open source audio identification
MusicBrainz recording
Carmina Burana: II. In Taberna: XII. Olim lacus colueram
Mozarteum Orchester & Chor Salzburg, Kurt Prestel
3:47
4faaa281-5c0e-42e8-81e6-f0c8cd78ce0d
View on MusicBrainz →
AcoustIDs
8
linked to this recording
Submissions
403
linking them to it
Fingerprints
20
distinct audio files
Duration
3:16–3:56
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A |
49d92adb-789c-4396-8f02-055a66655ffb
Also linked to
Carmina Burana: II. In Taberna: Olim lacus colueram by Zdenko Hanušova, Prague Philharmonic Chorus, Prague Sinfonia, Cesar Komzák, Olim Lacus Colueram by Tbilisi Symphony Orchestra
|
6 | 3:16–3:22 | ||||||||||||||||||
|
Recordings linked to A
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| B |
f2abe281-9cdf-439b-ae5d-8f464d6e4c28
Also linked to
Carmina Burana: In taberna : Olim lacus colueram by Mozarteum Orchester Salzburg, Kurt Prestel
|
6 | 3:47–3:49 | ||||||||||||||||||
|
Recordings linked to B
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| C | 81ed1d14-c42d-461d-a68d-0f1b9fe6eb92 | 2 | 3:20 | ||||||||||||||||||
| D |
7bc5f1b1-7ad7-4a60-87ad-3532d18e5361
Also linked to
Carmina Burana: II. In taberna: 12. Olim lacus colueram by James Bowman, Rundfunkchor Berlin, Radio-Symphonie-Orchester Berlin, Riccardo Chailly, Carmina Burana: II. In Taberna: Olin lacus colueram by John Aler, Shin‐Yu Kai, Berliner Philharmoniker, Seiji Ozawa
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2 | 3:18–3:19 | ||||||||||||||||||
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Recordings linked to D
|
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| E | 6b373d9b-f8d8-43a4-9c74-301c5ff5e571 | 1 | 3:46 | ||||||||||||||||||
| F | ce2cc78e-e621-4d9d-81c5-1644b51a9761 | 1 | 3:20 | ||||||||||||||||||
| G | 044672ce-2757-464e-afe3-f62f721cde44 | 1 | 3:47 | ||||||||||||||||||
| H |
89dd0789-b75f-400e-8d78-cc71ccf47937
Also linked to
Carmina Burana: II. In taberna: 12. Olim lacus colueram by Michael Chance, London Philharmonic Chorus, London Philharmonic Orchestra, Franz Welser‐Möst
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1 | 3:56 | ||||||||||||||||||
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Recordings linked to H
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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 | |
|---|---|---|---|---|---|---|---|---|
| A | — | 0.00 | 0.68 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 |
| B | 0.00 | — | 0.00 | 0.00 | 0.68 | 0.00 | 0.00 | 0.95 |
| C | 0.68 | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 |
| D | 0.00 | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 |
| E | 0.00 | 0.68 | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.68 |
| F | 0.00 | 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 |
| H | 0.00 | 0.95 | 0.00 | 0.00 | 0.68 | 0.00 | 0.00 | — |