Privacy Policy

Last updated October 24, 2026

CoLabRoom is published by Decibel Zero LLC ("we", "us"). This describes what the app actually collects and where it actually goes — not a generic template. If anything here stops matching what the app does, tell us at support@colabroom.com.

What we collect

Account

Your email address, a password, a display name, and an optional profile picture. Your password is kept by Supabase, who run our sign-in, and only in a scrambled form (a hash), not as you typed it. When you make an account we record which version of the Terms and of this page you agreed to, when, and from which kind of device and which version of the app, and the month and year you were born, never the day, which we keep where nobody else can see them. If you came from a flier or one of our links, we record which one, as “What this website counts” says. Your profile also notes which plan you are on.

The emails about your account — confirming your address, resetting a password and changing your email, and, where we have switched them on, telling you that your password or email was changed — come from hello@colabroom.com. Since September 29, 2026 they have been sent by Resend, an email service, so Resend receives your email address and what each email says. Resend sends through Amazon's email service. We turned Resend's open and click tracking off, so these emails carry no tracking image and no tracked links.

Email you write to us — to support@colabroom.com, hello@colabroom.com, copyright@colabroom.com or any other colabroom.com address, or a reply to one of the emails above — is passed on by Porkbun's mail forwarding to a Gmail inbox, where we read it. So Porkbun and Google receive what you write to us, and your address.

When you ask for words about your sound, your own public instruments, genres and the titles of songs you chose to show are sent to Anthropic for a two-sentence draft. No audio or private song is sent for this. You can edit the draft, use it in your About you words, or leave it; it is not saved to your profile automatically. Saving uses your ordinary profile visibility settings. We keep request and model-usage records without the supplied facts or generated draft in those records.

Mail to support

Mail to support@colabroom.com may be read first by an AI that drafts the reply. For this support service, Resend receives your email address and message, and Anthropic receives the subject and message text to draft an answer from our public help information. A straightforward question about how the app works may receive an automatic reply, which identifies itself as AI. Reply “speak to a human” to ask for a person; other questions are left for our support reviewers. This helper does not look up your account data.

We store support messages, AI drafts and replies for our support reviewers, with no automatic expiry. This correspondence is used only to provide support.

What you write and record

Song lyrics and chord annotations, comments, room and song names, and any voice notes or reference recordings you attach to a song. All of it is stored so the people in your room can see and hear it — that's the point of the app. You can also seal a take nobody has heard yet, to be offered back to you on a day you choose; until then nobody but you can see or hear it.

Some practice tools (the tuner, Sing along, Hear me play, and the page that follows your playing) listen through your microphone while you use them. What they hear is read on your phone and is not recorded, stored or sent.

When somebody makes a recording the song's record we keep who did, when, which recording, where it sits on the song and a fingerprint (SHA-256) of the file, shown to everybody on the song until it is deleted; if they delete their account it stays with nobody named, and so does their answer about it. For every take we keep a fingerprint (SHA-256) of its file, taken by our server from the file we store, and whether the app recorded it or it was brought in from a file; the song's History shows both, with the start of the fingerprint, to everybody who can hear that take.

In a lesson — a room a teacher's lesson link made — the end of a call with a song up asks whether to keep a record of what the call worked on with the lesson: which passages went on repeat, the speed each ended at, and which of the notes pinned to a bar during the call were said. It is kept with the lesson only if you choose "Keep it with the lesson"; "Keep it on this phone only" sends nothing, and a choice still waiting for a signal can be changed to it before anything goes. If the call ended before it could ask, the song asks once, the next time you open it in the lesson, and a summary an older version of the app kept on your phone stays there unless you choose to keep it with the lesson. Each lesson's record of a song is kept for the teacher and the student of that lesson and nobody else. The two phones in the call usually keep one record between them, and where they saw the call differently, the teacher's version is kept; we note whose phone sent it only for that, and show it to nobody. If a phone could not tell which call it was in, or the record is a summary from an older version of the app, it is kept as a separate one beside the other. It holds no time, date or length, and not the words of a note: those are read from the note itself, so a note you take back leaves the record too. Each record also notes which call it came from, so the newest is always the latest lesson; nobody can read which call it was. Either the teacher or the student can take a record back from the song, whichever phone kept it: it is deleted for both of you and cannot be kept again (we keep only an identifier for it, with the song, to make sure of that). Otherwise it is deleted with the song, or with the teacher's or the student's account. A copy of the newest record stays on each phone that has shown it until the app's data there is cleared, or until it has been taken back and that phone next opens the song. In a band room the same summary stays on your phone only and is never sent to us.

When you ask for a plain-words call or lesson-record draft, the written notes and take descriptions you can read are sent to Anthropic. Only an already shared call record or a kept lesson record can be used; a summary kept only on your phone stays there. The editable draft stays only on the open screen and is not saved or sent to other people. Closing the screen discards it. We record the model and token usage, without including your notes, take descriptions or draft in those usage records.

What you import

Lyric sheets you import (PDF, Excel, CSV, plain text or Markdown) are read on your own device before anything is saved. If you import a public Google Sheet, your phone or browser fetches it straight from Google, from the link you supply, so Google sees your network address, as it would for any download.

A chord chart you bring in — pasted, opened from a file, or shared in from another app — is read on your device too, then kept with the song for the people in its room, with who brought it. If that person deletes their account, the chart stays with the song without their name. Find one opens your own browser on a Google search for the song's title, its artist and “chords”; the app reads nothing from that search.

Invitations

The email address of anyone you invite to a room, anyone you ask to play on a song before they have an account, or a venue's sound tech a team's leader sends an advance to (kept with the band's set, shown only to its sender and the team's leader, and never sent anything by us).

What you say about yourself

On your profile you can say the city you are in, what you play, who you sound like, the languages you sing in, and a few words about the kind of music you make. All of it is optional and editable. Your city is shown on your page only if you choose to show it publicly. If you choose to show it to people you have worked with instead, somebody who has shared a take on the same song as you, and typed the same city, can see that you share it. If you list yourself in the Open Mic, anybody signed in who may meet you (two adults, or people who already play together) can see the rest on your page. Taking yourself off the list hides it from people you do not know. It does not hide it from your people: your connections, anybody with a connection request open between you, and everybody you share a room with can still see it on your page. The page about you on this website can also stay up for a while, as “Who can see what” says.

Everybody you share a room with, and anybody you have invited by email, can read only your display name and your picture from our service; everything else on your profile follows the choices above.

You can also tell your people whether you are open to play, busy or away. Your connections, and anybody with a connection request open between you, see it for two weeks, and then it lapses.

Which parts you have shared takes on — guitar, say, or vocals — shows on your page, and on your card in the Open Mic list while you are listed. Our service tells how many takes you have shared on each part only to the people who can see your page: anybody signed in who may meet you while you are listed on the Open Mic, and your connections, anybody with a connection request open between you, and everybody you share a room with (a room made at a door counts only once its owner keeps it). Nobody you have blocked, or who has blocked you, is told.

On your profile you can also put up to eight more pictures, each with a caption of your own if you want one, and links to your music and videos on SoundCloud, Spotify, YouTube, Bandcamp, Apple Music, Vimeo, Audiomack, TikTok, Instagram or Facebook. We do not keep the music or the videos, only the links. When you add a YouTube, Vimeo or TikTok link, our server asks that site for the video's title and keeps it with the link; for YouTube and Vimeo it also keeps the address of the video's small picture. Instagram and Facebook are not asked. We do not store the small picture itself: the phone or browser of whoever looks at your profile loads it straight from YouTube or Vimeo, so that site sees their network address.

