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Depeche Mode sample sources: Difference between revisions

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:''This article is about the various sample sources used on [[Depeche Mode]] [[:Category:Depeche Mode songs|songs]] recorded between 1986 and 1998. For sample sources used on Depeche Mode songs recorded between 1981 and 1985, see [[Depeche Mode sample sources 81-85|Depeche Mode sample sources 81>85]]. For sample sources used on Depeche Mode songs recorded between 2000 and the present day, see [[Depeche Mode sample sources 2000-present]]. For sample sources used on [[Recoil]] works, see [[Recoil sample sources]].''
#REDIRECT [[List_of_Depeche_Mode_sample_sources_by_album]]
 
<!-- {{Featured|August 9, 2019}} -->
 
{{Oversized article notice}}
 
{{GlossaryLink|
link=[[Sample sources glossary|Terms used in this article]]
}}
 
In audio production, '''sampling''' refers to the use of a portion (or sample) from a sound recording within another recording. As pioneers of the {{EL|https://en.wikipedia.org/wiki/Electronic_music electronic music}} {{EL|https://en.wikipedia.org/wiki/Music_genre genre}} in the early 1980s, [[Depeche Mode]] were among the most prolific acts to make use of {{EL|https://en.wikipedia.org/wiki/Sampling_(music) sampling}} technology within a traditional {{EL|https://en.wikipedia.org/wiki/Pop_music pop music}} format. Among the thousands of original samples recorded and utilized by Depeche Mode to enhance the atmosphere of their musical output are many that originated elsewhere, including brief passages of musical recordings by other artists, snippets of audio from television shows, radio broadcasts, films, environmental sounds, and more. Analysis of these '''sample sources''' and how they are manipulated is a popular topic of discussion amongst fans of the group.
 
{{Sample_sources_chart}}
 
= Information =
 
This page aims to document all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their studio albums, official remixes, live performances, and other works released between 1986 and 1998.
 
Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans worldwide. This article provides an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. '''Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in producing the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.'''
 
This article differentiates samples by origin: '''Self-made samples''', which describe any material initially recorded by Depeche Mode or Recoil, and '''Sourced samples''', which describe samples not initially recorded by either group. In addition to confirmed samples, this article also covers samples commonly misreported as having been used but directly refuted by a member or associate of Depeche Mode or Recoil.
 
If you notice an error or wish to contribute or request the removal of information contained within this article, please feel free to [mailto:[email protected] contact us].
 
== <i>[[Black Celebration (album)|Black Celebration]]</i> (1986) ==
 
{{Sample source
|song={{S|Black Celebration}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|ssample1=Verse melody
|ssource1='''Emulator II factory library disk #24: Clarinet & Bass Clarinet - Preset #1: "Clarinets'''
|sstatus1=C
|snotes1=A sample derived from Emulator II factory library disk #24 "Clarinet & Bass Clarinet" is utilised for a melody during the third verse of "Black Celebration".
|snumberofrows=1
|sround=1
|colorscheme=Celebration
}}
 
{{Sample source
|song={{S|Fly On The Windscreen}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|smsample1="Over and done with" vocal sample
|smsnotes1=[[Alan Wilder]] confirms the origin of this vocal sample in a Q&A on {{Shunt}}, the official [[Recoil]] website: "'Over and done with' courtesy of [[Daniel Miller]] if memory serves correct."<ref name="shuntBC">Source: [http://oldsite.recoil.co.uk/forum/qa/dmblack.htm SHUNT : ARCHIVES : DEPECHE MODE : BLACK CELEBRATION]</ref>
|ssample1="[...] Their living hell [...]" vocal sample
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Peter_Jennings Peter Jennings}}, ''{{EL|https://en.wikipedia.org/wiki/ABC_World_News_Tonight ABC World News Tonight}}''''' (television news report, unknown date)
|sstatus1=U
|snotes1=Jennings was an active {{EL|https://en.wikipedia.org/wiki/News_presenter news anchor}} from 1 February 1965 to 1 April 2005. The exact date of the report this sample derived from is likely to have occurred sometime before or between November 1985 and December 1985.
|ssample2=Sampled scratch
|ssource2='''{{EL|https://en.wikipedia.org/wiki/N.W.A N.W.A.}} - "{{EL|https://en.wikipedia.org/wiki/Fuck_tha_Police Fuck tha Police}}"''' - 1988
|sstatus2=C
|snotes2=The scratch effect in the intro of "Fuck tha Police" by N.W.A. is sampled and played several notes down from its root key throughout the [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Fly On The Windscreen". Notably, this scratch sample is also used throughout the Devotional tour version of {{s|I Want You Now}}.
|ssample3=Verse piano layer
|ssource3='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank A, voice #01: 16' Piano - SAMPLE "127 C1", SAMPLE "127 C2", SAMPLE "100 C3"''' and '''Bank B, voice #01: 8' Piano - SAMPLE "100 C3", SAMPLE "127 F#3", SAMPLE "127 C4"'''
|sstatus3=C
|snotes3=The [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Fly On The Windscreen" employs a series of piano samples derived from the "16' Piano" and "8' Piano" voices of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer. Varying combinations of these piano samples are also performed live in the Devotional arrangements for {{S|Walking In My Shoes}}, {{S|Mercy In You}}, and {{S|Something To Do}}.
 
Notably, the Korg 01/W "16' Piano" voice is famously heard in the {{EL|https://en.wikipedia.org/wiki/Video_game video game}} {{EL|https://en.wikipedia.org/wiki/Soundtrack soundtracks}} to 1998's critically-acclaimed ''{{EL|https://en.wikipedia.org/wiki/The_Legend_of_Zelda:_Ocarina_of_Time The Legend Of Zelda: Ocarina Of Time}}'' and 2000's ''{{EL|https://en.wikipedia.org/wiki/The_Legend_of_Zelda:_Majora%27s_Mask The Legend Of Zelda: Majora's Mask}}''.
|ssample4=Chorus synth choir layer
|ssource4='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank A, voice #87: Air Vox - SAMPLE "127 C4"'''
|sstatus4=C
|snotes4=The [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Fly On The Windscreen" employs an "airy" choir vocal sample derived from the "Air Vox" voice of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer. The choir is layered with a series of sampled synth parts to form the synth melody performed throughout the {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} section.
|ssample5=Chorus synth strings
|ssource5='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank B, voice #27: String Pad - SAMPLE "60 C2", SAMPLE "60 C3", SAMPLE "60 C4"'''
|sstatus5=C
|snotes5=The [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Fly On The Windscreen" employs a series of three synth string pads derived from the "String Pad" voice of the Korg 01/W workstation synthesizer performed during the chorus section. The bass pad is comprised of sample "60 C2" playing an {{EL|https://en.wikipedia.org/wiki/Octave octave}} comprised of {{EL|https://en.wikipedia.org/wiki/G_(musical_note) G<sub>3</sub>}} and G<sub>4</sub>. The remaining two non-octave pads are derived from samples "60 C3" and "60 C4" respectively, the latter of which is resampled with a root key of {{EL|https://en.wikipedia.org/wiki/E_(musical_note) E<sub>6</sub>}}.
|ssample6=French horns
|ssource6='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank A, voice #02: OrchBrass - SAMPLE "127 F#4", SAMPLE "127 C5"'''
|sstatus6=C
|snotes6=The Devotional arrangement of "Fly On The Windscreen" utiises a series of french horn samples derived from the "OrchBrass" voice of the Korg 01/W workstation synthesizer. The samples are layered with a separate brass sample derived from the studio recording of "Fly On The Windscreen" to form the brass instrument performed during the chorus sections.
|ssample7=Chorus brass melody
|ssource7='''Emulator II factory library disk #46: Assorted Brass - SAMPLE 7'''
|sstatus7=C
|snotes7=A sample derived from Emulator II factory library disk #46 "Assorted Brass" is layered with one or more similar parts to form an ascending brass melody heard during the choruses of "Fly On The Windscreen".
|snumberofrows=7
|colorscheme=Celebration
}}
{{Sample source
|song={{S|A Question Of Lust}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|smsample1=Reverberated percussive rhythm
|smsnotes1="A Question Of Lust" utilises a sampled percussive element throughout its {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} sections. Notably, this sound is also used throughout {{S|Christmas Island}}.
|ssample1=Outro synth melody
|ssource1='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank A, voice #10: GhostRyder - SAMPLE "127 C5"''' and '''Bank B, voice #61: Gospel Organ - SAMPLE "127 C5"'''
|sstatus1=C
|snotes1=The [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "A Question Of Lust" employs an edited "ghostly" vocal-esque sample and a gospel organ sample respectively derived from the "GhostRyder" and "Gospel Organ" voices of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer. The samples layer together to form the {{EL|https://en.wikipedia.org/wiki/Song_structure#Conclusion_or_outro outro}} synth melody.
|ssample2=Vibraphone
|ssource2='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank B, voice #65: Vibraphone - SAMPLE "127 F#2", SAMPLE "127 F#3", SAMPLE "100 C4", SAMPLE "100 F#4"'''
|sstatus2=C
|snotes2=The Devotional tour arrangement of "A Question Of Lust" employs a series of edited vibraphone samples derived from the "Vibraphone" voice of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer. The samples are processed with tremolo and subtle filtering, then subsequently layered with a separate sample to produce the textured vibraphone fills performed by [[Alan Wilder]] during the {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} and {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} sections.
|ssample3=Verse strings
|ssource3='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank A, voice #07: TheStrings - SAMPLE "127 C5"'''
|sstatus3=C
|snotes3=The Devotional tour arrangement of "A Question Of Lust" employs an orchestral string sample derived from the "TheStrings" voice of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer. The sample is layered with a separate sample to form a resonant string instrument performed during the {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} and {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} sections.
|snumberofrows=3
|colorscheme=Celebration
|}}
{{Sample source
|song={{S|Sometimes}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|ssample1="Sometimes" vocal sample
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Louis_Armstrong Louis Armstrong}} - "Sometimes I Feel Like A Motherless Child"''' - 1958
|sstatus1=C
|snotes1=A choir vocal singing the word "sometimes" is sampled from the one minute nineteen second mark of {{EL|https://en.wikipedia.org/wiki/Louis_Armstrong Louis Armstrong's}} "Sometimes I Feel Like A Motherless Child" and processed with reverb for use in the intro of {{s|Sometimes}}.<ref>Credit to '[https://www.depeche-mode.com/forum/index.php?topic=32731.msg760399#msg760399 personal cheese]' for this discovery.</ref>
|snumberofrows=1
|sround=1
|colorscheme=Celebration
}}
{{Sample source with audio
|song={{S|It Doesn't Matter Two}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|smsample1=Celeste-like bell
|smsnotes1=A {{EL|https://en.wikipedia.org/wiki/Celesta celeste}}-like percussive bell element is employed to mysterious and dramatic effect respectively during the later verses and on the final note of the song. This distinctive sound would also see use in several other [[Depeche Mode]] songs of the time period, including {{s|Shake The Disease}} and {{s|But Not Tonight}}.
|ssample1=Middle eight melody
|ssource1='''{{EL|http://www.vintagesynth.com/misc/synclav.php Synclavier II}} Timbre Directory Diskette #2 - 2263 Oboe Source'''
|sstatus1=C
|snotes1=The dramatic melody heard during the middle eight section of "It Doesn't Matter Two" is partly comprised of an edit of the "Oboe Source" timbre of {{EL|http://www.vintagesynth.com/misc/synclav.php Synclavier II}} timbre directory diskette #2. Notably, this timbre is also featured throughout {{S|Lie To Me}} and {{S|Blasphemous Rumours}}.
|sexample1=ss-IDM2-Synclavier-Disk2-2263-OboeSource.mp3
|snumberofrows=1
|colorscheme=Celebration
}}
{{Sample source with audio
|song={{S|A Question Of Time}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|smsample1=Guitar-like pluck
|smsnotes1=A brief "plucked" guitar-like sound reminiscent of a guitar or processed piano sample is layered with a bass part to form the bassline. Notably, this sample is also used to play a four note sequence as a fill sporadically throughout {{s|But Not Tonight}}.
|ssample1=Moan-like vocal sample
|ssource1='''The Chanters - "She Wants To Mambo"''' - 1954
|sstatus1=OC
|snotes1=A feminine "moan" vocal following the second chorus of "She Wants To Mambo" is sampled and played in a descending two note passage processed with {{EL|https://en.wikipedia.org/wiki/Equalization_(audio) EQ}} for added top-end during the chorus sections of {{s|A Question Of Time}}. {{MLG}} confirmed the use of the sample in the August 1986 issue of ''Electronics & Music Maker'':
 
