open source audio identification
MusicBrainz recording
Time After Time (live)
Matchbox Twenty
4:55
3bbb1b5b-e309-4734-a932-8a27ed2869ab
View on MusicBrainz →
AcoustIDs
9
linked to this recording
Submissions
22
linking them to it
Fingerprints
18
distinct audio files
Duration
4:42–5:23
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | |||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A |
2d2daf28-1956-4aef-907e-c7c0dcaf9828
Also linked to
Time After Time by Sarah Vaughan, Time After Time by Vinylgroover and
|
5 | 4:49–4:55 | ||||||||||||||||||||||||||||||||||||||
|
Recordings linked to A
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| B |
88147cb1-1caa-4820-ac1f-f9abb43e6419
Also linked to
Time After Time by Matchbox Twenty, Time After Time (live in Germany) by Matchbox Twenty and
|
4 | 4:55–4:57 | ||||||||||||||||||||||||||||||||||||||
|
Recordings linked to B
|
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| C |
23296df0-961e-4529-b5e0-aea44c42f15b
Also linked to
Time After Time by Matchbox Twenty, Time After Time by Matchbox Twenty
|
2 | 5:08–5:09 | ||||||||||||||||||||||||||||||||||||||
|
Recordings linked to C
|
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| D | 9797163c-4ee3-4f06-8e4e-1d3a74a07431 | 1 | 5:12 | ||||||||||||||||||||||||||||||||||||||
| E | 5023c510-9b6b-4b35-93d6-0dcb2171cdd3 | 1 | 5:23 | ||||||||||||||||||||||||||||||||||||||
| F | 8cbcd57d-5231-43b8-9680-967e563a152c | 1 | 5:12 | ||||||||||||||||||||||||||||||||||||||
| G | b384170a-acaa-4e19-8d6f-c3ba270e3407 | 1 | 4:55 | ||||||||||||||||||||||||||||||||||||||
| H |
14ec63d4-3a4a-42c5-83e8-57b6c9f0b312
Also linked to
Fast Car by David Usher, Fast Car (live) by Vertical Horizon
|
2 | 4:42 | ||||||||||||||||||||||||||||||||||||||
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Recordings linked to H
|
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| I | ae86540b-1ac6-4321-a895-6ad1cd256a49 | 1 | 5:22 | ||||||||||||||||||||||||||||||||||||||
Are they the same audio?
Each cell compares the most common fingerprints of two of these AcoustIDs. High scores mean the same audio was split into separate AcoustIDs, while low scores are expected for different versions, edits or masterings of the recording.
| A | B | C | D | E | F | G | H | I | |
|---|---|---|---|---|---|---|---|---|---|
| A | — | 0.00 | 0.91 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.86 |
| B | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.93 | 0.00 | 0.00 | 0.00 |
| C | 0.91 | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.92 |
| D | 0.00 | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 |
| E | 0.00 | 0.00 | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 |
| F | 0.00 | 0.93 | 0.00 | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.00 |
| G | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | — | 0.00 | 0.00 |
| H | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | — | 0.00 |
| I | 0.86 | 0.00 | 0.92 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | — |