Delay
Delay, as the name suggests, adds a delayed sound to the original sound. In a more detailed explanation, delay takes an audio input signal and stores it for a determined length of time before passing it to the output thus giving an 'echo' effect when mixed with the original source. The length of time delay is normally adjustable from a few milliseconds up to the maximum available. This level will vary from unit to unit according to the amount of memory fitted. A good delay unit will also feature a fully adjustable feedback control. The more you turn up the knob, the greater the number of repeats. Setting the correct delay, relative to BPM is crucial. Many of today's DJ effects units are equipped with an automatic tempo facility. Otherwise you must get this right manually or the effect will sound a complete mess. If there is no automatic facility then there should at least be a digital readout showing the delay time. At 120 BPM, (2 beats a second), a delay time of 500ms (1/2 second) will give you a delay exactly one beat long, one second will give two beats delay and so on. From this it is possible to work out exactly what time delay you need to set.

Reverb
Reverb adds 'space' to a sound. Reverb simulates the component of sound that results from reflections from surrounding walls or objects. It is in effect a room simulator. Pretty much all recorded music has some reverb added to elements of the track during recording or mix down. A recording studio used to make dance music is usually a very sonically 'dry' environment and reverb is added to give more dimensions and color to the sound. It can also be used to add an ambience to the mix, giving it character or a more live sound. The length and amount of reverb used will vary not just on the overall track, but on individual sounds within the recording. The drums may have a very short 'room' type effect to keep them sounding tight and up-front in the mix, while a vocal may have a large 'hall' effect to make it sound huge and uplifting. In general, there is little to be gained from adding reverb to a full-on section of a track. However, adding a splash of 'hall-sized' reverb to the occasional bass drum during a sparse drum break can sound very effective and dynamic. Reverb is something to be used sparingly for best effect

Flanging
Another common effect used by DJs is Flanging. Flanging produces the sound of an ascending or descending jet plane. Flanging is one specific type of phasing. In phasing, the signal is passed through one or more all-pass filters which have non-linear phase response, and then added back to the original signal. Flanging effects are the ones that make you go cross-eyed when listening on headphones! Adding this to a hi-hat break or an acappella (i.e. singing without instrumental accompaniment) or during a breakdown can be particularly impressive. Sometimes even adding it to the entire track can be fun, but again, over-use can spoil the effect.

Other common effects include echo, pan, trans and so on…

Buying Tips
Most effects units are two-channel stereo. If you want to be able to add effects on each turntable independently, you may need to buy two! Also check if the unit will accept phono level inputs. If it does not and there are no suitable insert points or effect sends on the mixer, you may not be able to use two independently without adding preamplifiers to both turntables. If you are using line level sources such as CD, you can simply place the effects unit between the source and mixer input. You can also connect the effects unit between the mixer output and the amplifier, but this means that when an effect is used it will alter the whole output signal. If your mixer has effect or cue send controls, these can be utilized to route independent channels to the effects unit which is then wired back to the auxiliary return buss. Bear in mind that cue and effect sends are often mono, so the overall effect may be reduced.

Never buy any effects unit without trying it first unless the shop agrees to a sale or return deal. Manufacturers will always try to make their products look good in the sales literature. Remember, it isn't what looks good; it's what sounds good that counts. Listen, test and make sure before you buy.

Occasionally, manufacturer's products offer long delay times at the expense of audio quality by reducing the bandwidth of the delayed signal. Some machines will give you the choice of short, full bandwidth or long, reduced bandwidth operation. Beware of cheap delay or effects systems offering long delay times, often these give very poor quality reproduction of the delayed signal. Generally speaking, it is always best to go for a dedicated effects unit rather than mixers with built-in delays or devices. There are exceptions, like Pioneer's excellent range, but sometimes on-board devices are not as good quality and lack proper controls. The price is a good guide. If something seems too good to be true, it usually is!

Important!
It’s important that you always practice at home or at least in an empty club. There is nothing worse than out of sync echoes and some crazy distorted noise when you’re trying to dance!
Use effects sparingly. It is easy to get carried away at first. Use effects to enhance mix points and breakdowns.

Always make sure you read the instructions very carefully before using any effects unit, paying particular regard to the connections. An incorrectly installed unit can cause irreparable damage to mixers, amplifiers and speakers.

Most important! Don’t overuse effects. Less is often more. If you overuse an effect, you will find that its life span as a creative tool will soon be exhausted.

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01] A flashlight - big or small, the choice is yours. I prefer a small maglight that can be held between my teeth or placed around the neck. A small portable light can be useful for finding your way around a dark dj booth, to locate the headphone volume on a strange mixer, or to signal for technical or drink-related help.

