open source audio identification
MusicBrainz recording
Falling in Love With You
Louis Armstrong
3:11
studio, 1935-11-21, Decca matrix 60158-D
e7e239c8-5e63-4f9d-9927-006a6dcd176e
View on MusicBrainz →
AcoustIDs
8
linked to this recording
Submissions
133
linking them to it
Fingerprints
25
distinct audio files
Duration
2:28–3:19
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | |||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A | eb29d31f-1012-4e94-b015-38395efb0613 | 4 | 3:07–3:09 | ||||||||||||||||||||||||||||||||||||||
| B | 3e3ae666-5ccd-446e-bf7a-2b85da106e2f | 6 | 3:10–3:12 | ||||||||||||||||||||||||||||||||||||||
| C | 5727b484-d442-477a-87f2-337c848ff233 | 2 | 3:11–3:13 | ||||||||||||||||||||||||||||||||||||||
| D |
e48dc28f-76fa-4766-863a-fb02be75c0c5
Also linked to
Was I To Blame For Falling In Love With You by Louis Armstrong, Do You Know What It Means To Miss New Orleans by Louis Armstrong
|
3 | 3:07–3:08 | ||||||||||||||||||||||||||||||||||||||
|
Recordings linked to D
|
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| E |
edee2729-9d5a-4340-ab74-bac0e01e64f0
Also linked to
Was I To Blame For Falling In Love With You by Louis Armstrong
|
1 | 3:04 | ||||||||||||||||||||||||||||||||||||||
|
Recordings linked to E
|
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| F |
3f5b15bc-444c-4789-a7ca-551d2cba5c5b
Also linked to
Memories of You by Louis Armstrong & His Sebastian New Cotton Club Orchestra, Memories of You by Louis Armstrong and
|
7 | 3:12–3:17 | ||||||||||||||||||||||||||||||||||||||
|
Recordings linked to F
|
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| G |
afc40942-b2cd-4777-a457-df5d54679028
Also linked to
I'm in the Market for You by Louis Armstrong, I'm In The Market For You by Louis Armstrong
|
1 | 3:19 | ||||||||||||||||||||||||||||||||||||||
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Recordings linked to G
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| H | 651ff974-49bb-41f7-88e5-6e89ec15111a | 1 | 2:28 | ||||||||||||||||||||||||||||||||||||||
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 | 0.00 | 0.53 | 0.00 | 0.00 | 0.00 | 0.00 |
| B | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | 0.96 |
| C | 0.00 | 0.00 | — | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 |
| D | 0.53 | 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 |
| 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 | 0.96 | 0.00 | 0.00 | 0.00 | 0.00 | 0.00 | — |