open source audio identification
MusicBrainz recording
Got to Be There
Michael Jackson
3:23
b6e9a707-96ca-4f2c-bdda-979c39168fed
View on MusicBrainz →
AcoustIDs
7
linked to this recording
Submissions
56
linking them to it
Fingerprints
88
distinct audio files
Duration
3:06–3:44
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | ||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A |
59f97c12-3603-4504-b4f0-41a7354ec3b9
Also linked to
Got to Be There by Michael Jackson, Got to Be There by Michael Jackson and
|
62 | 3:21–3:27 | |||||||||||||||||||||||||||||||||||||||||||
|
Recordings linked to A
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| B | 87dd6f1e-c0ab-4d5f-a1db-b56e68b8ea4c | 1 | 3:06 | |||||||||||||||||||||||||||||||||||||||||||
| C |
d1ae30ab-0c47-408b-9d60-71cd7bef6ec6
Also linked to
Got to Be There by Michael Jackson, People Make the World Go ’Round by Michael Jackson and
|
5 | 3:18–3:20 | |||||||||||||||||||||||||||||||||||||||||||
|
Recordings linked to C
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| D |
22a24e45-4735-423c-be3e-158ddeaccc14
Also linked to
Got to Be There by Michael Jackson, Got to Be There by Michael Jackson and
|
11 | 3:20–3:26 | |||||||||||||||||||||||||||||||||||||||||||
|
Recordings linked to D
|
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| E | 626975ed-8302-4cc2-beef-3ccab485ed1a | 1 | 3:06 | |||||||||||||||||||||||||||||||||||||||||||
| F |
a8d6a219-8a2c-4476-9c24-4eeee4d4358c
Also linked to
Got to Be There by Michael Jackson, Got to Be There by Michael Jackson and
|
3 | 3:23–3:24 | |||||||||||||||||||||||||||||||||||||||||||
|
Recordings linked to F
|
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| G |
0c9626db-fd6e-4b01-9519-25c7d986e656
Also linked to
Gone Too Soon by Michael Jackson, Got to Be There by Michael Jackson and
|
5 | 3:37–3:44 | |||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to G
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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.