If you choose how you read notes — letter names, Do Re Mi, or German names, and the language a sheet's musical words are said in — that choice is kept against your account, and nobody else can see it.

Who you have worked with

When somebody asks or offers to play on a song, whether of one person or of a whole room, when that is answered either way or taken back, and when a take you shared lands on somebody else's song, we record that it happened — who, when, which song, and which part. It is kept so that one day the app can suggest people to you better than a list of strangers. Today nothing suggests people from it: the only thing that reads it is a weekly count, over everybody, of how many new pairs of people played on a song together. It is shown to nobody, there is no score anywhere in it, and it is deleted with your account.

What you say to people

Messages you send to one person, lines you write in a room's thread, replies on an ask, and the note you can leave with “heard it” are all stored, so the people they are for can read them. Each is yours to take back from inside the app. A notification that already reached somebody keeps the start of what you wrote until they clear it. When you ask somebody to play on a song, the few words you write with the ask stay on the song after you withdraw it, and go when the song does. Who can see each one is under “Who can see what” below.

Questions you ask the app about a song (except the ones it answers by itself) are kept with the answer, which model answered and how long it took, so we can see where answers go wrong, and to count the hourly limit. Only you can read them from our service, and the app does not show them again. You cannot take one back; it goes when the song or your account is deleted.

Looking for people

You can leave a note that you would like to meet somebody who plays a particular part. It works for a month. Nobody else sees it: musicians who play that part, and who may meet you, see only how many people are looking, never who or what you wrote. If, in that month, somebody who plays it lists themselves on the Open Mic and may meet you, we tell you their name, and remember that the note met them. If you both show your city publicly, only people in the same city are counted or named. After the month the note stops working and leaves the app, but it is still stored, with whom it met, until you delete your account. Sending or answering a connection request is stored so the app knows who your people are.

Whether you are here right now

While the app is open it tells our realtime service that you are, so your people — connections, and everybody you share a room with — can see a mark beside your name, unless you turn on Appear away. That mark is not written down: closing the app ends it. While you have a song open, everybody on that song — the people in its room, and anybody invited onto that one song — can see that you have it open, and, when somebody leads with Follow me, where in the song they are. Appear away does not hide that.

Versions of the app from before September 24, 2026 said that you were here, and which song you had open, on open channels that anybody signed in could listen to if they knew your account's identifier or the song's. The Android and web versions testers have today use the closed channels described above. We have not confirmed which the iPhone version available today uses, so until your iPhone has a newer version, assume it may still be the open kind.

Separately, each time you open the app while signed in, we record that a run of the app started, against your account, with the time, the app's version and the platform; nobody else can see that record, and it is deleted after 90 days, or later if nobody has used the app for a while, as “Feedback and diagnostics” says. A door you open and a check-in at a place are written down too, as the next two parts say.

Your door

You can open your door to say you would not mind company while you work, on a song or on nothing. We store when you opened it, when it closes or was closed, the song it is open on, who it is shown to, the place or the Open Mic Night it was opened at, if any, and the last time your phone said it was still there. A door closes by itself two hours after you opened it or last kept it open. While a call or a take is going on, the app holds it open a few minutes at a time, so it does not close in the middle of playing. Before the two hours are up, a door shown only to your people also goes dark when your phone has not said it is still there for ten minutes; a door shown to the Open Mic does not wait on your phone, and stays open until its two hours are up or you close it. A door opened at a place is different: it stays open while you are checked in there and the night is on, and closes when you leave or the night ends. A door opened for an Open Mic Night is set to close when the night ends, if that comes first.

Your people can see your door. Anybody signed in who may meet you can see it too, but only if you choose that, and only while you are listed on the Open Mic. The name of the song your door is open on is shown only to somebody who could already find that song: somebody in its room or on it, or, if it is already on the Open Mic or in the showcase, somebody who could find it there. Anybody else sees the door without a song name.

Under 18, a door is shown only to people who already play with you: everybody you share a room with, and your connections who are on a song with you. A door opened at a place is shown only to the people checked in there who already play with you in a room or on a song. A room made at a door does not count for this unless its owner kept it.

Somebody who can see your door can knock. We store who knocked, when, whether they took the knock back, whether you let them in, and the room that letting them in made. When you knock, the person whose door it is sees your name, your picture and the first line of your few words about yourself, even if you are not listed on the Open Mic. A knock reaches them as a notification, and its card fades after thirty minutes. A closed door is deleted with its knocks about a day after it closes.

Letting somebody in makes a small room for the two of you: a room made at a door. The person you let in can hear the song your door is open on while the door is open. We record who opened the door and who was let in, and keep that for as long as the room exists, even after either account is deleted. The room goes by itself when the door's time is over, unless it holds a song, a set or a picture, or its owner keeps it. The person let in can ask to keep it; the ask is stored for as long as the room exists, and cannot be taken back. The versions of the app people have today do not yet offer that ask. Only the person whose door it was can keep the room. Keeping it makes everybody in it each other's people: you can message each other, see when the other is here, see each other's page and see each other's door. The first time the owner keeps it, the others in the room, except anybody blocked with the owner, are told with a card in their inbox that makes no sound; they are not asked first. A room that stays only because it holds a song, a set or a picture tells nobody, and does not make anybody each other's people.

Here tonight

Somebody can make a place for one night — a name they type, such as a venue, and when the night starts and ends, at most eight hours — and put up its poster. We keep who made the place. Checking in with the poster's code records that you are there, when you arrived, when you left, and whether you left by saying so. Nothing asks your phone where it is. While the night is on, the people checked in there who may meet you — adults, or people you already play with — see your face, your first name and what you play, and nobody else does. If you open your door there, only the people checked in see it, and they can ask to meet you at a spot inside the place. We keep the spot, the time, who was asked and their answer; a no is never shown to the person who asked. For seven days after the night, the people who were there and who may meet you can still see that you were there, unless you said you had left, or checked in somewhere else before the night ended. Then the place is deleted with everything in it. If you type a place code that opens nothing, we note that for an hour, so that codes cannot be guessed.

Open Mic Night

The owner of a room can put one of its songs that is already on the Open Mic on an Open Mic Night list. The list shows each song with the first name and face of whoever started the song, and when it went on the list, to anybody signed in who may hear that song. In a band's room, whoever started a song and whoever put it on the list can be two people. We also keep who put it there: the app does not show that, but anybody who can see the song on the list can read it from our service. The list is deleted eight weeks after the night. You can take a song you put there off the list. Your phone tells us which of four broad time-zone bands it is in, and nothing finer; we use it for the night reminder and to hold notifications to anyone not known to be 18 or over between midnight and 6 am. Each night belongs to one of those bands, so the night a song went on also says which band that was.

Calls

You can call the people in a room. A call runs through LiveKit, a service that carries the sound and the picture between the phones and browsers in the call while it is on. Calls are never recorded: we never ask LiveKit to record one, and the permission the app is given to join a call does not include recording. When a call has a song up, you can choose Record me to record your own part on your own phone; that is a take on the song like any other. LiveKit is told who is in a call by an account identifier, a random label for that run of the app, and the display name you chose, so the people in it can see who is talking. Like any service that carries a call, it also sees each phone's network address.

While you are in a call your app tells us every twenty seconds that you are still there, so the room can show who is in it; when you leave, that note is deleted. If your phone could not say goodbye, the room stops showing you within a minute, and the note is deleted within ten minutes. When the first person starts a call, the others in the room who can join it are told, no more than once every ten minutes. We keep a record of when each call in a room started and ended, for as long as the room exists; for a room made at a door, a call's record can stay for thirty days after the room goes, as below.