<blockquote>It's not that audible, though. It's a sample from a record called "She Wants to Mambo", an old doo-wop disc. At the end of each {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}}, the woman who sings sort of moans. We sampled this moan and played it up a few notes, which made it sound like a girl moaning. We used it on the {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} section of "A Question of Time".<ref>Source: [http://www.muzines.co.uk/articles/modes-of-operation/1937 Muzines.co.uk : Articles : Modes Of Operation (''Electronics & Music Maker'', August 1986)]</ref></blockquote>
 
In addition to its use in the chorus sections, the sample is also used as a unique "Wha-, wha-, wha-" vocal-like hit that is played repetitively on every step and half step following the percussion {{EL|https://en.wikipedia.org/wiki/Fill_(music) fill}} during the {{EL|https://en.wikipedia.org/wiki/Song_structure#Introduction intro}} and throughout the song's {{EL|https://en.wikipedia.org/wiki/Song_structure#Conclusion_or_outro outro}}. Rather than playing out from start to finish as it does during the chorus sections, the sample is played with a fast {{EL|https://en.wikipedia.org/wiki/Envelope_(music)#ADSR decay}} five notes down from its root key and detuned slightly to form the unique rhythmic hit.
|sexample1=ss-AQOT-The-Chanters-She-Wants-To-Mambo.mp3
|sexamplenotes1=In this example, a section of audio from The Chanters' "She Wants To Mambo" featuring a feminine moan is sampled, trimmed, and allocated across the keys of a keyboard to be played back as a melodic part, and is then compared to the center channel of the 2006 5.1 reissue of "A Question Of Time" containing the relevant part. Next, the sample is played back once per beat at a reduced pitch with a short decay time, creating a repeated "wha-, wha-" rhythm that can be heard during the opening and closing bars of the song.
 
|ssample2=Brass chorus counter melody
|ssource2='''Emulator II factory library disk #60: Velocity Sax - Preset #5: "HrdRd Tenor'''
|sstatus2=C
|snotes2=A sample derived from Emulator II factory library disk #60 "Velocity Sax" is utilised for a counter melody during the choruses of "A Question Of Time" as it was performed on the [[:Category:1987-1988 Music For The Masses Tour|1987-1988 Music For The Masses]] tour.
|snumberofrows=2
|colorscheme=Celebration
}}
{{Sample source with audio
|song={{S|Stripped}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|smsample1=Bass drone
|smsnotes1=The textured bass drone sound used throughout {{S|Stripped}} is achieved by running a bass sound through a {{EL|https://en.wikipedia.org/wiki/Leslie_speaker Leslie}} cabinet.<ref name="ShuntBCEd">Source: {{EL|http://oldsite.recoil.co.uk/report/edit/dm8698/bc7.htm SHUNT : ARCHIVES : EDITORIAL : 1998 Archives : DM Singles 86-98}}</ref>
|smsample2=Exploding firework
|smsnotes2=An exploding {{EL|https://en.wikipedia.org/wiki/Fireworks firework}} sound recorded on {{EL|https://en.wikipedia.org/wiki/Guy_Fawkes_Night 5 November}} 1985 by [[Gareth Jones]] in the Westside studio car park<ref name="ShuntBCEd"></ref> is used as a unique drum fill alternative throughout {{S|Stripped}}. [[Daniel Miller]] describes the recording process of this sound in the 2006 ''Black Celebration'' remaster documentary:
 
<blockquote>It was rockets that we were doing, so we thought, if we angled them at a fairly low angle, we could set up a series of microphones and we would still be able to pick up the sound as it traveled along. If we straight up, we would have got just one sound, it would just have sort of disappeared, so we did that. We set up a sort of bottle at a very narrow angle and had, like, 5 microphones maybe, at, I don't know, 15 feet apart, something like that.</blockquote>
 
Other notable uses of this sample include {{S|Breathing In Fumes|U}}, the final moments of {{s|Pimpf}} (where it is layered with a large choir stab and played several notes down from its root key) and various live performances of {{S|Never Let Me Down Again}}.
|smsample3=Tom drums
|smsnotes3=A series of {{EL|https://en.wikipedia.org/wiki/Tom-tom_drum tom drums}} with a unique "roomy" quality occur throughout {{S|Stripped|U}}. [[Alan Wilder]] describes the recording of this sound in a 1998 editorial on {{Shunt}}, the official [[Recoil]] project website: "[...] A hired drum kit was also set up in the large reception area of Westside and used to sample individual sounds, most notably the distinctive toms with their special ambience."<ref name="ShuntBCEd"></ref>
 
Notably, these tom drum sounds are also used as fills throughout {{S|Never Let Me Down Again}} and {{S|Breathing In Fumes}}.
|smsample4=Car ignition sound
|smsnotes4=The {{EL|https://en.wikipedia.org/wiki/Ignition_system ignition}} of [[Dave Gahan|Dave Gahan's]] {{EL|https://en.wikipedia.org/wiki/Porsche_911 Porsche 911}} was recorded and sampled for use in the opening moments of {{S|Stripped|U}}, playing in time with the first bass note.<ref name="ShuntBCEd"></ref>
|ssample1=Motorbike idling sound
|ssource1='''{{EL|http://www.vintagesynth.com/emu/emulator.php Emulator I}} factory library disk #81: Motor Cycle Rev - Motor Cycle Idling (08-001-117M1)'''
|sstatus1=OC
|snotes1="Stripped" employs a sample of a {{EL|https://en.wikipedia.org/wiki/Motorcycle motorbike}} engine idling played one octave down from its original pitch.<ref>Source: {{EL|https://noyzelab.blogspot.com/2014/09/modes-of-operation-depeche-mode.html Modes of Operation}} - ''Electronics & Music Maker'' - August 1986.</ref> The sample is looped to form a "chunky" repeating rhythm that occurs throughout the song. The loop is also present on [[Martin L. Gore|Martin Gore's]] demo recording. Wilder confirms the origin of the sample in a summary of the Emulator II lot listing on ''The Alan Wilder / Depeche Mode Collection'' auction site:
<blockquote>I remember when we first inserted the huge floppy disc into the [Emulator I] and listened to the ‘Motorbike Idling’ sound (which later became the mainstay rhythm behind the song "Stripped"), I was hooked.<ref>Source: {{EL|http://auction.recoil.co.uk/emu-emulator-ii/ Emulator I}} - ''The Alan Wilder / Depeche Mode Collection''.</ref></blockquote>
 
Notably, this sample is also used in {{S|Breathing In Fumes|U}} and the [[:Category:1987-1988 Music For The Masses Tour|Music For The Masses]] tour arrangement of {{S|Pipeline}}.
|sexample1=ss-Stripped-EI-81-Motorcycle-Idling.mp3
|ssample2=Piano verse melody
|ssource2='''Emulator II factory library disk #04: Grand Piano - Preset #1: "Piano #1", SAMPLE 2'''
|sstatus2=C
|snotes2=The repeating melody heard throughout the verse sections is partly comprised of a manipulated piano sample derived from Emulator II factory library disk #04 "Grand Piano".
|sexample2=ss-Stripped-EII-04-GrandPiano.mp3
|ssample3=Snare drum
|ssource3='''{{EL|https://en.wikipedia.org/wiki/New_Order_(band) New Order}} - "{{EL|https://en.wikipedia.org/wiki/Love_Vigilantes Love Vigilantes}}"''' - 1985
|sstatus3=C
|snotes3=The first of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Stripped". Similarly, this snare sound is used throughout {{s|Breathing In Fumes}}, {{s|Christmas Island}}, {{s|Never Let Me Down Again}}, and {{S|Nothing}}.
|snumberofrows=3
|colorscheme=Celebration
}}
{{Sample source
|song={{S|Here Is The House}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|smsample1=Mandolin-like sampled guitar
|smsnotes1=[[Martin L. Gore|Martin Gore]] told ''Electronics and Music Magazine'' in 1986:
<blockquote>[...] Then there’s the {{EL|https://en.wikipedia.org/wiki/Mandolin mandolin}}-like part on "Here is the House". That was an {{EL|https://en.wikipedia.org/wiki/Acoustic_guitar acoustic guitar}} sampled twice — once on a down-stroke and once on an upstroke. We used them on alternate notes, so every other note was a downstroke and all the in-between notes were up-strokes. It sounded very funny — almost like a real player.<ref name="HITH"></ref>
</blockquote>
|smsnumberofrows=1
|colorscheme=Celebration
}}
 
{{Sample source
|song={{S|New Dress}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|ssample1=Looping electronic drum sequence
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Kraftwerk Kraftwerk}} - "Home Computer" ("Heimcomputer")''' - 1981
|sstatus1=C
|snotes1=A brief section of an electronic drum sequence looping throughout the verse sections of "New Dress" is derived from Kraftwerk's "Home Computer". Notably, a separate selection of audio from "Home Computer" would later be used as a minor percussion element throughout {{S|World In My Eyes}}.
|snumberofrows=1
|sround=1
|colorscheme=Celebration
}}
 
