inherent limitation in our designs for such a player using our gear. I demonstrated what I meant by dialling in a range of sounds and styles with different instruments creating a variety of clean, mid-gain and overdriven voicings using only the rhythm channel on the Pittbull CLX. When she asked me if we could build something like that, I said it was just a matter of stripping out a lot of bells and whistles first and then see if things still sounded familiar.

That initiated the project. Just a simple “what if” that became this stripped-down beast that somehow didn’t lose anything in translation. Later during a staff meeting, we were kicking potential model names around and, you know, it was every bit as boring and painful as a group of guys trying to name a band. After a while, I just dropped the first thing that came to mind. The word Deliverance came out, and everybody stopped talking all at once. One guy just said “oooh”, and that was it — which is often how things work here.

Sting once said that when you’re looking for inspiration, you simply need to “keep your antenna switched to input”. I loved that. These things take on a life of their own and you have to be willing to let that process play out. I always feel that I start the design, but eventually it will tell me where it wants to go. I never interfere with that impulse.

We all expected that there will be fans and haters anyway, and to drive the point home, there would be no footswitch or FX loop. You were going to live or die by whatever it is as a creative musician that drives you, and that’s all there is, isn’t there? We even made a Deliverance T-Shirt that said “Are you afraid?” on one side and “Play or die” on the other. The reaction ran the gamut, of course, and we greeted it all with acceptance. We did what we believed in and that amp was proof of our commitment to everything we care about. The rest is up to you, the player.

8. How did the idea for the Power Station come about, and why do you think it’s resonated with so many players?

The Power Station was a project where we went off script. What I mean is, we try to avoid getting caught up in the latest trends, but when I saw how much frustration there was out there for an attenuation device that really worked, I followed the advice of my longtime friend Pat Quilter, who says “sometimes you do a thing because it just needed to be done”.

I still pinch myself 10 years on now knowing that every day players are just discovering the Power Station.

We had just released the LX II power amp when a new attenuator appeared to be close to hitting the market, for which a lot of well-known players were throwing down significant deposit money. Then the product and the creator disappeared and I thought “what a wasted opportunity”, and I didn’t see anyone stepping into the breach.

Just for fun, I built a reactive load and started thinking about how it would behave under a variety of load conditions. That got boring really fast because there were way too many compromises, and I immediately saw how complicated and expensive it would be to build. But I still wanted to evaluate the load behaviour, so I fed an amp output into the load, added a pad to drop the signal down to line level and fed that into the LX II power amp and a cab. I played one open E chord and the hair on the back of my neck stood straight up.

I then brought in some of the crew to listen to make sure I wasn’t imagining things, and they all had the same reaction. Just wide-eyed excitement. That’s when I knew this was going to be something special, and that’s why I think it resonates. You don’t have to think about it or explain it. You just plug in and you’re immediately having fun, and who cares why. It’s agnostic about which amp you’re using, so everyone has the same experience: “where have you been all my life?”. I still pinch myself 10 years on now knowing that every day players are just discovering the Power Station.

9. Which amplifier design are you personally most proud of, and why?

The Deliverance, hands down. It makes me happy and it always sounds good no matter my mood or motivation for turning it on. If I want to try something new or different than what I usually play, it’s right there and ready to go. I never have the feeling that it needs something more. There are diehard Deliverance players out there and honestly nothing is better than that.

10. What’s next for Fryette Amplification?

Besides having released the Valvulator Mini just this month, there are six new products in development as we speak. Please accept my apologies for not being able to share details at the moment. It’s very hard to hold back my desire to leak tidbits, but if I shoot my mouth off, anxious players will want to know what’s up and they’ll want to know right now.

We’re busy little bees operating on several tracks simultaneously, so it’s never boring or a chore. We’re really enjoying our little sandbox doing all kinds of fun things that will surprise and please a lot of players.

Follow Fryette Amplification online

If you’re now a big fan of Fryette, stay in the loop with their latest news, product launches and more:

• Subscribe to Fryette Amps on YouTube
• Follow @fryetteamps on Instagram
• Follow @FryetteAmps on Facebook

And while you’re here, don’t forget to bookmark the Andertons Blog. Whether you’re looking to sharpen your guitar knowledge, explore iconic gear stories or keep up with the latest gear news, we’ve got plenty more to dive into.

Find your Fryette!