After a call, the room keeps a note of it: who was on the call, how long it ran, which songs went up, the takes each person recorded and whose words changed, and a line anybody who was there and is still in the room may add, up to 280 characters. To put people in the order they arrived, we keep when each person was first and last heard on the call; nothing adds those times up. Only the people who were on the call can read its note, and only while they are still in the room. A take shows in it only if it has been shared, or is yours. A line from somebody you have blocked, or who has blocked you, is hidden from you. If you leave the room, your place on the call and your line stay in its note for the people still in it. You can take your own line back. Whoever reviews reports can also remove a line somebody reported, as “Reports and blocks” says.

A room made at a door is different, because it goes by itself when the door's time is over. When it goes, the note of a call in it is kept for thirty days, counted from the moment the room goes, if the call has ended, the note has at least one line, and at least two people from the call are still in the room. A call still going on is ended first, once nobody has been heard on it for a little while; until then the room waits. A kept note is kept for the people still in the room only. Anybody from the call who had already left the room, or been taken out of it, is taken off the note first, with their line, and nobody is told. Any other note goes with the room. A kept note shows who was there, when the call ran and for how long, and the lines; it shows no songs or takes. We still keep when each person on it was first and last heard on the call, and which songs went up, until the note is deleted. Somebody on it is shown by name only if you could see their page anyway, and otherwise as “Somebody”; the app is still handed each person's account identifier, even for “Somebody”. The app shows a kept note under Your music, After the call, with the last day it is there (“Here until 4 November”). There you can take your own line back, for good: it goes from the note for everybody, and cannot be brought back. Nobody can add a line to a kept note. After thirty days it is deleted, by a job that runs every five minutes. If the owner keeps a room made at a door, or it holds a song, a set or a picture, the room stays, and its notes are ordinary notes. The After the call page is new: the versions of the app people have today do not show it yet, so until a newer version reaches you, a kept note cannot be read or taken back from the app. Those versions also do not yet warn you, when you write a line in a room made at a door, that the line can be kept after the room goes.

Because LiveKit charges by the minute, we count the time spent in calls, ten minutes at a time, so that each account's calls can have a monthly limit. It is counted against your account, or, while somebody in the room who pays for a plan is on the call, it can be counted against theirs instead, with a note that it was yours. Whether your phone may send video on a call is decided on our server from your plan, from who is on the call, or from a setting we make for your account by hand; nothing about the picture is kept, and sound is never limited by it. The other phones on a call can read, in the call service's list of who is connected, whether a phone was let in without its camera, just as they already read whose phone it is; the app shows nothing of it. The count holds nothing about what was said or shown.

Calls are open from 13, inside your own rooms. When a call in a room is just one adult and someone under 18, the under-18 person's sound and video wait until somebody else joins. The app can tell that from who is on the call: our server knows each person's standing, and nobody is told anyone else's age, only how many are on the call and whether the call is held. In a room of two, that is in effect about the other person. Asking the app about a song is open from 13 on Anthropic's model and for people 18 and over on OpenAI's, as the list of who receives what says. When you make an account you are asked the month and year you were born, once. If you made your account before we asked at sign-up, you are asked the month and year once, the first time you record, upload, send a message, make or join a room or song, or invite somebody, and none of those go through until you have answered. The Android and web versions of the app also ask before your first question about a song. The iPhone version available today does not ask there, and our server turns the question away until you have answered somewhere else. We keep that month and year against your account, and nobody else can see it; the app only ever uses it to answer whether you are 13 or over and whether you are 18 or over. The second answer is what a call between an adult and someone under 18, asking the app about a song when OpenAI's model answers, lesson links, meeting people you have not worked with, who can see your door or see you at a place on Here tonight, and whether a room made at a door can be kept all depend on, and what the Open Mic shows you and when a notification may reach you, as “Children, and people under 18” says. On a song marked finished, the list under Let people use it also says whether everybody on the song has said they are 18 or over: one answer for the whole song, read by the people on it, that names nobody. On a song with only two people on it, that answer is in effect about the other person. If the answer is under 13, the month and year are not kept: only the fact that such an answer was given, and when, so the question is never asked again on that account. Anybody in a call can report or block anybody else in it, from the call itself.

Your code, for meeting people

Every account has a short code, shown as a QR code, so somebody you meet can ask to add you. Anybody signed in who has your code can see your display name, your picture and the parts you play, and can send you a request, unless one of you has blocked the other. If the two of you do not already share a room or a song, it opens only when both of you have said you are 18 or over. Making a new code in the app stops the old one working.

Bluetooth, stickers and We met

While the Open Mic, Tonight at a place or We met is open on your screen, or your team's dated set is open on your stand, your phone can listen over Bluetooth for a place's code, another person's code or your team's stage, and only then, never in the background. The app says so before your phone first asks you to allow it. A host's phone, or a beacon the host sets up at the venue, can send out the place's code, the same one on its poster. When your phone hears one, the app looks the code up on our server, as it would if you typed it, to show you the place's name; you are not checked in until you tap. In We met, your phone sends out a short code that works once, for thirty seconds, and then never again, and looks up on our server any code it hears close by, to show you that person's first name and face, only while you are in We met too. The person who catches your code sees your first name and your face; if they ask to connect, they can open your profile. Our server keeps which account caught a code for a few minutes, never more than ten, so the two of you can still tap, and then deletes it; the two of you are connected only when you both tap. You can make a new meeting code at any time. We never ask your phone where you are. A Tap here sticker holds only the place's link, the same one as its poster.

While a team's leader has the band's set open on the stage, their phone can send out a short code over Bluetooth that changes every minute, and a member who turned on Follow the stage can listen for it while their own stand is open, and only then. The code says which song and key the leader called and that a stand heard it, and nothing about anybody else; the leader's stand shows which members' stands have turned with it. Nothing is sent to our server during the set. If you turn on Follow the stage, we keep that you did so, so your phone can be given your team's stage key, and only you can see it; turning it off removes it.

Notifications on your phone

If you turn notifications on, your phone hands us a delivery token. We store it against your account and give it, with each notification, to Google's Firebase Cloud Messaging, which is what actually reaches the device. On an iPhone, Firebase passes the notification on to Apple's push service, which delivers it, so Apple receives it too. The token identifies an installation rather than a person: signing into a different account on the same phone moves it, uninstalling makes it stop working and we drop it the next time we try, and deleting your account deletes it. The notification itself carries only what you would see in the app, and the identifiers the app needs to open the right song or room.

The app also tells us when a notification reached your phone — with the app open, with it closed, or because you tapped it — so we can see for ourselves that delivery works rather than guess. That record is kept apart from the notification and holds none of its words: when we passed the notification on to be sent, and whether and how it arrived. Only you can read it from our service. It stays after you clear the notification, until you delete your account.

Reports and blocks

If you report something, we store what you reported, which kind of thing it was, anything you typed, and who put it there — and a person reads it. We also keep who made the report: the person reviewing it sees that, and the person reported never does. A report of sexual content on somebody's page, picture, song or take can hide it straight away, until a person decides: a page or picture from everybody but its owner, a song or take from everybody outside its room. Its owner is told later that something was held, not by whom. A report of a line in a call's note keeps that line's exact words. Whoever reviews reports can remove a reported line from a call's note: it goes from the note for everybody who was on the call, and the person who reported it is told it was taken down. A report names a line by who wrote it and its exact words, so the removal also takes any other line by the same person with exactly the same words, in any call's note the report could be about. The person who wrote it is not told. We keep a record of which call the line was in, who wrote it and when, and the removal is written in a log of what reviewers did, which cannot be changed or deleted.

