open source audio identification
MusicBrainz recording
Love’s Comin’ at Ya
Melba Moore
5:42
5f8d3dfe-a538-4b08-913a-3d494a0b6832
View on MusicBrainz →
AcoustIDs
11
linked to this recording
Submissions
104
linking them to it
Fingerprints
39
distinct audio files
Duration
3:48–5:45
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | |||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A |
6560c7bf-eb2d-4e35-bd05-366f9ee63d6b
Also linked to
Love’s Comin’ at Ya by Melba Moore, Love’s Comin’ At Ya (club mix) by Melba Moore and
|
20 | 5:37–5:44 | ||||||||||||||||||||||||||||
|
Recordings linked to A
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| B | 858bbb85-174b-43d4-8e1e-0ad1a7b6caed | 1 | 5:45 | ||||||||||||||||||||||||||||
| C | 1b2615ae-b48e-4546-b4c3-2dcf87a45660 | 1 | 5:37 | ||||||||||||||||||||||||||||
| D |
0f7cf5e0-8d14-4f61-b227-ad2b814870c2
Also linked to
Love’s Comin’ at Ya by Melba Moore
|
3 | 5:39–5:45 | ||||||||||||||||||||||||||||
|
Recordings linked to D
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| E |
b67416ea-ccd0-4165-9d56-fd468e394852
Also linked to
Love’s Comin’ at Ya by Melba Moore
|
1 | 3:48 | ||||||||||||||||||||||||||||
|
Recordings linked to E
|
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| F |
aac62e6c-4990-45b0-9e68-2849ca61aa5c
Also linked to
Love’s Comin’ at Ya by Melba Moore
|
4 | 5:35–5:39 | ||||||||||||||||||||||||||||
|
Recordings linked to F
|
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| G | 433318e4-88f1-486e-9efb-150fea3da463 | 1 | 5:37 | ||||||||||||||||||||||||||||
| H | fd2cb5a2-761d-4c8d-8b09-0925eb126bc0 | 1 | 5:43 | ||||||||||||||||||||||||||||
| I |
d4f5e28f-25ca-4903-9554-554a9f1179cd
Also linked to
Love’s Comin’ at Ya (instrumental) by Melba Moore, Love's Comin' at Ya (club mix) by Melba Moore
|
4 | 5:35–5:37 | ||||||||||||||||||||||||||||
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Recordings linked to I
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| J | bba19787-8fe7-4c74-98d7-5b613667c69d | 1 | 5:45 | ||||||||||||||||||||||||||||
| K | 7ff31373-16f4-4147-8a1d-2ef996914969 | 2 | 3:53–3:57 | ||||||||||||||||||||||||||||
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 | J | K | |
|---|---|---|---|---|---|---|---|---|---|---|---|
| A | — | 0.71 | 0.00 | 0.60 | 0.00 | 0.62 | 0.62 | 0.00 | 0.37 | 0.73 | 0.00 |
| B | 0.71 | — | 0.00 | 0.66 | 0.00 | 0.52 | 0.63 | 0.00 | 0.41 | 0.52 | 0.00 |
| C | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 | 0.38 | 0.00 | 0.00 | 0.00 |
| D | 0.60 | 0.66 | 0.00 | — | 0.00 | 0.90 | 0.59 | 0.00 | 0.48 | 0.00 | 0.27 |
| E | 0.00 | 0.00 | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 |
| F | 0.62 | 0.52 | 0.00 | 0.90 | 0.00 | — | 0.00 | 0.00 | 0.43 | 0.00 | 0.28 |
| G | 0.62 | 0.63 | 0.00 | 0.59 | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.67 | 0.00 |
| H | 0.00 | 0.00 | 0.38 | 0.00 | 0.00 | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.00 |
| I | 0.37 | 0.41 | 0.00 | 0.48 | 0.00 | 0.43 | 0.00 | 0.00 | — | 0.00 | 0.00 |
| J | 0.73 | 0.52 | 0.00 | 0.00 | 0.00 | 0.00 | 0.67 | 0.00 | 0.00 | — | 0.00 |
| K | 0.00 | 0.00 | 0.00 | 0.27 | 0.00 | 0.28 | 0.00 | 0.00 | 0.00 | 0.00 | — |