{{Sample source with audio
|song={{S|But Not Tonight}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|smsample1=Mandolin-like sampled guitar
|smsnotes1=Sampled upstroke and downstroke guitar elements originally sampled for use in "Here Is The House" are layered with another sampled part to produce the lead riff. {{MLG}} told ''Electronics and Music Magazine'' in 1986:
<blockquote>[...] Then there’s the mandolin-like part on "Here is the House". That was an acoustic guitar sampled twice — once on a down-stroke and once on an upstroke. We used them on alternate notes, so every other note was a downstroke and all the in-between notes were upstrokes. It sounded very funny — almost like a real player.<ref name="HITH">Source: [http://noyzelab.blogspot.com/2014/09/modes-of-operation-depeche-mode.html ''Electronics and Music Magazine'']</ref>
</blockquote>
|smsample2=Vibraphone-like percussive bell
|smsnotes2=A {{EL|https://en.wikipedia.org/wiki/Vibraphone vibraphone}}-like percussive bell element is employed during the latter half of each {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} section, utilising a 1/4 {{EL|https://en.wikipedia.org/wiki/Delay_(audio_effect) delay}} to achieve a hypnotic "bouncing" effect. This distinctive sound would also see use in other [[Depeche Mode]] productions, including {{s|Shake The Disease}} and {{s|It Doesn't Matter Two}}.
|smsample3=Guitar-like pluck
|smsnotes3=A brief "plucked" guitar-like sound plays a tight four note sequence with a fast {{EL|https://en.wikipedia.org/wiki/Envelope_(music)#ADSR release}} time as a fill sporadically throughout {{s|But Not Tonight}}. Notable uses of this sample in other songs include the bassline of {{s|A Question Of Time}}.
|smsample4=Hi-hats (open and closed)
|smsnotes4=A sequenced {{EL|https://en.wikipedia.org/wiki/Time_signature {{music|time|4|4}}}} {{EL|https://en.wikipedia.org/wiki/Hi-hat hi-hat}} rhythm comprised of one closed and one open hi-hat is employed throughout the song. These hi-hat parts are also used in several other songs produced at or around the same time, including {{s|Here Is The House}} and {{s|Shake The Disease}}.
|ssample1=Choir stab
|ssource1='''Emulator II factory library disk #12: Voices - Preset #1: "Voices 1", SAMPLE 3'''
|sstatus1=C
|snotes1=The reverberated choir sample utilised throughout "But Not Tonight" is derived from Emulator II factory library disk #12 "Voices".
|sexample1=ss-BNT-EII-12-Voices.mp3
|snumberofrows=1
|colorscheme=Celebration
}}
 
{{Sample source
|song={{S|Christmas Island}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|ssample1=Snare drum
|ssource1='''{{EL|https://en.wikipedia.org/wiki/New_Order_(band) New Order}} - "{{EL|https://en.wikipedia.org/wiki/Love_Vigilantes Love Vigilantes}}"''' - 1985
|sstatus1=C
|snotes1=The first of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Christmas Island". Similarly, this snare sound is used throughout {{s|Stripped}}, {{s|Breathing In Fumes}}, {{s|Never Let Me Down Again}}, and {{S|Nothing}}.
|snumberofrows=1
|sround=1
|colorscheme=Celebration
}}
 
{{Sample source
|song={{S|Breathing In Fumes}}
|artist=[[Depeche Mode]]
|releaseyear=1986
|ssample1=Snare drum
|ssource1='''{{EL|https://en.wikipedia.org/wiki/New_Order_(band) New Order}} - "{{EL|https://en.wikipedia.org/wiki/Love_Vigilantes Love Vigilantes}}"''' - 1985
|sstatus1=C
|snotes1=The first of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Breathing In Fumes". Similarly, this snare sound is used throughout {{s|Stripped}}, {{s|Christmas Island}}, {{s|Never Let Me Down Again}}, and {{S|Nothing}}.
|snumberofrows=1
|sround=1
|colorscheme=Celebration
}}
 
{{Sample source
|song={{S|Fly On The Windscreen}} (Death Mix)
|artist=[[Depeche Mode]]
|releaseyear=1986
|ssample1="I don't care how you feel!" vocal sample
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Richard_Pryor Richard Pryor}} - Unidentified film'''
|sstatus1=U
|ssample2="[...] help the dying [...]" vocal sample
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Steve_Kroft Steve Kroft}}, ''{{EL|https://en.wikipedia.org/wiki/CBS_News CBS News}}''''' (television news report, unknown date)
|sstatus2=U
|snotes2=Kroft was an active television news anchor with ''CBS News'' starting in 1980. It is likely the exact date of the report sampled by Depeche Mode occurred sometime before or between November 1985 and December 1985 at the latest.
|snumberofrows=2
|sround=1
|colorscheme=Celebration
}}
 
== <i>[[Music For The Masses]]</i> (1987) ==
 
{{Sample source with audio
|song={{S|Never Let Me Down Again}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|smsample1=Guitar riff
|smsnotes1=In a 4 July 2019 interview with ''Super Deluxe Edition'', ''[[Music For The Masses]]'' co-producer [[Dave Bascombe]] recalled the recording process for the guitar riff:
 
<blockquote>[...] I remember [[Martin L. Gore|Martin]] had his guitar, and it’s used quite a bit... the beginning of "Never Let Me Down [Again]" for example... What a wonderful, happy accident that was. It was supposed to start with the {{EL|https://en.wikipedia.org/wiki/Snare_drum snare}} drum and then go straight in, but because of the nature of technology at the time, the guitar [riff] was played, then we sampled it into the {{EL|http://www.vintagesynth.com/misc/synclav.php Synclavier}} and it just kicked off as soon as it got code at the beginning of the track and we all went ‘Wow, that's great’, so that was an accident.<ref name="DBASCOMBE">Source: [http://www.superdeluxeedition.com/interview/producer-dave-bascombe-on-depeche-modes-music-for-the-masses/ ''Super Deluxe Edition'' July 4, 2019 Producer Dave Bascombe on Depeche Mode's 'Music For The Masses']</ref></blockquote>
|smsample2=Lead melody
|smsnotes2=The lead melody is comprised of a plucked sample reminiscent of a guitar combined with a solo vocal-like pad with a short {{EL|https://en.wikipedia.org/wiki/Loop_(music) loop}} (itself derived from a non-looped sample that is layered with another vocal-like sound to intensify the final four bars of each verse section in "I Want You Now"). The resulting voice is mixed with {{EL|https://en.wikipedia.org/wiki/Reverberation reverb}} to produce the textured, "roomy" effect heard on the album version of {{s|Never Let Me Down Again}}. For live use, the part is played back comparatively dry.
 
Other notable appearances of the guitar-like sample include a two-note {{EL|https://en.wikipedia.org/wiki/Fill_(music) fill}} during the verses of {{s|Strangelove}}, the lead melody heard throughout the "Spanish Taster" mix of {{s|To Have And To Hold}}, and a verse melody in {{S|Blue Dress}}. In addition to its use in {{s|Never Let Me Down Again|U}} and {{s|I Want You Now}}, the aforementioned solo vocal-like pad is also heard during the {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} sections of {{s|Nothing}}.
|smsample3=Exploding firework
|smsnotes3=An exploding {{EL|https://en.wikipedia.org/wiki/Fireworks firework}} sound originally {{EL|https://en.wikipedia.org/wiki/Sampling_(music) sampled}} for use with {{s|Stripped}} is occasionally played on the final note during live performances of {{s|Never Let Me Down Again|U}}. Other notable uses of this sample include the final moments of {{s|Pimpf}}, where it is layered with a large female-esque choir stab and played several notes down from its original key.
|smsample4=Synth bass
|smsnotes4=A synthesized bass layer audible throughout "Never Let Me Down Again" is likely derived from the {{EL|https://www.vintagesynth.com/misc/wave.php PPG Wave 2.3}} wavetable "031 Piano/Sax". Notably, A similar synthesizer bass drone originally recorded for use with {{s|Policy Of Truth}} is layered with this sound as it was performed during live performances on the 1993-1994 [[:Category:1993 Devotional Tour|Devotional]] and [[:Category:1994 Exotic Tour|Exotic]] tours.
|smsample5=Tom drums
|smsnotes5=In an April 2020 interview, Bascombe confirmed that the {{EL|https://en.wikipedia.org/wiki/Tom-tom_drum tom drum}} fills heard throughout {{s|Never Let Me Down Again|U}} are comprised of the tom drum sounds originally recorded for use in {{s|Stripped|U}} layered with other drum samples.<ref name="BascombeVG">Source: [https://www.youtube.com/watch?v=MixzkjNGL2k Depeche Mode - Interview with Music For The Masses Producer Dave Bascombe] - ''Piano & Keyboard Artist'' - 22 April, 2020</ref> [[Alan Wilder]] describes the recording of this sound in a 1998 editorial on ''{{EL|http://www.recoil.co.uk/ Shunt}}'', the official [[Recoil]] project website: "A hired drum kit was also set up in the large reception area of Westside and used to sample individual sounds, most notably the distinctive toms with their special ambience."<ref>Source: {{EL|http://oldsite.recoil.co.uk/report/edit/dm8698/aug98frame.htm SHUNT : ARCHIVES : EDITORIAL : 1998 Archives : DM Singles 86-98}}</ref>
|smsample6=Wine glass arpeggio
|smsnotes6=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} {{EL|https://en.wikipedia.org/wiki/Floppy_disk floppy disks}} that accompanied a collection of restored studio equipment used by ''Music For The Masses'' producer Dave Bascombe during the production of music albums for artists other than [[Depeche Mode]] in the mid to late eighties. One floppy disk, labeled "Wineglass (106)", features an untitled preset ("NULL PRESET"), which contains a bell-like sample, presumably the sound of a wine glass being tapped. This sample is used to produce the textured {{EL|https://en.wikipedia.org/wiki/Arpeggio arpeggio}} that occurs throughout the {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} sections of "Never Let Me Down Again". Notably, this sound is also used in {{S|Behind The Wheel}}, {{S|Route 66}}, {{S|Strangelove}}, and the [[Recoil]] instrumental {{S|Grain}}.
|ssample1="{{EL|https://en.wikipedia.org/wiki/When_the_Levee_Breaks#Led_Zeppelin_version When The Levee Breaks}}" drum samples
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Led_Zeppelin Led Zeppelin}} - "{{EL|https://en.wikipedia.org/wiki/When_the_Levee_Breaks#Led_Zeppelin_version When The Levee Breaks}}"''' - 1971
|sstatus1=OC
|snotes1=In a 4 July 2019 interview with ''Super Deluxe Edition'', Bascombe recalled how the sampled percussion came to be used in "Never Let Me Down Again": "We were round at [Alan Wilder’s] house – and I said 'Right, I want to use "When The Levee Breaks" [Led Zeppelin] drums on [Never Let Me Down Again].' [...] I suggested using them for the main {{EL|https://en.wikipedia.org/wiki/Bass_drum kick}} and {{EL|https://en.wikipedia.org/wiki/Snare_drum snare}}."<ref name="DBASCOMBE"></ref></blockquote>
 
|ssample2=Orchestral strings and choir pads
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Carl_Orff Carl Orff}} - ''{{EL|https://en.wikipedia.org/wiki/Carmina_Burana_(Orff) Carmina Burana}}'' - I. Primo vere (In Springtime) - <i>Ecce gratum</i> - {{EL|https://en.wikipedia.org/wiki/Royal_Philharmonic_Orchestra Royal Philharmonic Orchestra}}, Southend Boys' Choir, {{EL|https://en.wikipedia.org/wiki/Brighton_Festival_Chorus Brighton Festival Chorus}}''' - 1 February, 1976
|sstatus2=OC
|snotes2="Never Let Me Down Again" utilizes two edited {{EL|https://en.wikipedia.org/wiki/Choir choral}} samples derived from a {{EL|https://en.wikipedia.org/wiki/Royal_Philharmonic_Orchestra Royal Philharmonic Orchestra}}/Southend Boys' Choir/{{EL|https://en.wikipedia.org/wiki/Brighton_Festival_Chorus Brighton Festival Chorus}} performance of the <i>Primo vere</i> movement of <i>Primo vere</i>, the first section of {{EL|https://en.wikipedia.org/wiki/Carl_Orff Carl Orff's}} ''{{EL|https://en.wikipedia.org/wiki/Carmina_Burana_(Orff) Carmina Burana}}''. The performance, conducted by {{EL|https://en.wikipedia.org/wiki/Antal_Dor%C3%A1ti Antal Doráti}} on 1 February 1976, featured {{EL|https://en.wikipedia.org/wiki/Coloratura_soprano soprano}} vocals by {{EL|https://en.wikipedia.org/wiki/Norma_Burrowes Norma Burrowes}}, {{EL|https://en.wikipedia.org/wiki/Tenor tenor}} vocals by Louis Devos, and {{EL|https://en.wikipedia.org/wiki/Bass-baritone baritone}} vocals by {{EL|https://en.wikipedia.org/wiki/John_Shirley-Quirk John Shirley-Quirk}}. The {{EL|https://en.wikipedia.org/wiki/Latin Latin}} words being sung within the samples include the final moments of the lyric "Hyemis sevitia. Ah!" ("The rigors of winter. Ah!").
 