A report is kept with no end date. It stays, with any words it quotes, after the account of the person who made it, or of the person it is about, is deleted; so does the record of a removed line. A recording or picture that an open report names is kept until the report is decided, even if it is deleted in the app. If a report is about something the law requires us to pass on to the National Center for Missing & Exploited Children, we preserve it: the files it names, the email address and account identifier of the account it is about, and who reported it, are kept after the report is decided, and nothing deletes them on a clock yet.

Two reasons for a report are about age. “An adult I don't know is contacting me” goes to the top of the queue. “This person may be under 18” closes that account's doors to people it has not worked with (the Open Mic, asking and offering to play, lesson links and lesson rooms, and their page to strangers): straight away only while the person reporting has no other such report open, otherwise only if the person reviewing it agrees, and then until the age is sorted out. The person reported is never told a report was made. We keep a door closure tied to a report: an automatic one is deleted once the report is decided; a reviewer's is kept until support ends it. When an under-18 person joins a room on an invitation from an adult they have not worked with, we also keep which two people are in that week and when it ends, and delete it within the hour after it ends.

If you ask us to take down an intimate picture or video of you, by writing to hotline@colabroom.com, we keep your request: your name, how to reach you, what you asked us to remove, and what we did and when. We keep it so we can show we acted and stop the same file coming back. Like a report, it has no end date today. Only whoever reviews reports reads it, and we don't tell the person who posted it who asked. Like all mail to us, it reaches us through Porkbun and Gmail, as “Account” says.

If you block somebody, we store that you did, so the app can keep the two of you apart. If the two of you share a room made at a door that is not yet staying for good, blocking ends it between you at once. If it holds a song, a set or a picture, it stays with whoever opened the door; otherwise it is deleted. The notes of its calls that had already ended are kept for thirty days from the block, by the same rule as when a door closes; a call still going on is deleted with the room. A note kept this way cannot be read or taken back until somebody who was on the call opens After the call. A block deletes nothing from a note already kept: the person you blocked stays on it as “Somebody”, and your lines and theirs are hidden from each other.

Credits

Every account has a record of its credits, kept on our server where nothing in the app can change it: the credits it was given (three to start, and a Studio member's monthly ones) and when, and each full listen that used one — the song, the room, the recording's fingerprint, who asked, and whose credits paid. In a room of eight people or fewer, a Studio member can let the others in it use the member's credits; the member's own record then shows which room and song each credit went to and who asked, and the bandmate is told that before they ask. Only you can read your own record. Nothing can be bought yet. Your record is deleted with your account; a credit a member spent on your ask stays in their record without your name.

Feedback and diagnostics

If you send feedback, we store its category, your message, the screen you were on, and your app version and platform, against your account, and a screenshot if you attach one. If you send it from a problem the app showed you, what the app said is added under your message. If you are not signed in, the app offers to start an email to support@colabroom.com in your own mail app instead, with the app's version and platform in it. If the app crashes, hits an unexpected error, or turns down a file that is over what it can take, the version and platform, the screen you were on, which song it was about, if any, and a message (for a file turned down, only its size) are recorded automatically, tied to that run of the app, so we can find and fix it — this doesn't include your song content. Those records are made against your account when you are signed in; when you delete your account they stay, but no longer say whose they were. If blocking somebody has to be tried a second time, that is recorded the same way: it says that your account blocked somebody, and when, but not who. Each time you open the app while signed in, it records that a run of the app started, against your account, with the time, the version and the platform, so an error count has something to be divided by, and so a weekly total can say how many people came back on a second day. Opening it signed out records nothing. Those records are deleted after 90 days, by a job that runs once a day. The job deletes only on days when the app has been used in the week before, so after a quiet spell an old record can stay until somebody uses the app again. If you delete your account sooner, they stay until then without saying whose they were.

Once an hour, a job looks for kinds of error we have not seen before. For each one it sends the error's latest message, which can name the song it was about, with when it was first and last seen, how many times it happened and to how many accounts, but not which, to Anthropic's API, which suggests a likely cause. That suggestion and the error itself are filed, with the same counts, in our private code repository on GitHub, for us to read.

If you ask a question in Help and choose to send it to a person, we store your question, which ready answer the app had offered you, the screen you were on, and your app version and platform, against your account, so that a person can answer it. The answer the person writes is stored with it, and reaches you as a notification. Only you, and we, can read them. Both are deleted with your account. Newer versions of the app can also start an email to us from Help, in your own mail app, with your question, the app's version and platform, and your account's identifier in it; nothing is sent until you send it.

Analysis: where a recording actually goes

In the app, analysing a recording is something you ask for, per song — it isn't automatic. When you do:

SupabaseStores the recording, your account data, and every song in the app. Our database and file storage provider.

RunPodRuns our own instrument-separation code on their GPUs, to split the recording into stems, for a full analysis. A chords sheet does not go to RunPod.

Google Cloud RunRuns our own chord-detection code, to work out what's being played. For a chords sheet the recording goes here, and to no GPU.

RunPodAlso transcribes the words for a full analysis. A chords sheet hears no words. Transcription runs on the same worker as the separation, using our own code. The transcribed words come back to CoLabRoom and, when the song-sheet check is enabled, are sent to Anthropic as described below.

OpenAIHears the recording when a full analysis comes back with no words — a song where our worker found no vocal, a worker from before it could transcribe, or chords worked out on your phone instead — and every time you ask the sheet to listen for the words again. A chords sheet is not sent here unless you ask. The recording goes to OpenAI's transcription API: the isolated vocal when separation made one, and otherwise the whole recording. With it go the start of the words already on the sheet, as a hint, and the language the room said the song is sung in. A recording it has already heard with the same hint is not sent again. Governed by OpenAI's own API data terms.

RunPodAlso works out the tune of the isolated vocal. That is where the sung range shown on a song sheet — and on your profile page, if you play a singing part — comes from. Same worker, our own code.

Anthropic, for a song-sheet checkWhen enabled, Anthropic checks the detected chords, timing, song sections and transcribed words before the song sheet is shown. The recording is not sent for this check. It can choose among chords already detected and adjust labels or timing; it cannot add lyrics or music. We record which provider and model answered and token counts to measure usage. Those usage records do not include the words or other song content.

Anthropic or OpenAIFor questions about a song: Clef, the guide in the app, is an AI, and its answers are written this way. Your question and what the app has already worked out — the title, key, tempo, length, chords, sections, up to sixty lines of the words, which parts have been shared on it and the display names of the people who recorded them, which parts it is still asking for, how many beats the band counts in a cycle, and the way you name notes — go to a language model that writes the answer. The recording never does. Which model depends on how we have configured it: Anthropic's API when a key for it is set, otherwise OpenAI's. Both publish API terms under which what is sent is not used to train their models. We also record which provider and model answered and token counts, including counts of tokens reused from a cache, to measure usage; those usage records do not include your question or song content. We keep your question and the answer too, readable from our service by you alone, until the song or your account is deleted; if the model does not answer, the question is kept with no answer. A question turned away because you have asked too many this hour is not kept. Some questions the app answers by itself: those go to no model, and are not kept. Every answer says Clef is an AI. From 13, Clef answers only about your own songs, refuses relationship, sexual and self-harm topics, and says where to get help; on OpenAI it stays for people 18 and over. It is not on in rooms made by a lesson link. A question Clef turns down about relationships or sex is kept with its refusal, like any other question, and readable only by you; a question about hurting yourself is answered with where to get help and is not kept.

