Help

Account and access

How do I create an account?

Download the app and sign in with your Google or Apple account. There is no sign-up with a password of its own: using a provider you already have is safer than creating one more password to forget.

I signed in, now what? I don’t see any group.

Voicing is organized into groups (your band, your ministry). You join a group in two ways: with the invite code your leader gives you, or by creating a new group, if you are the one leading. Whoever joins by invite may go through the leadership’s approval. If your request says "waiting", that’s it.

How do I delete my account?

In the app: Manage → Delete account. Without the app, follow the instructions at voicing.com.br/en/excluir-conta. Deleting removes your profile and unlinks you from the groups; what isn’t yours (the group’s schedules, the songs) stays with the group.

Schedules and attendance

I’m on the schedule. How do I confirm?

From the notification itself ("Confirm" / "Can’t make it"), from Home, or by opening the schedule. The leader sees the count of confirmations in real time.

I can’t make it on a Sunday. How do I say so?

Home → "Can’t make it", then pick the date. The scheduling engine stops suggesting you on those dates, and if someone tries to schedule you by hand, they will see the warning clearly.

What is the scheduling engine?

It is the automatic builder: from the event type (how many voices, which instruments, how many songs), it suggests the line-up and the songs, respecting unavailability, rotation and the group’s most played songs, and it explains the reason for each choice. The leader reviews and adjusts everything before publishing.

Notifications

I don’t get notifications. What do I check?

Open Manage → Notification preferences: the app shows there what is keeping the push from arriving (permission denied, notifications turned off in the system). Allowed it and still nothing? Write to contato@voicing.com.br telling us your device model.

Songs, lyrics and charts

Where do the lyrics and charts come from?

Your group’s material is written, pasted or imported by you, and the chord charts may come from the library shared between groups. Looking up third-party sites opens the source page, with credit and address. Details in section 7 of the Terms of Use.

I found material that infringes my rights.

Use the "Report rights" button on the screen where the material appears, or write to contato@voicing.com.br. We review it and remove it where appropriate.

Content and safety

How do I report content or a user?

Press and hold (or use the "⋯" menu) on the content and choose Report. The report is anonymous to the person reported and goes to the platform’s moderation. You can also block a person: what they write stops showing up for you.

Who sees what I write?

The group’s content (schedules, notices, the board, the songs) is visible only to members of that group. The only thing that crosses groups is the chord chart published to the library, with the name of whoever published it in plain sight. Details in the Privacy Policy.

How to use Voicing

The guides below explain the pieces of the app in the order they show up in a group's life: first who the team is, then what happens every week, then what gets sung.

Members, invites and roles

Management › Members and roles holds everyone in the group. When you add someone, fill in their email and leave the invite on: if they already use Voicing, the invite shows up inside their app and one tap puts them in the group; if they don't, the app gives you a single-use code to send. They create the account and choose their own password, and when they join they take over the profile you created, with the roles you already picked.

Someone who doesn't use a phone can stay as a profile without an email: they appear in schedules and reports, but never get notices or confirm attendance, and the leader answers for them.

Roles say what each person can do: a member sees the schedules they're in and answers for themselves; a vocal leader picks who leads each song; a leader builds and publishes schedules, edits the repertoire and chases confirmations; an admin does all that plus the plan, other people's roles and who leaves.

Group roles

A role is what the person does on stage: vocals, worship leader, alto, acoustic guitar, keys, sound desk. It's the piece that ties three things together, what the member can do, what the event type asks for and the slot the schedule opens, so it's registered once in Management › Roles and serves the whole group.

Each member picks their roles in their own profile, and can have a main role: people who both sing and play usually prefer one of the two, and the engine honours that before looking at the queue. Someone still learning a role joins as a trainee: alongside whoever already does it, without taking the slot.

Event types

An event type is the template of a schedule: Sunday service, Bible school, rehearsal, leadership meeting. It holds the usual day and time, how many people of each role the event asks for, how many songs of each tag make up the set, and the dress code. A well-configured type is the difference between building the schedule in one tap and building it by hand every week.

Each type chooses how people get in:

• By lineup: the event has slots per role and the engine picks who fills them. That's the Sunday service.
• Everyone: the whole group is in, and each person only confirms whether they're coming. That's the full rehearsal.
• Chosen people: a fixed list is in every occurrence. That's the leadership meeting.

The type also knows whether it repeats on its own (weekly, every two weeks, on a day of the month) and whether the engine should build the lineup and the set as soon as the schedule is born. You can tie a fixed team to a type: the youth service belongs to the youth team, full stop.

When the event plays in more than one part, the type gets a moment for each: the opening and communion, the first and second set. Each moment says how many songs of each tag the engine picks and which ones are always included, ahead of the picked ones: the hymn that opens every communion is chosen once, on the type, not every time. On the schedule, the moment's name sits above its songs, and the set editor shows one moment at a time. A song from one moment is never repeated in another moment of the same event.

You can ask for songs that belong to two categories at once: under "Combine categories", pick both and say how many. That is how you ask for the hymn that is also a communion song, without creating a category just for it. The screen shows how many songs in the repertoire have both, so you never ask for more than there is.