In an April 2020 interview, Dave Bascombe described the technical challenge of manipulating the sampled audio for use in "Never Let Me Down Again": "I think it was ''Carmina Burana'' [...] It took ages getting it all in time and in tune. [Nowadays] that's a piece of piss."<ref name="BascombeVG"></ref>
|sexample2=ss-NLMDA_Ecce-gratum_Carmina_Burana_1976-Royal_Philharmonic_Orchestra-Southend-Boys-Choir.mp3
 
|ssample3=Tom drum layer
|ssource3='''Emulator II OMI <i>Universe of Sounds</i> Volume 1 - Track Kit - "TRACK_KIT_SAMPLE 3"'''
|sstatus3=C
|snotes3=An edited tom drum sound derived from the Emulator II OMI ''Universe of Sounds'' Volume 1 voice "Track Kit" is layered with a custom tom drum sound originally recorded for use with {{S|Stripped}} to form the tom drum fills heard throughout "Never Let Me Down Again".
|ssample4=Brass layer
|ssource4='''Emulator II factory library disk #21: Assorted Trombones - SAMPLE 13'''
|sstatus4=C
|snotes4=A looping trombone sample derived from Emulator II factory library disk #21 "Assorted Trombones" is utilised throughout the chorus and outro sections of "Never Let Me Down Again".
|ssample5=Snare drum
|ssource5='''{{EL|https://en.wikipedia.org/wiki/New_Order_(band) New Order}} - "{{EL|https://en.wikipedia.org/wiki/Love_Vigilantes Love Vigilantes}}"''' - 1985
|sstatus5=C
|snotes5=The second of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Never Let Me Down Again". Similarly, this snare sound is used throughout {{s|Stripped}}, {{s|Breathing In Fumes}}, {{s|Christmas Island}}, and {{S|Nothing}}.
|ssample6=Guitar riff and drum elements
|ssource6='''{{EL|https://en.wikipedia.org/wiki/3rd_Bass 3rd Bass}} - "Wordz Of Wisdom, Pt. 2"''' - 1989
|sstatus6=OC
|snotes6=American hip-hop group {{EL|https://en.wikipedia.org/wiki/3rd_Bass 3rd Bass}} employed an {{EL|https://en.wikipedia.org/wiki/Sampling_(music)#Legal_and_ethical_issues uncredited}} sample of the opening guitar riff from Depeche Mode's "Never Let Me Down Again" for their 1989 track "Wordz Of Wisdom, Pt. 2". Depeche Mode were fond of their use of the sample, and would in turn sample it back from "Wordz Of Wisdom, Pt. 2" and employ it during the live interlude of "Never Let Me Down Again" as performed on the [[:Category:1990 World Violation Tour|World Violation]] tour. Wilder would later use this sample and other elements from "Wordz Of Wisdom, Pt. 2" in the live production of {{S|In Your Room}} as part of Recoil's 2010-2011 [[:Category:2010-2011_Selected_Events Tour|Selected Events]] tour.
|snumberofrows=6
|colorscheme=MFTM
}}
{{Sample source
|song={{S|The Things You Said}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|ssample1=Choir layer
|ssource1='''Emulator I factory library disk #16: Male Voice - Female Voice - "Female Voice" (02-002-101M2)'''
|sstatus1=C
|snotes1="The Things You Said" utilises choir chords played using a "grainy" choir sample derived from the upper register of the Emulator I factory library disk #16: "Male Voice - Female Voice". Notably this choir sound is also used throughout "Strangelove".
|ssample2=Choir layer
|ssource2='''Emulator II factory library disk #12: Voices - Preset #1: "Voices 1", SAMPLE 8'''
|sstatus2=C
|snotes2=The sustained choir utilised throughout the live arrangement of {{S|The Things You Said}} as it was performed on the [[:Category:1987-1988 Music For The Masses Tour|Music For The Masses]] tour is comprised of three unique choir samples. One of the three samples is derived from Emulator II factory library disk #12 "Voices". Notably, a manipulated edit of this sample is also used to memorable effect as a pitch-bending choir stab throughout {{S|Blue Dress}}.
|snumberofrows=2
|sround=2
|colorscheme=MFTM
}}
{{Sample source with audio
|song={{S|Strangelove}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|smsample1=Four note bell-like wine glass riff
|smsnotes1=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} {{EL|https://en.wikipedia.org/wiki/Floppy_disk floppy disks}} that accompanied a collection of restored studio equipment used by ''[[Music For The Masses]]'' producer [[Dave Bascombe]] during the production of music albums for artists other than [[Depeche Mode]] in the mid to late eighties. One floppy disk, labeled "Wineglass (106)", features an untitled preset ("NULL PRESET"), which contains a bell-like sample, presumably the sound of a wine glass being tapped. This sample is layered with a {{EL|https://en.wikipedia.org/wiki/Sitar sitar}} sound derived from the "Sitar 2" preset of the Emulator II factory library disk #61 "Sitar" and other sounds to produce the four note riff heard throughout the {{EL|https://en.wikipedia.org/wiki/Song_structure#Introduction intro}}, {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}}, and {{EL|https://en.wikipedia.org/wiki/Song_structure#Conclusion_or_outro outro}} sections of "Strangelove". Notably, this sound is also used in {{S|Never Let Me Down Again}}, {{S|Behind The Wheel}}, {{S|Route 66}}, and the [[Recoil]] instrumental {{S|Grain}}.
|smsample2=Bass piano
|smsnotes2=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by ''Music For The Masses'' co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late eighties. One floppy disk, labeled "Depeche Bass Piano", features two similar untitled presets ("NULL PRESET"), which contain a sample of a one-shot two octave piano hit playing an {{EL|https://en.wikipedia.org/wiki/E_(musical_note) E}} and a similar sample playing an {{EL|https://en.wikipedia.org/wiki/A_(musical_note) A}}. The former sample is used throughout the {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} of the album version of "Strangelove". Notably, this sound is also used throughout {{S|Nothing}}.
|smsexample2=ss-Strange-DBEII-DepecheBassPiano.mp3
|smsample3=Synth bass
|smsnotes3=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by ''Music For The Masses'' co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late 1980s. One floppy disk, labeled "Synth Bass (24)", features a preset titled "Wave Bass" that features two "squelchy" synth bass samples that are layered with other sounds to form the bass stabs heard during the {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} of "Strangelove".
|smsample4=Bass guitar
|smsnotes4=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by ''Music For The Masses'' co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late 1980s. One floppy disk, labeled "Bright Bass-GTR", features a preset titled "bright bass" that is comprised of two bass guitar samples which are used during the chorus sections of the album version and throughout the single version of "Strangelove". Notably, these bass guitar parts are also used throughout the [[Recoil]] instrumental {{S|The Sermon}}.
|smsexample4=ss-Strange-DBEII-BrightBassGTR.mp3
|smsexamplenotes4=In this example, the contents of the Emulator II voice are compared to the chorus section of "Strangelove" as heard on the {{EL|https://en.wikipedia.org/wiki/Super_Audio_CD SACD}} LFE channel of the 2006 ''[[Music For The Masses]]'' 5.1 reissue.
|ssample1=Main choir layer
|ssource1='''Emulator I factory library disk #16: Male Voice - Female Voice - "Female Voice" (02-002-101M2)'''
|sstatus1=C
|snotes1="Strangelove" utilises choir chords played using a "grainy" choir sample derived from the upper register of the Emulator I factory library disk #16: "Male Voice - Female Voice". Notably this choir sound is also used throughout "The Things You Said".
|sexample1=ss-Strange-EI-16-MaleFemaleVoice.mp3
|ssample2=Intro high pitch loop
|ssource2='''Emulator II factory library disk #72: Jungle Adventure - Preset #1: "MONKEY TALK", SAMPLE 5'''
|sstatus2=C
|snotes2=The album version intro of "Strangelove" employs a looped sample of a {{EL|https://en.wikipedia.org/wiki/Monkey monkey}} screeching derived from the "MONKEY TALK" preset of {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #72 "Jungle Adventure". The sample is truncated to remove approximately 700 milliseconds from the tail of the sample, looped, and played seven keys above its original key layered with another looped sound to produce the unique textured loop heard in the album version's opening moments.
|sexample2=ss-SL-EII-72-Jungle-Adventure.mp3
|sexamplenotes2=In this example, a sample derived from the Emulator II factory library disk #72 "Jungle Adventure" is trimmed, looped, and played seven notes above its root key. The result is then compared to the equivalent sound as heard in the opening moments of "Strangelove" as heard in the front stereo channels of the 2006 ''[[Music For The Masses]]'' 5.1 reissue.
|ssample3=Electronic percussion
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Kraftwerk Kraftwerk}} - "{{EL|https://en.wikipedia.org/wiki/The_Telephone_Call The Telephone Call ("Der Telefon-Anruf"}}"''' - 1986
|sstatus3=C
|snotes3=An electronic percussion sound derived from Kraftwerk's "The Telephone Call (Der Telefon-Anruf)" is used for a double snare fill periodically throughout "Strangelove".
|sexample3=ss-Strangelove-Kraftwerk-TelephoneLineSD.mp3
|ssample4=Metallic filtered synth sample
|ssource4='''Emulator II factory library disk #71: DAS Synth - Preset #3: "BASS BANG", SAMPLE 4'''
|sstatus4=C
|snotes4="Strangelove" employs a metallic synth stab derived from the "BASS BANG" preset of Emulator II factory library disk #71 "DAS Synth". The sample is used to play a six note melody accompanying the lyric "Yes, and I'll make it all worthwhile" during the first and second verses.
 
Notably, an edit of this sample is also used in {{S|Master And Servant}} as it was performed on the [[:Category:1987-1988 Music For The Masses Tour|Music For The Masses]] tour.
|sexample4=ss-Strange-EII-71-DASSynth-BASSBANG.mp3
|ssample5=Sitar pluck
|ssource5='''Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6'''
|sstatus5=C
|snotes5=A plucked sitar sample derived from the "Sitar 2" preset of Emulator II factory library disk #61 "Sitar" is layered with a wine glass sample and other elements to form the four note riff audible during the choruses of "Strangelove". The full sample consists of a plucked sitar playing a {{EL|https://en.wikipedia.org/wiki/G%E2%99%AF_(musical_note) G♯}} with a slight pitch bend. The sample is looped with a tight loop lasting approximately four milliseconds starting just after the initial transient of the sample, producing a unique "buzzy" tone with the transient of a natural sitar pluck. The resulting sample is then played back with filtering and subtle vibrato.
 