Anthropic, for supportMail sent for support can go to Anthropic to draft an answer from public help information. Resend receives the message and address to handle receiving and sending. An eligible answer can be sent automatically and identifies itself as AI-assisted; otherwise a person reviews the private thread. You can ask for a human. The helper does not look up your account data. Support correspondence is retained privately, as the Account section explains.

Anthropic, for a record draftWhen you choose a plain-words draft from an existing call or kept lesson record, the written notes and take descriptions you can read go to Anthropic. The result is editable and stays only on the open screen; it is not saved or sent to other people. A summary kept only on your phone is not uploaded through this option.

Anthropic, for About youWhen you request a description of your sound, your own public instruments, genres and the titles of songs you chose to show go to Anthropic. The two-sentence draft is editable. It is saved to your profile only when you choose to save it, under your ordinary profile visibility settings. No audio or private song goes through this option.

Apple or GoogleIf you dictate lyrics rather than type them, your phone's or browser's own speech recogniser is used. On an iPhone that may send what you say to Apple; on Android, or in a browser such as Chrome, it may send it to Google. It's the system feature, not ours, and it only runs while you're dictating. A question you speak to the app is different: it is heard only on the phone itself, and where the phone cannot do that, it is not heard at all.

RunPod and Google Cloud Run are infrastructure we run our own code on — they don't process your recording for their own purposes. A full analysis gets its words on our own worker, and then nothing goes to OpenAI; a chords sheet hears no words and sends nothing there. When a full analysis comes back with no words, or you ask the sheet to listen again, the recording goes to OpenAI as the OpenAI row says: the isolated vocal when there is one, otherwise the whole recording.

Outside the app, we have sometimes run tests of our own on recordings already stored, to measure how well the analysis works. Those tests ran on GitHub's computers and sent the recordings, or their separated vocals, to the same services in the table: OpenAI, RunPod and our chord detector. Nobody was asked first. The last ones ran in August 2026. Those tests now use a recording only when every person on the song has said yes, and a person says it inside the app, under Account, “Our own tests”. The switch is off until you turn it on, only an account the app already knows is 18 or over can turn it on, and you can turn it off whenever you like; work already sent to a test cannot be taken back. Every recording a test reads is written down with that run.

One thing that is not a recording also goes to OpenAI: every profile picture, gallery picture, room picture and song cover you upload is sent, as a short-lived link, to OpenAI's moderation model. If it flags the picture as sexual or as graphic violence, the picture is taken down and a report is filed for a person to look at. A gallery picture is shown to nobody but you until our check has passed it; a profile or room picture, or a song cover, is shown as soon as you upload it, and taken down if the check flags it. If our check runs but cannot get an answer, a gallery picture stays hidden from everybody but you and is checked again the next time you open your profile; a profile or room picture, or a song cover, is shown unchecked. If your phone never reaches our check at all, a profile or room picture, or a song cover, stays up unchecked, and a gallery picture stays hidden from everybody but you until the check runs. A song cover set from an older version of the app was not checked. Anybody can still report a picture. This is governed by the same API data terms.

Analyses are cached by the recording's fingerprint: the exact same audio file, analysed again by anyone, reuses the first result instead of being reprocessed. Nobody can reach an analysis without already having the recording it came from. The cache holds what was worked out — the chords, key, tempo, sections, the tune and the words heard — and no person's name. It does keep where the first analysis left the separated parts: a folder named by that room and song. The words OpenAI heard are cached the same way, by a fingerprint of the audio sent and of the hint sent with it. Neither cache is deleted when the song or the account is, and neither has an end date.

Who can see what

A room and everything in it — songs, lyrics, comments, recordings — is visible only to that room's members, and a song also to anybody invited onto that one song. The exceptions are an ask and a door, below, and a report, which a person reads, as “Reports and blocks” says. Nothing you write or record is public by default, and nothing becomes public because you finished it.

A team is a room with a leader. Making a room a team records who made it and when, for the room's members only; it changes nothing about who can see the room or anything in it, and a team is never shown to anybody outside it. A team's chairs, the parts of the band as the leader names them, are visible to the room's members and nobody else. The team's own stage key, a random number only the leader can make and only a member who turned on Follow the stage can read, is kept on that member's phone so the stage works with no signal. Nothing can be bought yet; while nothing is on sale, teams cost nothing. In a team, the leader can write beside each date's set which chair each member sits in, and every member of the team can read it; a member can seat themselves. From any song in the set a member can ask for bars to be rehearsed; the leader sees the bars asked for and, unless the member chose to sign the ask, not who asked. Asks are kept with the set and go when it does. When a team's leader plans a sectional, the app tells the leader only whether everybody chosen is known to be 18 or over, so it can offer a lesson room; it never says who is not.

A member can record the band's night from their own phone while the set is open, with the set's running order and the moments they pinned; the recording is cut into songs on that phone, and each song goes up as that member's own take, shared and kept like any other, with its pins and the tempo the band counted and ended on, which the band can read. A night can be kept as a folder on the phone or the computer; when it is, a fingerprint (SHA-256) of the folder is kept with the night for the band. The member who recorded a night can take it off the band's list at any time: its set map, its pins and the fingerprint go, and the takes stay where they were, theirs to delete. A member can also record the band's night from their pocket. It is kept under their own name, on their phone and as their own takes that nobody else can hear, until the leader asks the band to claim it and every player who played that night says yes; one no keeps it private for good. The leader sees who recorded which date's night, and nothing of it until it is claimed. A member seated in a chair can pin a short mark or a spoken word of up to a minute to a bar, signed with their name, for the room and for anyone the leader lends that chair to; a word is a file in the room's storage, removed when its maker takes it back, or by our Sunday tidy once its song, room or account has gone. Lending a chair makes one link, and keeps the address or the person it was lent to: with no account it opens the band's name, the set, its keys and the chair's marks, signed with a first name only for adults, and no recording; with a free account it invites the dep onto those songs for a week under the same rules as any invitation, the leader is told they took it, and the band's claimed night plays under the road map.

A team can record a rehearsal with one phone per player: each phone records only its own player, as a take of that person, kept and shared like any other take. Afterwards the app works out, on the leader's phone, how the recordings line up, and keeps only those offset numbers with the takes. A phone's own record of a night it made at a rehearsal (when it started and stopped, and which of your songs it cut) is visible to you alone.

On a computer, a team's leader, or the tech who kept the stage and was sent the advance, can bring in the sound desk's recording of a rehearsal or a service as one file per channel. The files are read and cut into songs on that computer; finding where each song starts happens there too, from the songs' own sheets and recordings, and nothing about it is sent to us beyond where each part that is sent begins and ends. Only the cuts for the team's own channels go to our server, into the room, each held for the member who sat in that chair; the tech can hear nothing of it afterwards. That member is asked before it becomes their take; until they answer it can be heard by the owner and that member only, and if they do not answer within thirty days it can no longer be heard and is deleted that week. A part they turn down is deleted the same way. We keep which account brought a night in, and show it to nobody in the team. A song somebody else wrote cannot be brought in this way yet.

A team's leader can send a venue's sound tech an advance: the set order with each song's key and tempo, a stage plot, and an input list naming each channel by its chair. Adults on the team are named by first name; anyone under 18 appears by instrument only. The link is signed, read-only, needs no account, and stops working 48 hours after the show; it carries no song, recording or message. A tech can keep a stage under a free account of their own: the plot, notes and a fee line they write themselves; the notes are theirs alone, and the app moves no money and takes nothing. We do not send the tech anything; the link goes through your own mail or messages. When a tech keeps a stage from an advance sent to her own address, the venue and the address are kept with it as a one-way digest, so the next advance to that venue and address finds her stage; neither can be read back, and the band then sees her plot and her fee line.

