open source audio identification
MusicBrainz recording
Midnight Train to Georgia
Gladys Knight & the Pips
4:38
f94c2f2a-7c0d-46de-ae36-16884a731a18
View on MusicBrainz →
AcoustIDs
5
linked to this recording
Submissions
7
linking them to it
Fingerprints
93
distinct audio files
Duration
4:31–5:05
range of submitted files
AcoustIDs
| AcoustID | Most common fingerprint | Fingerprints | Length | Sources | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| A |
efc07508-7d31-4f56-85d5-1b6baa523f0c
Also linked to
Midnight Train to Georgia by Gladys Knight & the Pips, Midnight Train to Georgia by Gladys Knight & the Pips and
|
19 | 4:33–4:40 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to A
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| B |
d1d6fb11-7bbb-4888-b6e3-bb42092fc244
Also linked to
Midnight Train to Georgia by Gladys Knight & the Pips, Midnight Train to Georgia by Gladys Knight & the Pips and
|
20 | 4:41–4:48 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to B
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| C |
12356b60-3a8c-40d4-982a-3de22aa8ea84
Also linked to
Midnight Train to Georgia by Gladys Knight & the Pips, Midnight Train to Georgia by Gladys Knight & the Pips and
|
48 | 4:36–4:43 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Recordings linked to C
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| D | da19983b-6a23-4ac5-98c1-4bb2a338ce19 | 2 | 4:59–5:05 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| E |
9c8d216a-8551-4a30-a830-0c1ebca7a060
Also linked to
Midnight Train to Georgia by Gladys Knight & the Pips, Midnight Train to Georgia by Gladys Knight & the Pips and
|
4 | 4:31–4:32 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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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.