Notably, this sample is also used in {{S|Pleasure, Little Treasure}}, {{S|Behind The Wheel}} and {{S|Master And Servant}} as it was performed on the Music For The Masses and [[:Category:1990 World Violation Tour|World Violation]] tours.
|sexample5=ss-Strange-EII-61-Sitar.mp3
|snumberofrows=5
|colorscheme=MFTM
}}
{{Sample source with audio
|song={{S|Sacred}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|ssample1=Reversed choir
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Carl_Orff Carl Orff}} - ''{{EL|https://en.wikipedia.org/wiki/Carmina_Burana_(Orff) Carmina Burana}}'' - III. <i>Cour d'amours</i> - <i>Amor volat undique</i> - {{EL|https://en.wikipedia.org/wiki/Royal_Philharmonic_Orchestra Royal Philharmonic Orchestra}}, Southend Boys' Choir, {{EL|https://en.wikipedia.org/wiki/Brighton_Festival_Chorus Brighton Festival Chorus}}''' - 1 February, 1976
|sstatus1=C
|snotes1="Sacred" utilises an edited {{EL|https://en.wikipedia.org/wiki/Choir choral}} sample derived from a 1976 {{EL|https://en.wikipedia.org/wiki/Royal_Philharmonic_Orchestra Royal Philharmonic Orchestra}}/Southend Boys' Choir/{{EL|https://en.wikipedia.org/wiki/Brighton_Festival_Chorus Brighton Festival Chorus}} performance of the <i>Amor volat undique</i> movement of <i>Cours d'amours</i>, the third section of {{EL|https://en.wikipedia.org/wiki/Carl_Orff Carl Orff's}} ''{{EL|https://en.wikipedia.org/wiki/Carmina_Burana_(Orff) Carmina Burana}}''. The performance, conducted by {{EL|https://en.wikipedia.org/wiki/Antal_Dor%C3%A1ti Antal Doráti}} on 1 February 1976, featured {{EL|https://en.wikipedia.org/wiki/Coloratura_soprano soprano}} vocals by {{EL|https://en.wikipedia.org/wiki/Norma_Burrowes Norma Burrowes}}, {{EL|https://en.wikipedia.org/wiki/Tenor tenor}} vocals by Louis Devos, and {{EL|https://en.wikipedia.org/wiki/Bass-baritone baritone}} vocals by {{EL|https://en.wikipedia.org/wiki/John_Shirley-Quirk John Shirley-Quirk}}.
 
The sample contains the {{EL|https://en.wikipedia.org/wiki/Latin Latin}} lyric "Iuvenes, iuvencule - coniunguntur merito" ("Young men and women are rightly coupled"). The sample is played one key below its original key. The "Iuvenes, iuvencule - coniunguntur" lyric is {{EL|https://en.wikipedia.org/wiki/Reverse_tape_effects reversed}} while the "merito" lyric remains playing forwards. The sample is then {{EL|https://en.wikipedia.org/wiki/Loop_(music) looped}} and layered with a loop derived from a vocal by {{MLG}} to create the mysterious textured pad utilised throughout the {{EL|https://en.wikipedia.org/wiki/Song_structure#Introduction intro}} and {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} sections.
 
Notably, similar sampled elements also derived from ''Carmina Burana'' are used throughout {{S|Little 15}} and {{S|Never Let Me Down Again}}.
|sexample1=ss-Sacred_Amor-Volat-Undique_Carmina_Burana_1976-Royal_Philharmonic_Orchestra-Southend-Boys-Choir.mp3
|ssample2=Chorus counter melody
|ssource2='''{{EL|http://www.vintagesynth.com/misc/synclav.php Synclavier II}} Timbre Directory Diskette #1 - 2164 Heavy Keyboard'''
|sstatus2=C
|snotes2=The [[:Category:1987-1988 Music For The Masses Tour|Music For The Masses]] tour arrangement of "Sacred" employs a sampled synthesized sound derived from an edit of the "Heavy Keyboard" timbre of {{EL|http://www.vintagesynth.com/misc/synclav.php Synclavier II}} timbre directory diskette #1 for use as a counter melody during the song's {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} sections.
|sexample2=ss-Sacred-Synclavier-Disk1-2164-HeavyKeyboard.mp3
|ssample3=Shaker
|ssource3='''Emulator II factory library disk #42: Ethnic Percussion #1 - "EthnicPerc 1", SAMPLE 6'''
|sstatus3=C
|snotes3=A {{EL|https://en.wikipedia.org/wiki/Shaker_(musical_instrument) shaker}} sample derived from Emulator II factory library disk #42 "Ethnic Percussion #1" is utilised throughout the verse sections of {{S|Sacred}}.
|snumberofrows=3
|sround=1
|colorscheme=MFTM
}}
 
{{Sample source
|song={{S|Little 15}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|ssample1=Brass stab
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Carl_Orff Carl Orff}} - ''{{EL|https://en.wikipedia.org/wiki/Carmina_Burana_(Orff) Carmina Burana}}'' - I. <i>Fortuna Imperatrix Mundi</i> - <i>O Fortuna, velut Luna</i> - {{EL|https://en.wikipedia.org/wiki/Royal_Philharmonic_Orchestra Royal Philharmonic Orchestra}}, Southend Boys' Choir, {{EL|https://en.wikipedia.org/wiki/Brighton_Festival_Chorus Brighton Festival Chorus}}''' - 1 February, 1976
|sstatus1=C
|snotes1="Little 15" utilises an edited {{EL|https://en.wikipedia.org/wiki/Brass_instrument brass}} sample derived from a 1976 {{EL|https://en.wikipedia.org/wiki/Royal_Philharmonic_Orchestra Royal Philharmonic Orchestra}}/Southend Boys' Choir/{{EL|https://en.wikipedia.org/wiki/Brighton_Festival_Chorus Brighton Festival Chorus}} performance of the <i>O Fortuna, velut Luna</i> movement of <i>Fortuna Imperatrix Mundi</i>, the first section of {{EL|https://en.wikipedia.org/wiki/Carl_Orff Carl Orff's}} ''{{EL|https://en.wikipedia.org/wiki/Carmina_Burana_(Orff) Carmina Burana}}''. The performance, conducted by {{EL|https://en.wikipedia.org/wiki/Antal_Dor%C3%A1ti Antal Doráti}} on 1 February 1976, featured {{EL|https://en.wikipedia.org/wiki/Coloratura_soprano soprano}} vocals by {{EL|https://en.wikipedia.org/wiki/Norma_Burrowes Norma Burrowes}}, {{EL|https://en.wikipedia.org/wiki/Tenor tenor}} vocals by Louis Devos, and {{EL|https://en.wikipedia.org/wiki/Bass-baritone baritone}} vocals by {{EL|https://en.wikipedia.org/wiki/John_Shirley-Quirk John Shirley-Quirk}}.
 
Notably, similar samples also derived from ''Carmina Burana'' are used throughout {{S|Sacred}} and {{S|Never Let Me Down Again}}.
|snumberofrows=1
|sround=1
|colorscheme=MFTM
}}
 
{{Sample source with audio
|song={{S|Behind The Wheel}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|smsample1=Bassline
|smsnotes1=The bassline of "Behind The Wheel" is comprised of a series of sampled and synthesised parts which combine to form the driving bass rhythm audible throughout the song. These sounds include a sample of a hand striking the end of a {{EL|https://en.wikipedia.org/wiki/Vacuum_cleaner hoover}} tube, a pitched-down sample of a guitar pluck, and a {{EL|http://www.vintagesynth.com/moog/moog.php Minimoog}} bass for additional {{EL|https://en.wikipedia.org/wiki/Low_frequency low end}} presence.<ref name="shuntMFTM"></ref> The sampled elements are utilised throughout the song, whereas the Minimoog section begins at the end of the second verse. Notably, the hoover tube sample is re-used as a bass layer in the [[Recoil]] instrumental {{S|The Sermon}}.
|smsample2=Car door shutting snare
|smsnotes2=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} {{EL|https://en.wikipedia.org/wiki/Floppy_disk floppy disks}} that accompanied a collection of restored studio equipment used by ''[[Music For The Masses]]'' co-producer [[Dave Bascombe]] during the production of music albums for artists other than [[Depeche Mode]] in the mid to late eighties. One floppy disk, labeled "Driving Sound FX", features two presets comprised of various {{EL|https://en.wikipedia.org/wiki/Car car}}-related sounds. The second of two presets, titled "DRIVING 12#", features the sound of a car door shutting, which is layered with other more traditional snare sounds throughout {{S|Behind The Wheel}}. This sound is most clearly heard in the intro of the [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Behind The Wheel".
|smsexample2=ss-BTW-DB-EII-A33-Driving-Sound-FX-S4.mp3
|smsexamplenotes2=In this example, the raw sample from the Emulator II disk is played back and compared to the equivalent sound in a selection from the center channel audio of the 2006 5.1 reissue of "Behind The Wheel", as well as the opening bars of the live arrangement of "Behind The Wheel" as it was performed on the [[:Category:1993 Devotional Tour|Devotional]] tour.
|smsample3=Wine glass arpeggio
|smsnotes3=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by ''Music For The Masses'' co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late eighties. One floppy disk, labeled "Wineglass (106)", features an untitled preset ("NULL PRESET"), which contains a bell-like sample, presumably the sound of a wine glass being tapped. This sample is used to produce the textured {{EL|https://en.wikipedia.org/wiki/Arpeggio arpeggio}} that occurs throughout "Behind The Wheel", most clearly heard during the {{EL|https://en.wikipedia.org/wiki/Instrumental instrumental}} break immediately after the first {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}}. Notably, this sound is also used in {{S|Never Let Me Down Again}}, {{S|Strangelove}}, {{S|Route 66}}, and the [[Recoil]] instrumental {{S|Grain}}.
|smsample4="Submarine" verse stabs
|smsnotes4=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by ''Music For The Masses'' co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late eighties. One floppy disk, labeled "Guns & Submarine (109)", features an untitled preset ("NULL PRESET"), which contains a series of relevant samples, the third of which is a {{EL|https://en.wikipedia.org/wiki/Submarine submarine}} {{EL|https://en.wikipedia.org/wiki/Sonar sonar}} navigation system sound. This sample is processed with {{EL|https://en.wikipedia.org/wiki/Reverberation reverb}} and played with a long {{EL|https://en.wikipedia.org/wiki/Envelope_(music)#ADSR decay}} to produce the "ghostly" monophonic melody performed during the {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} sections of "Behind The Wheel".
|smsexample4=ss-BTW-DB-EII-A89-Guns-&-Submarine-S3.mp3
|smsexamplenotes4=In this example, the raw sample from the Emulator II disk is played back once, then played back once with a long release, once with generic software reverb in stereo, once with generic software reverb in mono, and is subsequently compared to the equivalent sound as can be heard in the front stereo channel audio of "Behind The Wheel" from the 2006 5.1 reissue of ''[[Music For The Masses]]''.
|ssample1=Sitar pluck
|ssource1='''Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6'''
|sstatus1=C
|snotes1=A plucked sitar sample derived from the "Sitar 2" preset of Emulator II factory library disk #61 "Sitar" is layered with a similar plucked sound to form the counter melody audible throughout {{S|Behind The Wheel}}. The full sample consists of a plucked {{EL|https://en.wikipedia.org/wiki/Sitar sitar}} playing a {{EL|https://en.wikipedia.org/wiki/G%E2%99%AF_(musical_note) G♯}} with a slight pitch bend. The sample is looped with a tight loop lasting approximately four milliseconds starting just after the initial transient of the sample, producing a unique "buzzy" tone with the transient of a natural sitar pluck. The resulting sample is then played back with {{EL|https://en.wikipedia.org/wiki/Synthesizer#Filter filtering}} and subtle {{EL|https://en.wikipedia.org/wiki/Vibrato vibrato}}.
 