A few separate, deliberate acts can make something public, or show you to people outside your rooms. Listing yourself is yours alone to do and to undo. A song is different: in a room you share, the room's owner decides whether it goes on the Open Mic, and anybody in the room can put a finished song that is not a cover in the showcase, which makes a page on this website under the display name of whoever started the song. Whoever started it, or wrote its words, is asked first only if they have a shared take on it; anybody in the room can take it out of the showcase again. The acts:

Listing yourself in the Open Mic. Your display name, your picture, and whatever you entered under “what you say about yourself” above become visible to anyone signed in who may meet you (your city only if you chose to show it publicly), and you can be found by searching for those things. Off until you turn it on. If you are 18 or over and have said what you play, who you sound like or a few words about yourself, a page about you is also put on this website, colabroom.com, where anybody can read it without signing in and search engines can find it. It shows your display name, what you play, who you sound like, your city if you chose to show it publicly, and how many of your songs are in the showcase. The page does not print your few words, but the list it is made from, which needs no account to read, includes them, and your account's identifier too. The page's own address is made from your display name and the first eight characters of that identifier. The pages are rebuilt once a day, so yours can stay up for up to a day after you take yourself off, and a search engine may keep its own copy for longer. The pages of this website are kept in a public code repository, so a copy of a page that was taken down can still be read in that repository's history.
Putting a song on the Open Mic. That song, and the takes inside it you have already shared with your own room, can be heard by anyone signed in who may meet whoever started the song. Everybody else with a shared take on it is asked first, once; their part goes out only if they say yes, and they can take it back later. A song's record is the recording the room chooses to be the song: any take, a file brought in, or the song's own recording. When somebody makes a new recording the record, everybody whose part may be on it is asked again, about that recording only, before people outside the room hear it; until they all say yes, those people hear what they heard before. A take brought in from a file, which may have the whole band on it, goes out only once everybody else with a shared take on the song has said yes to their own part, and not at all once somebody asked about it as the record has said no. Without their yes, their part stays with the room. The same is asked before a song goes in the showcase. A take you have not shared stays private even then — the room offers the song, never your unheard draft.
Showing a finished song. Marking a song finished shows it to nobody new. It stops the song asking for help, and it also takes the song off the Open Mic; unmarking it does not put it back. Putting it in the showcase is a second choice, made separately, and anybody in the song's room can make it. In the app, a song in the showcase can be seen by anyone signed in who may meet whoever started it. A song in the showcase that has something to play, by somebody 18 or over, also gets its own page on this website, readable by anybody and by search engines: its title, your display name, its key, its length, whether more than one musician played on it, and the display names of the others whose takes on it are public. The recording is not on that page. The list the page is made from, which needs no account to read, also gives the song's identifier, your account's identifier, and when the song went in the showcase. Taking the song out of the showcase takes the page down at the next daily rebuild, though, as above, an earlier copy stays in the website's public history.
Opening your door to the Open Mic. Your door can be seen by anybody signed in who may meet you, while it is open and you are listed on the Open Mic. The name of the song it is open on is shown only to those who could already find that song, as “Your door” says. Closing it ends that.
Putting a song on an Open Mic Night list. The song, with the first name and face of whoever started it, and when it went on the list, are shown to anybody signed in who may hear it, for eight weeks after the night. That you put it there is not shown in the app, but the same people can read it from our service. Taking it off the list ends that.
Checking in at a place on Here tonight. Your face, your first name and what you play are shown to the people checked in there who may meet you, while the night is on and for seven days after it. Saying you have left takes you off the page at once.

One more thing you can hand to one person: asking a particular musician to play on a song lets that person — and nobody else — hear that song while the ask is open. Withdrawing it, their answering no, or blocking them ends it. If they say yes, they join that song, and can hear and see it for as long as they are on it.

Talking

A message to one person is seen by the two of you. Either of you can take back your own lines. Blocking closes the thread in both directions at once.
A room's thread is seen by everybody in the room — including people who join later, who can read what was said before they arrived. Leaving the room ends your access to it; deleting the room deletes it.
A reply on an ask is seen by the people who can see the ask: whoever asked, whoever was asked, and the room the song lives in.
A note left with “heard it” reaches the person who put the song up, as a notification, and everybody in the song's room can read it too. That you heard it is shown to the room by name.
A note that you would like to meet somebody is shown to nobody. Musicians who play that part, and who may meet you, see only how many people are looking, and you are told the name of anybody listed on the Open Mic who plays it and may meet you.
Whether you have the app open right now is visible to your people while it is open, unless you turn on Appear away, and to nobody else, except on the older versions “Whether you are here right now” describes. A song you have open is seen by everybody on that song, Appear away or not. A door you open is seen by your people, and by anybody signed in who may meet you only if you choose. A door opened at a place is seen only by the people checked in there who may meet you. A check-in at a place is seen by the people checked in there who may meet you, while the night is on, and for seven days after it by the people who were there and may meet you.

A notification about any of these carries the sender's name, the room or song it is about if there is one, up to the first 200 characters of what they said, and the identifiers the app needs to open it.

The chord tool on this website

The chord tool takes an audio file, works out the chords, and sends them back. It does not require an account and does not create one.

The recording is never stored. It is held in memory for as long as the analysis takes, passed to our chord detector, which runs on Google Cloud Run, and dropped. Our own code keeps no upload folder, no database row, and no copy afterwards. The request still passes through Supabase, who run our function, and we have not yet checked what Supabase's own logs keep of it.

One thing is kept, and only to stop the tool being used to run up a bill: a salted hash of the network address the request came from, with a count of how many songs it has sent today. Not the address itself, and not anything about the music. Each day's rows are deleted the following night, so none is kept more than about twenty-eight hours. They can answer exactly one question — whether this requester has had all twenty-five of today's songs — and no other. Before a day's rows are deleted, we add up two numbers for that day — how many different requesters there were, and how many songs they sent — and keep those two numbers with no end date. They say nothing about anybody.

When the chord detector is too busy to take a song, we also write down that a visitor was asked to try again, with the time and nothing about the visitor or the music. Our function's own log notes how long each analysis took, and how many network hops the request came through.

What this website counts

The pages here add one to a few daily totals. Each total is a day, the name of what happened, and a number; three of them (a page opened, chords coming back, and a click towards the app) are also kept per flier code, as the last part of this section says. This is the whole list, thirteen names:

A page was opened. Every page that counts, every time it loads, reloads included. A page sends its own name with each count, but the counter throws the name away, so this is one total for the whole site.
Somebody went towards the app. A click on a link into the app, or on an email link asking for an invite.
On the chord tool (the chords and what-key pages): a file was chosen; chords came back; chords did not come back; a visitor's songs for the day ran out; the day's whole budget ran out; the chords were copied; a link to the chart was copied; somebody arrived on such a link; they went on to try a song of their own; a card under the result was followed. Opening a link to a chart counts as chords coming back too. When a song is really analysed, our function counts the answer as well, so chords coming back, or not, adds two.
On the transpose, capo and numbers pages: the tool was used, once each time the page loads, the first time any of its controls changes; the chart was copied; a card to another tool was followed. A card into the app counts as going towards the app.

None of these totals names a person. There is no cookie, no visitor ID, no pixel, no analytics service, and nothing that says one visit was the same person as another. The counting goes to the same function of ours the chord tool posts to, and these legal pages count nothing at all. The code that counts reads only the name of what happened and a flier code (below), never your network address. The request still reaches Supabase, who run that function for us, the way any request on the web does; we have not yet checked what Supabase's own logs keep of it. We keep the totals with no end date.