Shop all Fryette amps

The post Fryette Amps: interview with founder Steven Fryette appeared first on Andertons Blog.

With many UK schools facing budget cuts, music is unfortunately one of the subjects feeling the impact. Here at Andertons, we’re passionate about helping people of all ages discover the joy of playing, and we strongly believe every child should have the opportunity to experience the benefits of music education. After all, we’ve been Making Musicians Since 1964.

In this blog, we’ve rounded up 10 ways learning a musical instrument can help children grow, from boosting creativity and confidence to supporting academic development and social skills. Whether your child’s picking up a guitar, a pair of drumsticks or taking their first piano lesson, they’ll gain skills that can stay with them for years to come.

1. Creates a productive hobby

You might think it’s too early to talk about the long-term benefits of learning an instrument, but speaking from experience, the impact can last well into adulthood. I’ve played electric guitar for more than 20 years, having started out on a children’s guitar when I was 11. And looking back, learning an instrument gave me far more than just a hobby. It taught me the value of practice and dedication, and helped shape many of my interests as I grew older.

Having a hobby from a young age can also help children discover their passions and talents. Whether that influences the subjects they choose at school, the friends they make or even the career path they follow later in life, music can play an important role in their personal development. Plus, it’s a great way to get them away from their screens for a while!

2. Keeps boredom at bay

Before I took an interest in music, I often found myself glued to my Game Boy playing Pokémon. And don’t get me wrong, video games are great fun and can be a brilliant way to unwind or stay connected with friends. But when I discovered the guitar, I found something that kept me engaged in a totally different way.

Learning an instrument as a child gave me a creative and productive outlet that I could always come back to. Practising songs, learning cool new techniques, setting myself fresh challenges — there was always something to work towards.

That’s one of the great things about music: there’s no finish line. No matter how much you improve, there’s always something new to discover.

3. Develops discipline

One of the most valuable lessons that comes with learning an instrument is discipline. Improving your skills takes time, consistency and commitment, whether that’s practising chords on a guitar, learning scales on a piano or nailing a beat on the drums.

For children, developing discipline early can have lasting benefits. Setting aside regular practice time helps build good habits, encouraging them to stay focused and work towards long-term goals. These are skills that can prove useful at school and later in life.

And with discipline comes patience. Progress doesn’t happen overnight, and some techniques can take weeks or even months to master. Learning to embrace that process teaches kids the value of perseverance and helps them understand that getting better at something takes dedication and effort. After all, every great musician starts somewhere.

4. Serves as relaxing downtime

For me, playing guitar has always been a great way to switch off. When I was at school, I couldn’t wait to get home and jam along to my favourite bands. After a day spent focusing on lessons, it gave me a chance to be creative and do something that genuinely made me happy.

That’s one of the many great things about learning an instrument — it can provide a healthy way to unwind. When you’re practising a song or perfecting a new technique, it’s easy to forget about everything else for a while. And as a child, having an activity that helps you relax and recharge can be incredibly valuable. Even as an adult, picking up one of my electric guitars after a busy day remains my favourite way to clear my mind.

5. Forms physical benefits

Many instruments require both hands to work together in harmony. And playing riffs on a guitar or moving up and down the keys on pianos are movements can help develop coordination and fine motor skills.

At first, getting both hands to work independently can feel almost impossible. But with regular practice, those movements gradually become second nature. Drummers take things a step further, often learning to coordinate all four limbs at once, which can help improve timing, reflexes and overall body coordination.

These physical skills can prove useful in all sorts of everyday activities, from sports and exercise to practical tasks later in life — even learning to drive!

6. Supports academic development

Many of the skills developed through learning an instrument can also support a child’s education. It’s not just about discipline and perseverance either, as music naturally overlaps with several school subjects, particularly maths and science.

Understanding note values, time signatures and rhythms involves counting, patterns and problem-solving. Learning to read music requires concentration and the ability to process information quickly too, helping children develop skills that can be handy in the classroom as well as the practice room.

For guitarists, even reading tablature involves recognising numbers and patterns across the fretboard. And as their playing develops, they’ll also build a greater understanding of musical relationships such as pitch, intervals and harmony.

Music shares strong links with science as well. Topics such as sound, vibration and acoustics are all rooted in physics. Whether it’s understanding how sound travels through a room or how different materials affect an instrument’s tone, music can help bring scientific concepts to life in an engaging and memorable way.

