open source audio identification
MusicBrainz recording
Come On, Part III
Stevie Ray Vaughan and Double Trouble
4:31
1985 version
d9c7b51c-ff82-4aea-ab1d-246d42bfc3e4
View on MusicBrainz →
AcoustIDs
12
linked to this recording
Submissions
2,369
linking them to it
Fingerprints
39
distinct audio files
Duration
4:16–4:49
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | |||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A |
2546aca5-825b-45f4-8d5d-35a144da2298
Also linked to
Come On, Part III by Stevie Ray Vaughan and Double Trouble, Come On (Part III) by Stevie Ray Vaughan and Double Trouble and
|
12 | 4:26–4:32 | ||||||||||||||||||||||||||||
|
Recordings linked to A
|
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| B |
7d23f8b2-26c3-4af6-a835-7d7b2d2e5fba
Also linked to
Come On (Part III) by Stevie Ray Vaughan and Double Trouble, Come On, Part III by Stevie Ray Vaughan and Double Trouble and
|
8 | 4:28–4:34 | ||||||||||||||||||||||||||||
|
Recordings linked to B
|
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| C |
8c03f044-e62e-4e55-a417-b27730c89e7a
Also linked to
Come On, Part III by Stevie Ray Vaughan and Double Trouble
|
4 | 4:32–4:39 | ||||||||||||||||||||||||||||
|
Recordings linked to C
|
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| D |
40ae0212-517c-4f7d-8eb4-0532d021ee21
Also linked to
Come On, Part III by Stevie Ray Vaughan and Double Trouble, Come On (Part III) by Stevie Ray Vaughan and Double Trouble
|
5 | 4:31–4:36 | ||||||||||||||||||||||||||||
|
Recordings linked to D
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| E |
67eac6a7-5055-4fef-ba3c-4ee5b471bc6c
Also linked to
Come On, Part III by Stevie Ray Vaughan and Double Trouble, Come On, Part III (instrumental) by Stevie Ray Vaughan and Double Trouble and
|
3 | 4:16–4:18 | ||||||||||||||||||||||||||||
|
Recordings linked to E
|
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| F | 510242d8-19bb-4c19-aed8-02e21872eb7e | 1 | 4:31 | ||||||||||||||||||||||||||||
| G | de4d7535-c86b-4f8f-bd4c-b9261cf4e20f | 1 | 4:29 | ||||||||||||||||||||||||||||
| H | 28f714e1-3b95-4677-b1ea-b74098a3ccce | 1 | 4:30 | ||||||||||||||||||||||||||||
| I | 6c032cea-1031-44cd-af61-ada0b940e327 | 1 | 4:49 | ||||||||||||||||||||||||||||
| J | 9ce40093-9474-4d96-ba2c-72e7f96a5fd4 | 1 | 4:31 | ||||||||||||||||||||||||||||
| K | 085a4479-bc18-48b6-96f2-591cb36c6828 | 1 | 4:32 | ||||||||||||||||||||||||||||
| L | f1d72376-9e1a-451e-aa47-5ab4e526bc5b | 1 | 4:30 | ||||||||||||||||||||||||||||
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 | L | |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A | — | 0.00 | 0.92 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.75 | 0.00 | 0.67 | 0.74 |
| B | 0.00 | — | 0.00 | 0.85 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 |
| C | 0.92 | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.75 | 0.00 | 0.57 | 0.69 |
| D | 0.00 | 0.85 | 0.00 | — | 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 | 0.00 | 0.00 | 0.00 |
| F | 0.00 | 0.00 | 0.00 | 0.00 | 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 | 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 | 0.00 | 0.00 | 0.00 |
| I | 0.75 | 0.00 | 0.75 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | — | 0.00 | 0.61 | 0.56 |
| J | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | — | 0.00 | 0.00 |
| K | 0.67 | 0.00 | 0.57 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.61 | 0.00 | — | 0.49 |
| L | 0.74 | 0.00 | 0.69 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.56 | 0.00 | 0.49 | — |