Every page here uses our own copy of the fonts, so no font request goes to Google. The page for making a flier loads a small program for drawing QR codes from Cloudflare's cdnjs, which then sees your network address the same way. The whole site is served by GitHub Pages, which receives every request for a page here, as any web host does.

If you arrived on a link carrying a code — a QR on a flier, a card at a gig, a link under a video — the website writes that code into your browser. A code names a board, a venue or a video. We never make a code for one person. Your browser remembers it for 30 days from arrival, then forgets it, so that we can tell which flier worked. Reading another page does not restart those 30 days. Choose Don't remember my flier in the website footer to clear this site's copy and stop this browser remembering or passing on flier codes for a year. If browser storage is blocked, the choice clears this page's code but cannot be saved for another visit. The visit that arrives with the code is counted against that flier, and so are chords coming back and every click towards the app for as long as your browser remembers it. The transpose, capo and numbers pages pass it on to the chord tool, where it counts as an arrival again. A link into the app carries it too, and the app keeps its own copy for seven days. If you make an account while the app still has it, or sign in to an account less than a week old, the account keeps the code until you delete the account, and one sign-up is counted against the flier; that count stays after the account is gone. The app does the same with its own links: an account can remember that it came from an invitation, a lesson link or a Here tonight poster. Arrive without a code and there is none to remember. Clearing this site's data in your browser removes this site's copy. It does not remove the app's copy, which belongs to app.colabroom.com, or the code on an account already made.

Backups, and the jobs that look after the app

Backblaze B2Every night we copy our database's tables, and the recordings, takes, separated parts, voice notes, room pictures and song covers in our file storage, to Backblaze B2, a storage service, where the copies are kept encrypted. Each copy is locked against being changed or deleted for at least thirty days. Copies more than sixty days old can then be removed, and we remove them by hand. So something you delete can stay in a backup copy for at least sixty days, and longer until we clear old copies. The copies are there to put things back if they are lost; nothing in the app reads them.

GitHubOur scheduled jobs run on GitHub Actions, GitHub's computers. They read our database to tidy and to count, among them: taking each new take's fingerprint, which reads its file on GitHub's computers and keeps nothing there, deleting the old records of each run of the app, the weekly totals, whether a Help question or a report is waiting, the error check described under “Feedback and diagnostics”, removing files a deleted song, room or account left behind, putting away separated parts nobody plays, building the pages of this website, and the nightly backup, which passes everything it copies through GitHub's computers on its way to Backblaze. The backup writes only counts to GitHub's logs and keeps no copy there.

We use Anthropic to compare this notice with a summary of how the app handles information. These automated checks use this notice and descriptions drawn from our code, not your account details, messages or music. They flag possible differences for us to review; they do not change the app or this notice themselves.

How long we keep it

Most of it, until you delete it or delete your account. Some things go sooner, on a clock, and a few stay after an account is deleted; both are listed below. Apart from the 90 days on the record of each run of the app, there's currently no automatic expiry on feedback or error records — we're telling you that plainly rather than implying a cleanup schedule that doesn't exist yet.

A take is never deleted because nobody has played it for a while. It stays until somebody removes it: whoever recorded it, the room's owner, or whoever deletes the song or the room it is on. A take or a song's own recording that has ever been the song's record is the exception: removing it takes it off the song, but its file stays with the song's list of versions until the song or its room is deleted, so which recording was the record can always be shown; a removed take's version no longer plays. The separated parts an analysis makes from a song's recording are different: they are a copy we made, not something you made, and they are put away when nobody has played them for 180 days. The song then says so, and Bring them back makes them again.

When a song, a room or an account is deleted, its files — recordings, takes, separated parts, pictures — are not removed from our file storage at that moment, but by a job that runs once a week. So a file can stay there for about a week, or longer if the job stops itself, which it does when far more files than usual look like nobody's. A copy can also stay in our backups, as “Backups” says above.

Messages and threads stay until whoever wrote a line takes it back, the room is deleted, or the account is. A message thread with one person is deleted whole, their side included, when either of you deletes your account. A note looking for somebody stops working after a month, but stays stored, with whom it met, until you delete your account. Questions you asked the app, and its answers, stay until the song or your account is deleted; you cannot remove one yourself. The note that you are in a call is deleted when you leave it, or within ten minutes if your phone could not say so. The month and year you were born, if you gave them, stay with your account until you delete it. The record of when a room's calls started and ended, and the note of each call, go when the room does — except a note kept after a room made at a door went, which is deleted thirty days after the room went; you leave every call's note, kept ones included, when you delete your account. The record that a notification reached your phone stays after the notification is cleared, until you delete your account.

On a clock: a knock's card in your inbox fades after thirty minutes; a place code, or an advance's link, that opened nothing is forgotten after an hour (with no account, only a count for the hour is kept, and nothing about who tried it); a closed door is deleted with its knocks about a day after it closes; a place on Here tonight is deleted, with who checked in and any meets, seven days after its night; a kept call note, thirty days after its room went (or after the block that kept it); an Open Mic Night list, eight weeks after its night; the record that you opened the app, after 90 days, or later after a quiet spell, as “Feedback and diagnostics” says. A reminder for Open Mic Night stays until you turn it off. How you read notes stays until you change it or delete your account. When you say Not now to some of the app's offers — listing you on the Open Mic, its welcome questions, its first-run card — we remember that against your account, and on your phone, so it does not ask again: for thirty days for the Open Mic, and for good for the other two. The copy against your account stays until you delete your account. Deleting your account does not yet remove the copy on your phone, or in your browser on the web: it stays there, under your account's identifier, until the app's data there is cleared or the app is removed.

Some things stay after an account is deleted. A report is kept with no end date, with any words it quotes, and so is the record of a line a reviewer removed and the log of what reviewers did; so is a matter we preserved for the National Center for Missing & Exploited Children, with the email address of the account it was about. A room made at a door keeps the account identifiers of who opened the door and who was let in for as long as the room exists. Takes you shared on songs other people own, and songs you started in rooms other people own, stay where they are with nobody named. So do a recording you put on such a song, and an ask you made for one, with its words. A song's history keeps the words you replaced, which somebody else wrote. Notifications already in other people's inboxes keep the words they were written with, which can include your name and the start of what you said. A screenshot you attached to feedback stays in our file storage, in a folder named by your account's identifier, though the feedback it came with is deleted. Error records stay without saying whose they were, and so do the records of each run of the app, until they are deleted. So does our record of what each analysis, transcription and stretch of a call used — when, how long, and, for an analysis, the recording's fingerprint — with no account or deleted song named in it; and what an analysis worked out, in the cache that “Analysis” describes. Copies in our backups stay as “Backups” says. The totals this website counts, and a sign-up counted against a flier, have no end date; none of them names a person. The home page says more about what deleting an account removes.