7. Enhances listening skills

Learning a new song or piece of music requires careful listening. As children grasp how to pick out melodies, recognise rhythms and play riffs by ear, they develop their ability to listen closely and pay attention to detail.

Over time, they’ll also start to recognise the unique characteristics of different instruments and how they work together within a piece of music. This not only helps them become better musicians but also boosts focus and active listening that can be useful in everyday life. These abilities will be especially valuable when playing with other musicians, helping them develop timing, awareness and confidence in group settings.

8. Trains their memory

Learning a song is, in many ways, a memory exercise. Remembering chords, scales, sheet music and lyrics encourages children to store and recall information on a regular basis.

While this can be hard at first, it’s all part of the learning process. As children practice and build their repertoire, they’ll naturally strengthen their ability to remember patterns, sequences and techniques. These memory skills can be useful in other areas too, like revising for exams.

For some musicians, sheet music or notation acts as a helpful guide. Pop and rock players, on the other hand, will often memorise entire songs and performances. Either way, developing a strong musical memory is an important part of becoming a proficient musician.

9. Improves social skills

Playing a musical instrument can open the door to all kinds of social opportunities. Joining a school band, performing in concerts or simply jamming with friends gives children the chance to connect with like-minded people who share their interests.

Learning to play alongside others also encourages teamwork, communication and cooperation. From listening and adapting to different playing styles to working towards a joint goal, these experiences can help children build social skills that will benefit them throughout their lives.

10. Boosts their confidence

Standing on a stage with a guitar or smashing away on a drum kit just looks cool, and every musical milestone helps a child grow in self-belief. While performing in front of others can be nerve-racking at first, confidence often builds with experience. And the more opportunities children have to share their playing, the more comfortable and self-assured they tend to become.

Music also teaches children how to respond to feedback and use it positively. Learning how to overcome mistakes, accept constructive criticism and keep improving helps build resilience and drive. Over time, that mindset can benefit them in many other areas too.

FAQs

What is the best guitar for beginners?

Choosing the right beginner guitar can make all the difference when starting your musical journey. EastCoast guitars are a fantastic option, having been designed by the team here at Andertons specifically with new players in mind. They’re affordable, easy to play and available in a range of acoustic and electric styles. For an even easier start, check out our EastCoast guitar starter packs. These include everything you need to get rocking, such as an amplifier, strap, gig bag and more.

Better still, renowned online guitar tutor JustinGuitar has spent some time exploring the EastCoast range, and gives it his full approval for beginners looking to start playing. Here’s what he has to say:

“Having played a lot of budget instruments, I can confidently say that EastCoast guitars are by far the best bang for buck I’ve tried. They all had a ‘low action’ (the strings are easy to press down) which is perfect for beginners, meaning less finger pain and a lot more fun!”

What’s the easiest instrument to learn?

There’s no single “easiest” instrument to learn, as it often depends on your interests and goals. That said, instruments like ukuleles, keyboards and acoustic guitars are popular choices for beginners thanks to their accessibility and the wealth of learning resources available online. The best instrument to learn is ultimately the one that excites you the most, as you’ll be far more motivated to practice and improve!

Which keyboard is best for beginners?

For beginners, the Yamaha PSR-E283 is an excellent place to start. It offers a wide range of sounds, built-in learning features and an intuitive layout that’s easy to get to grips with. If portability is a priority, the Carry-on folding piano range is also worth considering. These innovative keyboards fold down small enough to fit into a backpack, making them perfect for practising at home or taking to school.

What’s the best beginner drum kit?

The best beginner drum kit depends on your environment and budget. If you’re looking for a traditional acoustic setup, the Mapex Comet is a great-sounding starter kit that’s built to last. Prefer something quieter? Electronic drums such as the Alesis Turbo X and Roland TD-02K allow beginners to practice with headphones, making them ideal for homes with neighbours or anyone wanting to keep noise levels down while learning.

Which instrument is best for school?

Instruments that are portable, versatile and commonly used in school music programmes tend to be great choices. Keyboard, classical guitar, ukulele and violin are all popular options, as they’re easy to transport and can be used in a variety of musical settings.

Want to learn more?

Our Learn section is packed with helpful advice and tutorials for musicians of all experience levels. Looking for the best first guitar or piano? Start with our Best Instruments for Beginners page, then explore our full range of Instrument Buyer’s Guides.

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