A Squire strat and a little frontman amp.
 
Ear plugs for pop.

I've been known to ask kids why they want to play an instrument. I think that answering that question can sometimes lead to discussions about finding a better way to accomplish their goals. Once they understand that they'll probably never get rich/famous, it's less desirable. Once they understand that learning an instrument requires more effort than forcibly growing an extra head, it loses some of the appeal. After learning the details of the starving artist clause of the contract, most kids prefer a future where they can eat on occasion. Those who remain choose to play because they need to play. Those are the ones who are ready to get serious. 

i have experience with this,
both as a guitar teacher, whose students ask questions,
as a performer who gets asked questions, 
and then from friends and acquaintances who ask for advice...
 
 
i always say this:
 
If it's an adult, i say buy a good quality but cheap guitar to learn on.
get to the point where you are good, then come back and talk.
 
if it's a kid,
i say the same dam thing!
LOL
 
 
the lowest end guitars these days,
are so well made compared to a lot of the cheap guitars that were available in the 60's, 70's (i had a sears and roebuck guitar i learned on..... 4 pickups and a tremelo..... it had a PINE neck that bled sap right out of the center of the back of the neck around the 6th fret!!)...
 
if it's a strat, i point em to a Fender Bullet,
if it's a paul-style, its a Epiphone Les Paul Special II, 
which you can usually find on craigs list for about $75.
 
 
the world is your oyster, once you learn how to play and decide you are committed to it.
 
 
 

The posts indicates to me that being a salesperson in a music store is something that should be avoided.
 
"The scenario; You're a guitar salesperson and a father with his teenage son need your help picking out the first guitar for his son because they know nothing. How would you handle that?"
 
Well as an imaginary salesperson in an imaginary music store ...I'd probably burn the first day from overload of questions about price, what's included, warranty, payment options, trade-in value and all the crap.
I'd rather sweep the floor for free in a luthiery and I can do that at home!  It was fun imagining though.
 
 
 
 
 
 
 
 
 
 
 

why anyone would aspire to work in a music store is beyond me.
 
heheh
 
back in the day of mom and pop stores,
yeah.

batsbrew
why anyone would aspire to work in a music store is beyond me.
 
heheh
 
back in the day of mom and pop stores,
yeah.

I wouldn't care to. Not either big or small. I couldn't handle the public. But this was about me thinking it would interesting to hear how what others IMAGINED it would be like...I used, for an example, what would be important to me in selling a guitar.
 
What did I expect?
 
I really expected one of the members to say they worked in a music store- maybe when they were young. What aspect of it they enjoyed...what they learned or how it changed their interests and lead them to something else.
 
I expected the statements and thread to expand to, for example and a post I'd planned on writing....I would enjoy working with other experienced salespeople that were knowledgeable on other instruments the store would have for sale such as drums. (not to mention the many eastern percussion instruments) 
I recall be amazed watching a Navajo tribal leader build a water drum at his home.
I also checked into building drums...
I thought a music store would be a good link to many different interests of members in learning the specifics of instruments.
Now I believe "marketing/ money" and experiences with beginners is the mindset of many. Or my lack of being understood due to not being a writer resulting in the topic and reasoning for not being obvious. It's Ok. I don't want to be a writer and not being understood is part of being Spacey.
 
I taught at music store. I met salesman that amazed me. I met a Randall amp salesman that wanted to see my studio. He loved that I was teaching using my little '63 Harmony (my first electric) and asked if he could play it. Sure...and he friggin blew me away with his skills. I later mentioned to my teacher...he knew the guy and told me why he was selling amps and not amazing folks.
 
Anyway....on to something else. I've bored myself with this. Though I did enjoy the posts guys.

The constant noise would drive me up a wall. 

Work in a music or guitar store....no...not interested.

Work for a small guitar making company...say...Collings; that I would find incredibly interesting.

Hi,
 
Not sure I can add to the topic, but the reverse is also true, since the first guitar I ever had was a Gibson EB-0 (with the pegs the other way!), and I had it for over 5 years, and my only issue, really, was no lessons, and little ability to take it further, what with work full time and school full time, and all that. In the end, what I did not know, was, what a great instrument it was, although I was well aware of how many bands and folks I was aware of, were using that same bass guitar and sounding great, which I could not achieve and did not know enough to get that far.
 