Your controls

Delete a voice note, a recording, or a song at any time from inside the app.
Export a song or setlist as text or a printable PDF, or print an advance's tape strip. If the PDF needs letters beyond the Latin alphabet, the app downloads a font for them from Google Fonts the first time, so Google sees your network address.
Take back any message, reply or note you wrote, from the line itself. A notification that already reached somebody keeps its start until they clear it. Questions you asked the app about a song, and the words you wrote with an ask to play, are the exceptions: they cannot be taken back. A note looking for somebody can be removed while it is working; after its month it no longer shows in the app. A line in a call note that was kept after its room went is taken back under Your music → After the call, until the note's last day, and that is for good.
Choose some of the notifications you get under Account → Notifications: invites, answers to them, being asked to play, messages, calls and new takes each have a switch, and the Open Mic Night reminder comes only if you ask for it. These have no switch inside the app yet: a knock on your door; being let in; a room made at a door being kept; an ask to meet and its yes; somebody asking you to invite a person to your room; somebody offering to hand you a room, a hand-over finishing, and your role in a room changing; a question about whether your take may go on the Open Mic; a bandmate asking to use your credits, and the yes; somebody who plays a part you left a note looking for turning up on the Open Mic; something of yours being looked at after a report; the answer to a report you made; the answer to a question you sent through Help; a song you sent to be listened to being ready; and a room you were in being closed. Your phone's settings can turn off every notification from the app.
Make a new code for meeting people, which stops the old one working.
Turn on Appear away, so your people do not see that you have the app open. It does not hide a song you have open from the people on that song.
Leave a room you no longer want to be in. You lose its songs and its thread, and its songs leave your sets. What you put there — takes, words, comments, lines in its thread, your place on its calls and your lines in their notes — stays with the room for the people still in it. A room made at a door is the exception: if it goes by itself, they are deleted from its notes when it goes; if it stays, because its owner kept it or it holds a song, a set or a picture, they stay as in any room.
Close your door, say you have left a place on Here tonight, or take your song off an Open Mic Night list, at any time.
Delete your account from Account → Delete account. In our database this is immediate and permanent, and has no recovery window — see the account-deletion details on the CoLabRoom home page for exactly what it removes, including what happens to rooms you own. It also deletes every message you sent, in rooms and to people, your questions to the app, your notes and your connection requests. A message thread with one person is deleted whole, their side included. Your files leave our file storage within about a week, and copies can stay in our backups for at least sixty days, as “Backups” says. It does not delete words of yours quoted in a report, or the other things “How long we keep it” lists as staying after an account is deleted.
Can't sign in? Email support@colabroom.com from the address you signed up with.

Children, and people under 18

CoLabRoom isn't for children under 13. When you make an account we ask the month and year you were born, never the day, and keep them where nobody else can see them. We use them only to decide what is open to you. An under-13 answer makes no account and sends nothing to us. If you made your account before we asked at sign-up, the app asks once, before you record, upload, send a message, or make or join a room or song, as “Calls” says. When somebody who already has an account gives a month and year that make them under 13, the app does not store the month or year, only that an answer like that was given, and when, so it cannot be answered again. The account is paused at once and the fourteen days below start; we see it on our review desk.

An existing account found to be under 13, from that answer or any other way, is paused at once, and the account stops working as soon as we learn of it. Within 14 days we delete it and everything the child put on CoLabRoom, including takes and words in other people's rooms; the people in those rooms see only that a part was removed. If it may be a mistake, support can hold the deletion while it looks into the account, and nothing is deleted while it does. Copies in our backups go as “Backups” says. A parent who thinks their child has an account, or wants a child's information deleted, can write to support@colabroom.com.

Under 18, CoLabRoom works inside your own rooms and with people you have worked with, except one-to-one calls with an adult and lessons, which open later. Nothing shows you to people you have not worked with. Listing on the Open Mic and keeping a room made at a door are for people 18 and over for now. If you are under 18, what you see on the Open Mic is only your own people's songs, newest first, chosen by nothing we know about you. We never send a notification to anyone under 18 between midnight and 6 am where they are; an account that has not said its age is held the same way. Anybody can be invited into a room by email or with a code. Under 18, when the invitation comes from an adult you have not worked with, the app asks first whether you know them in real life, and for a week after you join, messages and calls with just the two of you wait; the room thread works. A room can be handed to you from the age of 13, and a room's picture has no age rule. Under 18, you can open your door, but it is shown only to people who already play with you, as “Your door” says. You can check in at a place on Here tonight, but there you see, and are seen by, only people you already play with, and the same goes for We met. On iPhone and Android we may one day use the age range the App Store or Google Play gives us instead of the one you told us, whichever is more careful; the versions of the app people have today do not read it.

Changes

If this policy changes in a way that matters — a new third party, in the analysis chain or anywhere else, a change to what we keep — or we find that it said something wrong, we'll update the date at the top, add a dated line below, email the address on every account, and say so inside the app: a card on the app's home screen, for a week, the way the app announces anything that changed in it. The first such card went out on 12 October 2026, for the correction of 6 October. The app's own short privacy note is being brought in line with this page; until a build with that change reaches you, this page and the date above are the ones to trust.

20 October 2026: teams. A team is a room with a leader and its chairs; this page now says what a team records (who made it, who sits where, the bars members asked to rehearse), what a night recorded from a stand or a pocket is and who can hear it, how a rehearsal recorded with one phone per player is lined up, what the sound desk's recording brought in on a computer sends us, what an advance to a venue's tech carries and how long its link lives, and what the stage sends over Bluetooth.

19 October 2026: this page now describes an automated check of a song sheet, which information goes to Anthropic for that check, and the content-free usage records it keeps.

19 October 2026: this page now describes the automated checks we use to compare the notice with how the app handles information. Those checks do not use your account details, messages or music.

19 October 2026: calls are open from 13 inside your own rooms, and when a call is just one adult and someone under 18 the younger person's sound and video wait for a third person. Clef answers from 13 about your own songs on Anthropic's model, says in every answer that it is an AI, and refuses relationship, sexual and self-harm topics, saying where to get help. Under 18, an invitation from an adult you have not worked with brings a question first, and a week's hold on one-to-one messages and calls, and two new report reasons are about age.

19 October 2026: the age line of 14 October is now built in the app, and this page says what it does. Making an account asks the month and year you were born, in place of a tick, and an under-13 answer makes no account; an account made before that is asked once, before it records, sends, or makes or joins a room. An account found to be under 13 is paused at once and deleted within 14 days, which before was a promise the app did not yet keep. A room can be handed to you from 13. Under 18, the Open Mic shows only your own people's songs, newest first, and no notification reaches anyone under 18 between midnight and 6 am where they are, for which your phone tells us one of four broad time-zone bands whenever the app is open and you are signed in.

19 October 2026: a yes to our own tests on stored recordings is now given in the app, under Account, “Our own tests”, and not written to us. A recording is used only when every person on the song has said yes, the switch is off until you turn it on, only an account the app already knows is 18 or over can turn it on, and you can turn it off at any time.

19 October 2026: this page now explains optional wording for About you, the public musical facts sent to Anthropic, and the choice to edit or save the draft.

19 October 2026: this page now explains optional AI drafts from call and lesson records, which information goes to Anthropic, and that the editable draft is kept only on the open screen.

19 October 2026: this page now explains how mail to support@colabroom.com may use AI to draft a reply, which services receive it, what we keep, and how to ask for a person.

19 October 2026: this page now says that Clef records which provider and model answered and token counts, including cached-token counts, to measure usage, without question or song content in those usage records.

14 October 2026: the Terms of Service were rewritten, and this page follows them. It now says what happens to an account that belongs to a child under 13, what is open under 18, how Bluetooth, stickers and We met work, what the record of your credits holds, which notifications have no switch, what we keep from a request to take down an intimate image, and that Clef is an AI; and that our own tests on stored recordings will not run again without the owner's yes.

14 October 2026, later the same day: our own tests on stored recordings now read only recordings whose owners are on a short list we keep by hand, refuse to run when that list is empty, and write down every recording they read.

12 October 2026: the server now tells which parts you play only to the people who can see your page, and never across a block; song covers go through the same picture check as other pictures; a gallery picture whose check cannot get an answer stays hidden until it is checked again.

Contact

CoLabRoom is run by Decibel Zero LLC, 7901 4th St. N, Ste. 300, St. Petersburg, Florida 33702, which is responsible for the information described on this page. Write to us at support@colabroom.com.