open source audio identification
MusicBrainz recording
Cose della vita / Can’t Stop Thinking of You
Eros Ramazzotti duetto con Tina Turner
4:50
9d6bf72f-ccbe-4ad3-9d23-64d804cacf50
View on MusicBrainz →
AcoustIDs
3
linked to this recording
Submissions
1,355
linking them to it
Fingerprints
42
distinct audio files
Duration
4:40–4:58
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A |
bc064007-ff22-492c-b96a-b54c71f5dd3a
Also linked to
Cose della vita by Eros Ramazzotti, Cose della vita by Eros Ramazzotti & Tina Turner and
|
26 | 4:45–4:52 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
Recordings linked to A
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| B |
6ad03952-e9c4-4884-9abe-e8d4a79199dc
Also linked to
Cose della vita / Can't Stop Thinking of You by Eros Ramazzotti & Tina Turner, Cose della vita (Can't Stop Thinking of You) by Eros Ramazzotti with Tina Turner and
|
10 | 4:52–4:58 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
Recordings linked to B
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| C |
b4871540-4cfb-40ac-9006-13ac75fbf0fc
Also linked to
Cose della vita by Eros Ramazzotti, Cosas de la vida (Can’t Stop Thinking About You) by Eros Ramazzotti duo con Tina Turner and
|
6 | 4:40–4:42 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
Recordings linked to C
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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.