On the type screen, each subject has its own card (who goes, when and where, set, dress code, automatic creation) with a summary of what is agreed. Open only what you came to change and save at the end.

The life of a schedule

Every schedule goes through the same stages, each with its own colour in the list:

1. Being built: the schedule exists for the leadership only. Here you build the lineup and the set, by hand or with the engine. Nobody is notified and no deadline runs.
2. Published: publishing notifies the group and starts the confirmation deadline. Each person answers I'm in or I can't; whoever doesn't answer by the deadline can be replaced automatically, if the group wants that.
3. Live: on the day, Stage Mode shows the set in order and the leader can already mark who arrived and who was late.
4. Closed: after the event, the attendance record settles the account: who came, who missed, who was late. That record feeds the next rotation.

At any point the leadership can chase whoever hasn't answered, rebuild the schedule with the engine (the whole thing, just the voices, just the instruments or just the set), invite someone from outside the group for a slot, write on the schedule's board and share the schedule as an image.

The scheduling engine

The engine builds the lineup and the set from what the event type asks for. It doesn't draw lots: it follows a queue, and whoever has played least comes first. In Management › Scheduling engine you tune how that queue behaves.

• Look back: how many weeks of schedules the engine counts to know who has played least.
• Silence yields the turn: each ignored call counts as a fraction of a turn in the queue. Nobody leaves the rotation; the turn simply passes to whoever answers.
• A no-show yields the turn: heavier than silence, because the slot stood empty on stage.
• Being late: light, just enough to break a tie between two people in the same position.
• Trainees per role: how many trainees the engine puts next to whoever already does it.

The engine also respects what isn't a queue: whoever marked themselves unavailable on that date isn't called, whoever is already scheduled at the same time elsewhere doesn't get booked twice, and roles marked essential are the last to go empty when there isn't enough people. When a slot stays open, the schedule says why, nobody has that role, everyone is unavailable, or the candidates were already used in another slot.

For the set, it avoids repeating what was sung in recent weeks, follows the type's tag quotas and limits how many new songs come in at once.

Teams and rotation by period

In a large group, scheduling person by person builds Sundays out of people who have never played together. Churches have solved that for decades by splitting the group into teams and turning the turn between them. Register them in Management › Teams, in the order they take turns, and switch on By teams in Management › Scheduling engine.

Then choose how long a turn lasts: one schedule, one week, two weeks or a month. With the turn tied to the calendar, every event in the period belongs to the same team: Sunday service, midweek meeting and Saturday rehearsal. The start date lines the rotation up with the schedule the group already agreed on. The week starts on Sunday, so Saturday's rehearsal belongs to the week that opened on the previous Sunday.

Inside the team, the rotation of people works as always: a team of ten for a lineup of six still has to choose, and the usual queue is what chooses. If the team on duty has nobody for a slot, no drummer, say, the engine calls the group's drummer instead of leaving Sunday without drums, and the schedule shows that this person came from outside the team.

A paused or empty team stays out of the rotation. And if an event type has a fixed team, that team wins over the turn: that service is always theirs.

Songs, lyrics and charts

The repertoire is the group's library. Each song has a card with key, tempo, tags and the material a musician opens before rehearsal: lyrics, chart, sheet music, audio and video. You can add them one by one or import a spreadsheet: the app looks for the columns by whatever name they have and ignores the rest.

A song the group keeps for a specific occasion, or one that is not stage-ready yet, can stay out of automatic schedules: it is a switch on the song page. The engine stops picking it, and you can still add it by hand to any schedule.

Tags (worship, praise, communion, hymnal) are the language the group uses to ask the engine for a set: the event type's quotas say "two worship, one hymn". A song with no tag at all is never picked by the engine.

Lyrics and charts can come from a link or be written in the app. A chart written by the group can be transposed to the event's key without touching the original, and Stage Mode shows everything full screen with auto-scroll. In a schedule, each song can have a key just for that Sunday and the person who leads it.

Multitrack

Multitrack is the song split into stems: click and guide vocal, voices, harmony and rhythm section. Uploading happens on the website, because those are many files from an export and they live on a computer. The app recognises each stem's type from the file name.

Whoever plays opens the player and listens the way they need: the whole band, their own part up front with the rest underneath, or without their own part to play over it. There's mute and solo per stem, a loop section for practising one passage and, on stage, Live, which sends click and guide to one side and the band to the other, with a button that silences the guide without stopping the music.

Stage tools

• Stage Mode: the schedule's set full screen, in order, with large lyrics and chart and the screen kept awake.
• Pad: the harmonic bed in the song's key, with percussion that follows the tempo.
• Metronome: a precise count that doesn't drift when the screen goes dark.
• Tuner: for the instrument, with the most used tunings.
• Singing mode: sing a passage and the app tells you which key you sang in and your range, from the lowest note to the highest. If the song has a key on its card, it also tells you how many semitones your voice sits above or below it.

Still stuck?

Write to contato@voicing.com.br telling us what happened and, if you can, on which screen. The more context, the faster the answer.