Notably, this sample is also used in {{S|Strangelove}} and {{S|Master And Servant}} as it was performed on the Music For The Masses and [[:Category:1990 World Violation Tour|World Violation]] tours.
|sexample1=ss-BTW-EII-61-Sitar.mp3
|sexamplenotes1=In this example, the relevant raw sample from the factory Emulator II disk #61 "Sitar" is played back in full, then played back with the in-built loop enabled, and is finally played back at a higher pitch and compared to the front stereo channel audio of "Behind The Wheel" derived from the 2006 5.1 reissue of ''[[Music For The Masses]]''.
|ssample2=Snare/tambourine
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Talk_Talk Talk Talk}} - "{{EL|https://en.wikipedia.org/wiki/The_Colour_of_Spring I Don't Believe In You}}"''' - 1986
|sstatus2=C
|snotes2=A snare and tambourine hit derived from {{EL|https://en.wikipedia.org/wiki/Talk_Talk Talk Talk's}} "I Don't Believe In You" is used throughout "Behind The Wheel".
|sexample2=ss-BTW-TalkTalk_IDontBelieveInYou.mp3
|ssample3=Verse marimba melody
|ssource3='''Emulator II factory library disk #34: Vibraphones & Marimbas - Preset #7: "Marimbas"'''
|sstatus3=C
|snotes3=A marimba sample derived from Emulator II factory library disk #34 "Vibraphones & Marimbas" is utilised during the verse sections of "Behind The Wheel" as it was performed on the [[:Category:1987-1988 Music For The Masses Tour|1987-1988 Music For The Masses]] tour.
|snumberofrows=3
|colorscheme=MFTM
}}
{{Sample source with audio
|song={{S|I Want You Now}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|smsample1=Feminine "ahh" vocal samples / Sample of multiple laughing girls
|smsnotes1="I Want You Now" employs a series of breathy female vocals (accompanied by a similar vocal provided by {{MLG}}) as a substitute for traditional bass drums or snares. These sounds include two distinct "ahh" vocalizations used throughout the verse and chorus sections as well as a sample of two women laughing heard at the end of each {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}}. The women who provided the vocals were described by Wilder in a Q&A on {{Shunt}}, the official [[Recoil]] website: "[...] I think it was a couple of girls who were hanging around the studio - thought we'd make use of them ;-)"<ref name="shuntMFTM">Source: [http://oldsite.recoil.co.uk/forum/qa/dmmftm.htm Shunt Q&A: ARCHIVES : DEPECHE MODE : MUSIC FOR THE MASSES]</ref> Album producer Dave Bascombe recalls: "It was {{EL|https://en.wikipedia.org/wiki/Paris_Fashion_Week Fashion Week}} when we were in {{EL|https://en.wikipedia.org/wiki/Paris Paris}} which — terrible, you know [laughs] — so models turned up at the studio and we got them to do the samples, just to get it a bit more hi-fi!"<ref name="DBASCOMBE"></ref>
 
Notably, the feminine "ahh" vocalization heard during the verses would be repurposed to similar effect in {{s|Clean}} starting from the second verse.
|smsample2="Breathing" accordion loop
|smsnotes2=The "breathing" effect heard throughout "I Want You Now" is produced by an {{EL|https://en.wikipedia.org/wiki/Accordion accordion}} being inflated and deflated without depressing a key.<ref name="shuntMFTM"></ref>
 
|smsample3=Middle eight falsetto vocal melody
|smsnotes3=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by ''Music For The Masses'' co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late 1980s. One floppy disk, labeled "Falsetto Voice (19)", features a preset titled "Falsetto Vox" containing a sample of a vocalist singing a high {{EL|https://en.wikipedia.org/wiki/Falsetto falsetto}} note that is used to play a monophonic melody during the middle eight of "I Want You Now".
|smsexample3=ss-IWYN-A27-Falsetto-Voice.mp3
|smsexamplenotes3=In this example, a raw sample from the [[Live sound banks|Emax II sound bank]] containing the parts performed by [[Alan Wilder]] for the [[:Category:1994 Exotic Tour|Exotic]] tour arrangement of "I Want You Now" is compared to the equivalent unedited source part in Bascombe's Emulator II disk "Falsetto Voice (19)".
|smsample4=Tambourine loop
|smsnotes4=A {{EL|https://en.wikipedia.org/wiki/Tambourine tambourine}} loop is utilised in the [[:Category:1994 Exotic Tour|Exotic]] tour arrangement of "I Want You Now" starting from the {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} section onwards. Notably, this loop is also used throughout [[Recoil|Recoil's]] {{S|Last Call for Liquid Courage}}.
|ssample1=Feminine orgasm vocal samples (x2)
|ssource1='''Unidentified pornographic film'''
|sstatus1=U
|snotes1=The {{EL|https://en.wikipedia.org/wiki/Pornographic_film pornographic}} film sampled by [[Depeche Mode]] for use in the production of "I Want You Now" is likely to have released on {{EL|https://en.wikipedia.org/wiki/VHS VHS}} or {{EL|https://en.wikipedia.org/wiki/Betamax Betamax}} cassette and would have been in circulation by July 1987.
|ssample2=Accordion
|ssource2='''{{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #23: Accordian & Banjo - Preset #1: "Accordian 1"'''
|sstatus2=C
|snotes2=The {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} and {{EL|https://en.wikipedia.org/wiki/Song_structure#Conclusion_or_outro outro}} sections of {{S|I Want You Now}} feature accordion chords played using the "Accordian 1" preset of Emulator II factory library disk #23 "Accordian & Banjo".
|sexample2=ss-IWYN-EII-23-Accordian-&-Banjo.mp3
|sexamplenotes2=In this example, Emulator II factory disk #23 "Accordian & Banjo" is used to perform a series of chords. The chords are first compared to the middle eight section of "I Want You Now" as heard in the front stereo channel of the 2006 ''[[Music For The Masses]]'' 5.1 reissue (played out of phase to further expose the accordion part). Lastly, two bass notes are performed on the Emulator II disk, which are then similarly compared to the second verse section.
|ssample3="Funky" drum loop
|ssource3='''<i>{{EL|https://en.wikipedia.org/wiki/Neil_Conti Neil Conti's}} Funky Drums From Hell</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Partition #2: Mellow Antique - "AMG Warm Poetry 3"''' - March 1993
|sstatus3=C
|snotes3=The [[:Category:1994 Exotic Tour|Exotic]] tour arrangement of "I Want You Now" features an edit of a "roomy" drum loop derived from the "AMG Warm Poetry 3" loop of ''{{EL|https://en.wikipedia.org/wiki/Neil_Conti Neil Conti's}} Funky Drums From Hell''. The loop features a funky snare rhythm with intricate ghost notes and a hypnotic triple bass drum pattern.
|sexample3=ss-IWYN94-AMG-Warm-Poetry-3.mp3
|sexamplenotes3=In this example, sample "AMG Warm Poetry 3" from ''Neil Conti's Funky Drums From Hell'' is compared to a selection of soundboard audio of a [[1994-03-26 Blaisdell Arena, Honolulu, HI, USA|March 1994]] performance of "I Want You Now".
|ssample4=Re-pitched Snare drum
|ssource4='''<i>{{EL|https://en.wikipedia.org/wiki/Neil_Conti Neil Conti's}} Funky Drums From Hell</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Partition #1: Hard Funk - "AMG Snowball 3"'''
|sstatus4=C
|snotes4=The Exotic tour arrangement of "I Want You Now" features a manipulated series of two snare and hi-hat samples taken from the "AMG Snowball 3" loop of ''Neil Conti's Funky Drums From Hell''. The snare is sampled from the second snare hit audible in the "AMG Snowball 3" loop, and features both the snare and two following hi-hat hits. The resulting sample is duplicated twice, with each copy sequenced to play in alternating fashion on beat three of each bar starting from bar five of the arrangement. Each copy of the snare is then individually {{EL|https://en.wikipedia.org/wiki/Audio_time_stretching_and_pitch_scaling timestretched}} via resampling to produce a {{EL|https://en.wikipedia.org/wiki/Trip_hop trip hop}}-esque snare sequence with alternating pitches.
 
A separate sample featuring two hi-hat hits and a double bass drum fill derived from the same loop is timestretched in a similar fashion and sequenced to play slightly off-time on the half beat of the fourth beat of every odd bar starting from bar five, resulting in a pitched-down hi-hat sequence.
|sexample4=ss-IWYN94-AMG-Snowball-3.mp3
|sexamplenotes4=In this example, two sections of audio from sample "AMG Snowball 3" of ''Neil Conti's Funky Drums From Hell'' are chopped into sections of audio and subsequently resampled to manipulate the length and pitch of each section, which are then compared to a selection of soundboard audio of a [[1994-03-26 Blaisdell Arena, Honolulu, HI, USA|March 1994]] performance of "I Want You Now".
|ssample5=Orchestral strings
|ssource5='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank A, voice #07: TheStrings - SAMPLE "127 F#1", SAMPLE "127 F#3", SAMPLE "127 F#4", SAMPLE "127 C5"''' and '''Bank B, voice #77: ArcoAttack - SAMPLE "F#5"'''
|sstatus5=C
|snotes5=The Exotic tour arrangement of "I Want You Now" employs a series of orchestral string samples derived from the "TheStrings" and "ArcoAttack" voices of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer. Notably, varying combinations of these samples are also utilised for use in the Devotional arrangement of {{S|Everything Counts}} as well as the unplayed Devotional arrangement for {{S|Leave In Silence}}.
 
|sexample5=ss-IWYN94-Korg01W-TheStrings-ArcoAttack.mp3
|sexamplenotes5=In this example, six samples from the [[Live sound banks|Emax II sound bank]] containing the orchestral string parts performed by [[Alan Wilder]] for the [[:Category:1994 Exotic Tour|Exotic]] tour arrangement of "I Want You Now" are compared to the equivalent source samples from the Korg 01/W bank A and bank B programs "TheStrings" and "ArcoAttack". In this audio example, each note is held for one bar. In order, the samples heard are:
* Bar one: "TheStrings 127 F#1"
* Bar two: "TheStrings 127 F#1"
* Bar three: "TheStrings 127 F#3"
* Bar four: "TheStrings 127 F#4"
* Bar five: "TheStrings 127 C5"
* Bar six: "ArcoAttack 127 F#5"
|ssample6=Sampled scratch
|ssource6='''{{EL|https://en.wikipedia.org/wiki/N.W.A N.W.A.}} - "{{EL|https://en.wikipedia.org/wiki/Fuck_tha_Police Fuck tha Police}}"''' - 1988
|sstatus6=C
|snotes6=The {{EL|https://en.wikipedia.org/wiki/Scratching scratch}} effect heard in the opening moments of "{{EL|https://en.wikipedia.org/wiki/Fuck_tha_Police Fuck tha Police}}" by {{EL|https://en.wikipedia.org/wiki/N.W.A N.W.A}}. is {{EL|https://en.wikipedia.org/wiki/Sampling_(music) sampled}} and played sporadically throughout the Exotic tour arrangement of "I Want You Now".
 
