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Delay is a single echo. In other words, it is a copy of, for example, the vocal which is heard slightly later than the original live sound. In the simplest case you can control the delay time - what fraction of a second the delayed sound comes after the original, and the delay volume - how loud the delayed sound is compared to the original. Delay is really an effect.
Reverb is more complex. It consists of multiple echos or delays applied to the sound. It is meant to simulate how the listener would hear the sound in a room or hall, for example. In this case the listener would hear the original sound first, and then the sound after it has bounced off the walls and ceilings a number of times.
The idea of reverb is that it places the sound in a "room" or "environment" when you use it.
The bathroom is a real environment with multiple echoes and so gives you a reverb.
In my recordings I place echo on instruments on their individual tracks depending on what sounds good. Vocals alway need a little echo/delay. Solo instruments too. Pianos in particular and guitars when picked need careful treatment. Too much echo can muddy the sound.
I only place reverb on the final mix. This places the whole performance in a "room" and gives it life.
The reason I don't usually place reverb on individual tracks is that it can make them sound like they were recorded in different "rooms".
That's just my technique. I'm sure others have different techniques.
If you have an acoustically dead environment and the facilities to add these effects later then I would say do it.
If you have to record in the bedroom, add the reverb, if you have it, later.
If you have to record in the bathroom, you are stuck with the reverb for ever and can never remove it.
Hope this helps.
Edit:
I forgot to add this.
Delay time is important if you apply the delay to a rhythmic track.
As an example, if you have a snare drum that is being hit on every beat and the song is going at 120 beats per minute, then your snare is hit twice every second. If you put delay or echo on that, you do not want the delayed sound of each snare hit to run into the sound of the next hit. For this reason you would never use a delay time of more that half a second. (500ms). In fact you would possibly use one of a quarter second (250ms) so that the delayed sound also falls at a regular point in the rhythm. In this case exactly half way between the two snare hits.

I would vote for a piano keyboard too. Showing the fretboard, keyboard, tab and staff gives everyone a chance.
I agree it's also useful, in fact it's standard practice in training literature, to state the learning objectives up front so everyone knows what the lesson is about.
Go for it.

Hi Steve
I've been following your progress with interest and observing the reactions on here.
I'm fairly new to chordie but have been around internet forums, including those of the musical kind, for many years.
I think the reception you got on here is fairly typical of the way most forums seem to work.
I must say I was a little surprised by some of the posts from those who have been here a while and some of the moderators.
They were, shall I say, a little uncharitable. There should be no need for bickering on here as we are all in this to learn and pass on what knowledge we have to others who may benefit from it.
I tend to reply to a query in this section if I feel I can answer it and it looks like no one else has yet replied. People like a quick response.
Clearly you have knowledge that will benefit others, and want to share this. So far so good.

If you look in this section, you will see that Jerome has obviously spent a lot of time putting together some lessons on music theory, particularly scales. There's not much point in repeating this or going over the same ground, don't you think? No need to reinvent the wheel!
However, there are areas he hasn't covered yet so why not write something that fills in the gaps?
For example, in the section on minor scales he hasn't yet got around to talking about the "melodic" and "harmonic" minor scales, just the natural minor. Why not talk about that? Melodies in the minor key do not confine themselves just to the natural scale, and one needs occasionally to play major chords when singing a melody in the minor.
Just my thoughts on a possible topic.
Music theory can be highly complex and it is difficult to know where to start and how to approach teaching it.
The subject of scales, sharps, flats, keys etc is tricky.
Rhythm can be even worse and I have had disagreements on here over aspects of this.
However, don't let the bickering put you off.
Best wishes
Chris

I have to say on this topic that maybe I must be missing the obvious here. But how is one supposed to comment on a song when all you have is the words and some chords? Where is the tune? The rhythm? etc. Without this I haven't a clue what the song sounds like.
Point me to a recording and I'll attempt a comment
If what you want comment on is what I see in the Songwriting section, I must in all honesty and with hand on heart say that I really can't comment. Sorry.
The words of your songs that I've looked at are fine - some nice stuff there, but without the tune what more can I say?
I hope I don't sound harsh. I think if you want feedback (from me at least), you must have a recording. I hope that is helpful.

Thanks keni010
Those spacings look very similar to mine. Are the pairs of strings parallel - with the same spacings, 2 - 3mm, at the bridge?

I would give anything for a soft, charming and mellifluous voice.
Your friend is very fortunate.

You can get them on amazon (.co.uk) for £39 - I assume they are the Lindo guitars that are advertised on the chordie site.
They are a copy of the Martin Backpacker Guitar which retails at around £200.
The Martin has quite good reviews. I'm not sure about the build quality or sound of the Lindos. They come in black too.
I would suggest Googling around for Lindo Backpacker and reading some of the reviews.
Any guitar with such a small body is going to have a much less "full" sound compared with a standard shape. It is bound to sound thin in comparison. Having said that, the sound produced can be quite attractive if you are looking for a "light" tone.
I was looking for a travel guitar last summer and was interested in the Lindo but decided against it as I was not convinced of the quality.
Instead I went for a Troubadour. You can see one here
http://www.troubadour.uk.com/?page_id=6

A very common wood for the top (sound board) is spruce, and for the back and sides is rosewood. However, there are are others. Cedar is also popular for the top but gives a different sound. My main (folk) acoustic has a spruce top but my classical has cedar. My 12-string has mahogany back and sides.

I bought a 12-string a couple of weeks ago (see my thread below re. string spacing which no one has replied to presumably because no one knows the answer, and that because no one plays 12-string on here!) and if anything I find it more difficult to play than my 6-string. Yes, the neck is a little wider, but it's more difficult to hold down the pairs of strings firmly.
The guitar sounds wonderful, especially when strummed with a light plectrum. I find it impossible to finger pick on it.
My advice is to try one and see how it feels.

I play this one in C but the same applies.
My version has the 7th (mine G7 / yours D7) at the start of the verse (1st chord change) when you sing "... go so fast..." the first time.
At the end of the verse , the chord before my final C is a G. (Not G7)

I think it sounds better without the 7th the 2nd time. That's just my preference.
I think the reason for this is that the melody itself hits the 7th on the word "fast", so the 7th chord sounds fine.
At the end of the verse there is no 7th in the tune so a chord without the 7th sounds fine.
As I say, it's how I sing it and what sounds right to me.
Having said that, there is no rule about how many 7ths should be in a song. I suppose moderation is the best bet.
Too much of anything can become irksome. 

Have you seen the vids of Elizabeth Cotton singing this on YouTube?

Depends what you mean by "equals".

On a keyboard or fretted instrument, for example, they are the same pitch.
In the harmonic system we use in the West, with sharps and flats and equal intervals of 12 semitones in an octave, they are the same pitch.
However, in terms of music theory, if I'm playing in the key of B or Bmin, the leading note (going up to the B in the scale, is called A# and not Bb. In the key of C, if I flatten the leading note (the B) then I must call it Bb.
A couple of hundred years ago, before the scale we now use was esyablished, they were not the same note, and a violinist or vocalist (where pitch is self determined), even today will often sing them at a different pitch.

It's actually quite a complicated idea!