open source audio identification
MusicBrainz recording
Sorry Seems to Be the Hardest Word (live)
Elton John
3:58
f08627f5-e237-494b-b54c-47fd27d6ea46
View on MusicBrainz →
AcoustIDs
3
linked to this recording
Submissions
21
linking them to it
Fingerprints
6
distinct audio files
Duration
3:52–3:59
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | ||||||||||||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A |
0f5d737b-b861-4928-a3fa-9ea152cc57ca
Also linked to
Sorry Seems to Be the Hardest Word by Elton John, Take Me to the Pilot by Elton John and
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30 | 3:46–3:54 | |||||||||||||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to A
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| B |
1ac168eb-1e9f-4348-80c5-e1d0b9f52f7b
Also linked to
Sorry Seems to Be the Hardest Word by Elton John, Can You Feel the Love Tonight by Elton John
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3 | 3:52–3:59 | |||||||||||||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to B
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| C |
4420d295-34b4-416f-92ba-5ccd15988d10
Also linked to
Sorry Seems to Be the Hardest Word by Elton John with the Melbourne Symphony Orchestra, Sorry Seems to Be the Hardest Word by Elton John
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2 | 3:58–3:59 | |||||||||||||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to C
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| D |
0f983e06-3009-4fa9-b045-d3b8029a09c4
Also linked to
Sorry Seems to Be the Hardest Word by Ray Charles with Elton John
|
1 | 3:57 | |||||||||||||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to D
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| E |
d54a278b-aee1-4759-a4bd-67e02cae0e3a
Also linked to
Sorry Seems to Be the Hardest Word by Ray Charles with Elton John, All to Myself Alone by Ray Charles and
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12 | 3:55–4:03 | |||||||||||||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to E
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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.