Notably, this sample is also used to similar effect in the hip hop-esque arrangement of {{S|Fly On The Windscreen}} as it was performed on the 1993 [[:Category:1993 Devotional Tour|Devotional tour]].
|sexample6=ss-IWYN94-NWA-Fuck-Tha-Police.mp3
|sexamplenotes6=In this example, the scratch heard in the opening bars of "Fuck tha Police" are compared to a selection of soundboard audio from a [[1994-03-26 Blaisdell Arena, Honolulu, HI, USA|March 1994]] performance of "I Want You Now".
|ssample7=Sampled scratch
|ssource7='''N.W.A - "8 Ball (Remix)"''' - 1988
|sstatus7=C
|snotes7=The Exotic tour arrangement of "I Want You Now" utilises a sampled scratch derived from the outro of N.W.A's "8 Ball (Remix)".
|sexample7=ss-IWYN94-NWA-8-Ball-Remix.mp3
|sexamplenotes7=In this example, the scratch heard in the closing bars of "8 Ball (Remix)" are compared to a selection of soundboard audio from a [[1994-03-26 Blaisdell Arena, Honolulu, HI, USA|March 1994]] performance of "I Want You Now".
|colorscheme=MFTM
|snumberofrows=7
}}
{{Sample source
|song={{S|To Have And To Hold}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|smsample1=Russian radio news broadcast
|smsnotes1=A sample of a radio news broadcast featuring a male voice speaking in {{EL|https://en.wikipedia.org/wiki/Russian_language Russian}} can be heard during the {{EL|https://en.wikipedia.org/wiki/Song_structure#Introduction intro}} and {{EL|https://en.wikipedia.org/wiki/Song_structure#Conclusion_or_outro outro}} of the album version of "To Have And To Hold". The vocal is played several notes below its original key and is layered with numerous delayed cuts to produce a dense, alarming texture. Fitting with the dark atmosphere of the song, the broadcaster states: "В докладах рассматривается эволюция ядерных арсеналов и социально-психологические проблемы гонки вооружений," which translates to "The report examines the evolution of nuclear arsenals and socio-psychological problems of the arms race".
 
Notably, this sample would later be sampled by {{EL|https://en.wikipedia.org/wiki/Composer composer}} {{EL|https://en.wikipedia.org/wiki/Mark_Morgan_(composer) Mark Morgan}} for use in the ambient song "{{EL|https://fallout.gamepedia.com/The_Vault_of_the_Future The Vault of the Future}}" in the 1997 post-apocalyptic adventure video game ''{{EL|https://fallout.gamepedia.com/Fallout Fallout}}'', 1998's ''{{EL|https://fallout.gamepedia.com/Fallout_2 Fallout 2}}'' and 2010's acclaimed ''{{EL|https://fallout.gamepedia.com/Fallout:_New_Vegas Fallout: New Vegas}}''.
|smsample2=Metallic snare layer
|smsnotes2=A metallic drum-like sample layered with the snare throughout "To Have And To Hold" is a sampled sound of a pneumatic coach door shutting recorded by Dave Bascombe. Notably, this sample is also used as a percussive part during the post-chorus sections of "Nothing".
|ssample1=Kalimba
|ssource1='''Emulator II factory library disk #17: Kalimba & Shaku-Hachi - SAMPLE 2'''
|sstatus1=C
|snotes1=A {{EL|https://en.wikipedia.org/wiki/Mbira kalimba}} sample derived from Emulator II factory library disk #17 "Kalimba & Shaku-Hachi" performing an ascending {{EL|https://en.wikipedia.org/wiki/Arpeggio arpeggio}} is quietly layered with one or more sounds to form the tense four note phrase repeating throughout "To Have and to Hold".
|colorscheme=MFTM
|snumberofrows=1
}}
{{Sample source
|song={{S|Nothing}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|smsample1=Post-chorus metallic percussive triplet
|smsnotes1=In a 4 July 2019 interview with ''Super Deluxe Edition'', Dave Bascombe recalls the unique production of an alternative hi-hat sound used in "Nothing":
 
<blockquote>We dug out a few of their old samples and I brought a lot of mine as well, which were more in the vein of just regular {{EL|https://en.wikipedia.org/wiki/Snare_drum snare}} drums and {{EL|https://en.wikipedia.org/wiki/Bass_drum kicks}}, although I did use, there’s one interesting sound which is used as a [{{EL|https://en.wikipedia.org/wiki/Hi-hat hi-hat}}] on, I think "Nothing", or maybe a few things, which is a {{EL|https://en.wikipedia.org/wiki/Pneumatics pneumatic}} {{EL|https://en.wikipedia.org/wiki/Coach_(bus) coach}} door shutting. Anyway, we did swap a few things around like that.  I had an Emulator II [sampler/keyboard], we’d swap discs and so on.<ref name="DBASCOMBE"></ref></blockquote>
|smsample2=Solo vocal-like pad with short loop
|smsnotes2=A solo vocal-like pad with a short loop (derived from a non-looped sample that is layered another vocal-like sound to intensify the final four bars of each verse section in "I Want You Now") is used to play a melody during the chorus sections of 'Nothing'.
 
Other notable appearances of this sample include the lead melody as heard in live performances of "Never Let Me Down Again" and as a vocal stab layered with another vocal-like sound during the final four bars of each verse section in "I Want You Now".
|smsample3=Bass piano
|smsnotes3=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by ''Music For The Masses'' co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late eighties. One floppy disk, labeled "Depeche Bass Piano", features two similar untitled presets ("NULL PRESET"), which contain a sample of a one-shot two octave piano hit playing an {{EL|https://en.wikipedia.org/wiki/E_(musical_note) E}} and a similar sample playing an {{EL|https://en.wikipedia.org/wiki/A_(musical_note) A}}. The former sample is layered with another piano part for use throughout "Nothing".
 
Notably, this sound is also used during the middle eight of {{S|Strangelove}}.
 
|ssample1="{{EL|https://en.wikipedia.org/wiki/When_the_Levee_Breaks#Led_Zeppelin_version When The Levee Breaks}}" drum samples
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Led_Zeppelin Led Zeppelin}} - "{{EL|https://en.wikipedia.org/wiki/When_the_Levee_Breaks#Led_Zeppelin_version When The Levee Breaks}}"''' - 1971
|sstatus1=C
|snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] website that "Never Let Me Down Again" employs drum elements derived from Led Zeppelin's "When The Levee Breaks", which are repurposed for "Nothing".
|ssample2=Snare drum
|ssource2='''{{EL|https://en.wikipedia.org/wiki/New_Order_(band) New Order}} - "{{EL|https://en.wikipedia.org/wiki/Love_Vigilantes Love Vigilantes}}"''' - 1985
|sstatus2=C
|snotes2=The second of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Nothing". Similarly, this snare sound is used throughout {{s|Stripped}}, {{s|Breathing In Fumes}}, {{s|Christmas Island}}, and {{S|Never Let Me Down Again}}.
|ssample3=High octave choir melody
|ssource3='''{{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #12: Voices - Preset #1: "Voices 1", SAMPLE 8'''
|sstatus3=C
|snotes3="Nothing" utilises a choir sample derived from {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #12 "Voices". The sample is layered with a similar choir sample to form a textured high octave choir-like instrument used to add tension to the lead melody starting from the first post-chorus section onwards.
|ssample4=Slap bass guitar
|ssource4='''{{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #30: Funk Rock Bass - Preset #2: "Slap Bass 1"'''
|sstatus4=C
|snotes4=A slap bass guitar sample derived from {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #30 "Funk Rock Bass" is utilised throughout "Nothing".
|snumberofrows=4
|colorscheme=MFTM
}}
{{Sample source with audio
|song={{S|Pimpf}}
|artist=[[Depeche Mode]]
|releaseyear=1987
|smsample1=Exploding firework
|smsnotes1=An exploding {{EL|https://en.wikipedia.org/wiki/Fireworks firework}} sound originally recorded for use with {{S|Stripped|U}} is layered in with a large choir stab in the outro of {{S|Pimpf|U}}. The sample is played in time with the choir several notes below its original key. Notably, this sample is also occasionally played on the final note during live performances of "Never Let Me Down Again".
|ssample1=Tubular bells
|ssource1='''Emulator II factory library disk #67: Tubular Bells - Preset #1: "Tubular Bell"'''
|sstatus1=C
|snotes1=The tubular bells utilised in the final moments of "Pimpf" are derived from Emulator II factory disk $67 "Tubular Bells".
|sexample1=ss-Pimpf-EII-67-Tubular_Bells.mp3
|ssample2=Sitar pluck
|ssource2='''Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6'''
|sstatus2=C
|snotes2=A plucked sitar sample derived from the "Sitar 2" preset of Emulator II factory library disk #61 "Sitar" is layered with other sounds to form the four note "Strangelove" riff played throughout {{S|Interlude No. 1 - Mission Impossible}}, the instrumental interlude that follows "Pimpf". The full sample consists of a plucked sitar playing a {{EL|https://en.wikipedia.org/wiki/G%E2%99%AF_(musical_note) G♯}} with a slight pitch bend. The sample is looped with a tight loop lasting approximately four milliseconds starting just after the initial transient of the sample, producing a unique "buzzy" tone with the transient of a natural sitar pluck. The resulting sample is then played back with filtering and subtle vibrato. Notably, this sample is also used in {{S|Behind The Wheel}} and {{S|Master And Servant}} as it was performed on the Music For The Masses and [[:Category:1990 World Violation Tour|World Violation]] tours.
|snumberofrows=2
|colorscheme=MFTM
}}
{{Sample source
|song={{S|To Have And To Hold}} (Spanish Taster)
|artist=[[Depeche Mode]]
|releaseyear=1987
|smsample1=Guitar-like pluck
|smsnotes1=A guitar-like pluck sample is layered with a {{EL|https://en.wikipedia.org/wiki/Harpsichord harpsichord}}, played back with a medium {{EL|https://en.wikipedia.org/wiki/Envelope_(music)#ADSR decay}}, and processed with {{EL|https://en.wikipedia.org/wiki/Reverberation reverb}} to produce the lead melody heard throughout the Spanish Taster mix.
 