02] Small roll of tape - great for taping things down... or up.

03] Extra audio cables + Adapters - try to find out what type of mixer you'll be playing on before you show up to the gig, especially if you like to bring extra gear with you - an FX box, sampler, CDJ, etc. When you start adding on these extras, they may need to be set up in a different manner from the way you have at home. So, aside from the cables that usually attach these things to your mixer, I recommend additional lengths of RCA cables and 1/4" audio cables. Audio adapters can also get you out of a jam too, so bring a few RCA > 1/4" plugs, 1/4" > RCA's, and maybe some Y-splitters. Again, finding out what mixer you'll be playing on before you arrive will go a long way in helping you figure out just how in the hell you can hook up all that gear with minimal teeth gnashing.

04] Cartridges + needles - whatever is supplied for you might start crapping out, so bring at least one extra cart and needle set. Or you may just prefer the sound of your own needles...

05] Slipmats - personally, I hate playing on dusty, worn-out slipmats, so if the ones supplied aren't up to snuff I'll throw on my own pair.

06] Power strip / Surge protecter - this could be in addition to the extra cables and adapters I mentioned earlier... it applies mostly to those DJs who take extra gear with them to gigs.

07] Promo CDs - after your set is over some people may approach you for CDs of mixed sets - it's way better to be able to give them something right then and there, rather than writing down their email or phone number on a party flyer and promising to do it the next day. Some of those people might be other promoters, so it's in your best interest to have your marketing materials in order. Don't forget to have up-to-date contact info on these CDs!

08] Performance contract - if you signed a contract for a particular gig, be sure to have a copy of it in your record bag. Some promoters can be weasily, but if you have a written + signed contract agreement in your possession you won't have to second-guess anything.

09] Deverages - I find playing in front of people to be an exhilarating, energizing and nearly exhausting experience. Aside from beer and red bull, have at least 1 bottle of water nearby to keep yourself hydrated.

10] Record brush + Towel - the record brush is for your vinyl and the towel (or clean rag) is for your hands.

Tone Arm-

On tables that allow you to adjust the height of the tone arm, you want to set the height so that the tone arm is completely horizontal when the needle is on the record. This gives the most contact between the needle and the vinyl giving a better pick up and making the needle more stable, this will also increase the life of the needle. Some scratch DJ’s like to have this set all the way up so the needle fits in the groove of the record better, but this does cause a lot of wear on the needle and record.

Counter Weight-

1 Put the counter-weight on the rear end of the tone-arm with the numbers facing the front end of the tone-arm that holds the cartridge

2 Release the clamp and lift the tone-arm of its rest

3 Turn the counter-weight clockwise or counter clockwise as needed to balance the tone-arm and cartridge, Turning the counter-weight clockwise will cause the cartridge end of the tone-arm to be lowered, Turning the
counter-weight counter clockwise will cause the cartridge end of the tone arm to be raised

4 The tone-arm should float with out either end higher or lower than the other, It should be perfectly horizontal

5 Return the tone-arm to its rest

6 While holding the counter-weight still, turn the number dial (not the entire counter-weight) just the number dial, until “0” is lined up on top with the centerline marked on the tone-arm

7 Take the tone-arm back off the rest to insure it is still equally balanced and the counter weight wasn’t moved while turning the number dial

8 Now you need to adjust the actual weight or “Stylus Pressure” applied to your cartridge, This is done by turning the counter-weight counter clockwise to the setting that is recommended by the manufacture of your cartridge

9 The average is between 1.5 and 4 grams, but once again check to see what the manufacture of your cartridge suggests

Anti-Skate-

There are several different settings depending on your own preferences and style of DJing when setting the Anti-Skate.

If you are a primarily a mixing DJ set it to equal the counter-weight setting. This setting will provide maximum sound quality and the least record wear.

If you are heavy handed while cueing, which makes the record skip, try putting the anti-skate a level lower than the counter-weight. This will cause less skipping when back-cueing a record, but you may lose some quality and records may wear faster.

If you are a Scratch-DJ set the anti-skate to “0”. This will mean that the record won't skip while you pull it backwards, but you will lose sound quality and your records will endure a lot of wear.

Rubber Mats-

The rubber mats still need to be removed and replaced with slip mats. Even though you're not intrested in scratching now, you will still be doing minor scratching " baby scratch" while back cueing and over all beat mixing if your one to make adjustments by hand instead of just using the pitch control. However if you find your self later wanting to put all your wonderful vinly on to CD, you would want to put the rubber mats back on so that you can get the best possible sound with out the record sliding around.

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