So I traded it in for a Fender Jazz ... and while it was a great bass and I had it for 20 years, the FJ did not help me improve, because I could not "hear" it, or "feel" it, although with a couple of teachers I obviously had a touch, that was nice ... but what I wanted to hear and play, was not available, and no one was able to help define that better, so I could improve my interest, and then (hopefully) develop it.
 
I think that most of it, has to do with your own inner vision, and feel. If you notice the kid just fooling around in the background, and finding things, instead of that extra time with one more scale, I would suggest that you want to see if the kid is "looking" for something in that sound, which could/should help improve the interest in the instrument and its sound. My main concern, is that most teachers do not see enough of those moments, and are not capable of helping the youngsters learn from it, and develop it into something ... different ... that helps the kid maintain the interest. I, simply, was not interested in learning when the saints go stupidly nowhere or sweet little eighteen (adults only!) ... and to me, that turned me off any more lessons, while I tried hard to learn the bass parts in many a Guru Guru song (did not exactly succeed ... the variations are way out of sight and differ all over the place), or play along with Fairport Convention or even some Pink Floyd ... but a teacher, instead of helping me clean up those to make it better, so I would learn more on the instrument, would take me out of that space, and bring in some easy 4/4 thing or other that took away what I wanted to work on.
It did not dawn on me, that I had to have some mechanics down, mostly because I go for feel so much, and I could go a couple of songs on Nektar, but a Chuck Berry ... I simply can not get inspired to even learn the notes!
 
Sometimes, I wonder what kids are looking for ... a sound that is on their head? ... if that is so, what you are trying to teach is not gonna happen ... the kid will still be tied up to what he is hearing, even if it is his favorite song. Help him with it, then?
 
Teaching changes then ... you are no longer a teacher, but an assistant helping the kid learn more ... and simply thinking that finger mechanics is the answer, is a harsh reality that takes the dream, the vision, and the inspiration out of a lot of music! Without that 3rd dimension, the music dies!
 
Not sure this helps ... may sound a bit winded, but it's not meant to be. And the same thing is happening with me trying to get some help on the keyboards/computers!

I hung around some great music stores over the years. The original Guitar Center in LA, Axe Handlers in Phoenix Az. Mannys in NYC, and Falso's in upstate NY. Back in the day, the sales staff was almost completely working pro musicians. There were guitarists, bassists, drummers and keyboardists. I'd go hang out a talk with these guys about gear, gigs, and sometimes if I needed to replace a band member, these guys were a good source.
 
The last local store, Falso's was a real throwback. A true mom and pop. Al was the owner and himself a drummer. The store itself was like a poorly laid out garage sale. Just stuff all over the place with no real order. He'd been in business for over 40 years and really had no idea what was in the place. I went in once looking for a inexpensive backup left handed electric guitar. Al says "in the back corner there might be something. I go back there and I'm moving boxes of drum heads, guitar stands, etc. trying to get to the boxed guitars he said might be there. The first box I opened was a brand new left handed Gibson SG in white with gold hardware. It was like one of those movie scenes where a golden light appears and angels sing. I stood up with the guitar in my hands and Al comes over and says "Well I'll be damned, she was right...I thought I sold that thing 10 years ago". Al was one of a kind. Our PA head died once and we had a gig the next night. Stopped to see what Al had and he loaned us a brand new Peavey head. He didn't ask us to sign anything, just let us take it.
 
It was a cool spot to hang on Saturdays and just shoot the bull with Al and all the local players coming in for stuff or to just hang and play a new guitar. I miss that sometimes.
 
When Al died about 10 years ago, I went to his service. I hadn't played out in years, so it was like a family reunion filled with musicians I had met over the years. Al's son brought his dads ledger and showed us that Ronnie James Dio had left town in the 70's still owing Al around $20000 for gear Al had let him buy on credit. Al had all our names in there, along with what we bought and what we paid. Proud to say my account was paid in full.