Other uses of this sample include the lead melody of "Never Let Me Down Again" and a two-note {{EL|https://en.wikipedia.org/wiki/Fill_(music) fill}} heard during the {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} sections of {{S|Strangelove|U}}.
|smsnumberofrows=1
|colorscheme=MFTM
}}
{{Sample source
|song={{S|Pleasure, Little Treasure}} (Glitter Mix)
|artist=[[Depeche Mode]]
|releaseyear=1987
|smsample1="The grabbing hands grab all they can - Everything counts in large amounts" chorus vocal
|smsnotes1=The vocal section of {{S|Everything Counts}} (Reprise) is re-purposed to form the "ghostly" vocal {{EL|https://en.wikipedia.org/wiki/Song_structure#Conclusion_or_outro outro}} of the {{S|Pleasure, Little Treasure}} (Glitter Mix). The part is {{EL|https://en.wikipedia.org/wiki/Pitch_shift pitch shifted}} up by two keys, {{EL|https://en.wikipedia.org/wiki/Audio_time_stretching_and_pitch_scaling timestretched}} to match the approximate 132 BPM tempo of "Pleasure, Little Treasure", reversed, and subsequently sliced to allow for more precise control over each section of audio. The part is then processed using a {{EL|https://en.wikipedia.org/wiki/Noise_gate gate effect}} programmed to allow the audio signal to pass through for the first two steps of the first and third {{EL|https://en.wikipedia.org/wiki/Beat_(music) beats}} per {{EL|https://en.wikipedia.org/wiki/Bar_(music) bar}}. The resulting "stuttering" vocal rhythm is then processed with {{EL|https://en.wikipedia.org/wiki/Reverberation reverb}} and {{EL|https://en.wikipedia.org/wiki/Delay_(audio_effect) delay}}.
|smsample2=Organ sample
|smsnotes2=A distinct {{EL|https://en.wikipedia.org/wiki/Organ_(music) organ}} sample is used to play a two note phrase during the {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} sections of all versions of {{S|Pleasure, Little Treasure|U}}. Notably, this sample is also used during the choruses of {{S|World In My Eyes}} and the outro of {{S|Behind The Wheel}} as it was performed on the [[:Category:1990 World Violation Tour|World Violation]], [[:Category:1993 Devotional Tour|Devotional]] and [[:Category:1994 Exotic Tour|Exotic]] tours.
|ssample1=Brass
|ssource1='''Emulator II factory library disk #60: Velocity Sax - Preset #1: "Sax Beast", SAMPLE 15'''
|sstatus1=C
|snotes1=The portamento brass section utilised throughout the live arrangement of {{S|Pleasure, Little Treasure}} as it was performed on the [[:Category:1987-1988 Music For The Masses Tour|Music For The Masses]] tour is comprised of two samples, one of which is derived from the "Sax Beast" preset of the Emulator II factory library disk "Velocity Sax".
|ssample2=Sitar pluck
|ssource2='''Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6'''
|sstatus2=C
|snotes2=A plucked sitar sample derived from the "Sitar 2" preset of Emulator II factory library disk #61 "Sitar" is layered with other sounds to form the five note riff used throughout "Pleasure, Little Treasure". The full sample consists of a plucked sitar playing a {{EL|https://en.wikipedia.org/wiki/G%E2%99%AF_(musical_note) G♯}} with a slight pitch bend. The sample is looped with a tight loop lasting approximately four milliseconds starting just after the initial transient of the sample, producing a unique "buzzy" tone with the transient of a natural sitar pluck. The resulting sample is then played back with filtering and subtle vibrato. Notably, this sample is also used in {{S|Behind The Wheel}} and {{S|Master And Servant}} as it was performed on the Music For The Masses and [[:Category:1990 World Violation Tour|World Violation]] tours.
|snumberofrows=2
|colorscheme=MFTM
}}
{{Sample source
|song={{S|Route 66}} (Beatmasters Mix)
|artist=[[Depeche Mode]]
|releaseyear=1987
|ssample1="They come from everywhere to take the challenge", "If they can name it they can claim it", "It's big money, high hopes, near misses, and love and kisses", "So, join host Tom Kennedy, tonight at 7:30, and 'Name That Tune!'" vocal samples
|ssource1=Unspecified television advertisement for ''{{EL|https://en.wikipedia.org/wiki/Name_That_Tune Name That Tune}}'' (game show)
|sstatus1=C
|snumberofrows=1
|sround=1
|colorscheme=MFTM
}}
{{Sample source
|song={{S|Strangelove}} (The Fresh Ground Mix)
|artist=[[Depeche Mode]]
|releaseyear=1987
|ssample1="Super DJ!" vocal sample
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Cameo_(band) Cameo}} - "{{EL|https://en.wikipedia.org/wiki/Word_Up!_(song) Word Up}}"''' - 1986
|sstatus1=OC
|snotes1=A vocal sample of {{EL|https://en.wikipedia.org/wiki/Cameo_(band) Cameo's}} {{EL|https://en.wikipedia.org/wiki/Larry_Blackmon Larry Blackmon}} shouting "super DJ!" originally recorded for use in Cameo's 1986 single "{{EL|https://en.wikipedia.org/wiki/Cameo_(band) Word Up!}}" is repeated throughout this obscure promotional remix. Officially confirmed on {{EL|http://depechemode.com/ depechemode.com}}<ref>Source: {{EL|http://archives.depechemode.com/audio/releases/strangelove.html archives.depechemode.com - DM Archives / audio / releases / Strangelove}}</ref>.
|snumberofrows=1
|sround=1
|colorscheme=MFTM
}}
 
== <i>[[Violator]]</i> (1990) ==
 
{{Sample source with audio
|song={{S|World In My Eyes}}
|artist=[[Depeche Mode]]
|releaseyear=1990
|smsample1=Snare
|smsnotes1=[[Alan Wilder]] recalls the production of the snare drum sound of "World In My Eyes" in a Q&A on {{Shunt}}, the official [[Recoil]] project site: "[I can't] remember exactly. I think we made it from scratch or it could be a combination of analogue and a sample."<ref name="shuntVIO"></ref> Notably, a reversed version of this snare is used as a fill during the transition between the interlude and outro of the live arrangement of {{S|Enjoy The Silence}} as it was performed on the [[:Category:1990 World Violation Tour|World Violation]] tour.
|smsample2=Minimoog/ARP 2600 bass
|smsnotes2=The origin of the bass is a combination of a series of unique synthesized parts. According to Wilder, the bass parts are likely to have originated from the Minimoog and [[Flood|Flood's]] ARP 2600.<ref name="shuntVIO"></ref></blockquote>
 
|smsample3=Vocal "ahh" samples
|smsnotes3=A series of quietly-mixed solo vocal "ahh" samples likely derived from vocal sustains sung by [[Martin L. Gore|Martin Gore]] play an oscillating melody during the outro of {{S|World In My Eyes}}. Other songs to feature these vocal elements include {{S|Enjoy The Silence}}, {{S|Policy Of Truth}} (as a layer mixed in with the lead melody), {{S|Memphisto}}, as well as the sustained choir chords heard during the second verse of {{S|In Your Room}} as it was performed on the [[:Category:1993 Devotional Tour|Devotional]], [[:Category:1994 Exotic Tour|Exotic]], and [[:Category:2017-2018 Global Spirit Tour|Global Spirit]] tours.
 
|ssample1=Pitch-bending verse section fill
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Fleetwood_Mac Fleetwood Mac}} - "{{EL|https://en.wikipedia.org/wiki/Black_Magic_Woman Black Magic Woman}}"''' - 1982
|sstatus1=C
|snotes1=This sample is used for two distinct sounds audible throughout "World In My Eyes":
* One version of the sample is played in reverse with an oscillating pitch bend and is layered with a separate sample (derived from Emulator II factory library disk #37: Electric Guitar) to produce the exciting "whirl" effect that occurs during the verse sections.
* A second version of the sample appears on the first beat following the end of each chorus section. This sample is used to dramatic effect during the outro to the [[:Category:1993 Devotional Tour|Devotional]] tour version of "World In My Eyes".<ref name="BairdCredit">Credit to Christopher Baird for this discovery.</ref>
|ssample2=Pitch bending verse section fill
|ssource2='''Emulator II factory library disk #37: Electric Guitar - SAMPLE 4'''
|sstatus2=C
|snotes2=An electric guitar sample derived from Emulator II factory library disk #37 "Electric Guitar" is played in reverse with an oscillating pitch bend and layered with a separate sample (derived from Fleetwood Mac's "Black Magic Woman") to produce the exciting "whirl" effect that occurs during the verse sections.
|ssample3=Punchy drum fill
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Bryan_Ferry Bryan Ferry}} - "{{EL|https://en.wikipedia.org/wiki/Don%27t_Stop_the_Dance Don't Stop The Dance}}"''' - 1985
|sstatus3=C
|snotes3=A drum element derived from the album version of {{EL|https://en.wikipedia.org/wiki/Bryan_Ferry Bryan Ferry's}} "{{EL|https://en.wikipedia.org/wiki/Don%27t_Stop_the_Dance Don't Stop The Dance}}" is utilised throughout "World In My Eyes" as a drum fill.
|sexample3=ss-WIME_Bryan-Ferry-Dont-Stop-The-Dance.mp3
|ssample4=Orchestral strings
|ssource4='''Emulator II factory library disk #05: Marcato Strings'''
|sstatus4=C
|snotes4=The verse, chorus and outro sections of {{S|World In My Eyes|U}} feature orchestral string chords played using the "Marcato Strg" preset of Emulator II factory library disk #05 "Marcato Strings". Notably, this famous {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory preset was also used in a variety of songs in the previous decade, including "{{EL|https://en.wikipedia.org/wiki/West_End_Girls West End Girls}}" by {{EL|https://en.wikipedia.org/wiki/Pet_Shop_Boys Pet Shop Boys}}, "{{EL|https://en.wikipedia.org/wiki/The_Sun_Always_Shines_on_T.V. The Sun Always Shines on T.V.}}" by {{EL|https://en.wikipedia.org/wiki/A-ha A-Ha}}, and "Book of Brilliant Things" by {{EL|https://en.wikipedia.org/wiki/Simple_Minds Simple Minds}}.
|sexample4=ss-WIME-EII-5-Marcato-Strings.mp3
|ssample5="Orchestral" hit/synthesizer stab
|ssource5='''{{EL|https://en.wikipedia.org/wiki/Thomas_Dolby Thomas Dolby}} - "{{EL|https://en.wikipedia.org/wiki/She_Blinded_Me_with_Science She Blinded Me with Science}}"''' - 1982
|sstatus5=C
|snotes5=A synth hit derived from the final moments of Thomas Dolby's 1982 single "She Blinded Me with Science" is utilised as an orchestral hit during the final bar of each chorus section of "World In My Eyes"
|sexample5=ss-WIME-ThomasDolby_Science.mp3
|ssample6="Clicking" verse percussion rhythm
|ssource6='''{{EL|https://en.wikipedia.org/wiki/Kraftwerk Kraftwerk}} - "The Man-Machine" ("Die Mensch-Maschine")''' - 1978
|sstatus6=C
|snotes6="World In My Eyes" utilises a timestretched "clicking" percussion rhythm throughout its {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}}, {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}}, and {{EL|https://en.wikipedia.org/wiki/Song_structure#Conclusion_or_outro outro}} sections that is derived from the opening moments of {{EL|https://en.wikipedia.org/wiki/Kraftwerk Kraftwerk's}} "The Man-Machine".
|sexample2=ss-WIME-Kraftwerk-Man-Machine.mp3
|ssample7="Squelchy" snare accent
|ssource7='''{{EL|https://en.wikipedia.org/wiki/Kraftwerk Kraftwerk}} - "Home Computer" ("Heimcomputer")''' - 1981
|sstatus7=C
|snotes7="World In My Eyes" employs a timestretched synthesizer "squelch" sound derived from the right stereo channel of the latter half of Kraftwerk's "Home Computer". The sound is timestretched via resampling to play at a faster rate, and is sequenced to play off-time on the third step of the first beat of bars sixteen, thirty-seven, and sixty-eight of "World In My Eyes" so that it occurs just before the main snare. The sound then occurs off-time on the third step of the first beat on the first bar every four bars throughout the outro of "World In My Eyes", starting from bar ninety-five.<ref>Credit to "Heiko Brune" for this discovery.</ref>
|sexample7=ss-WIME-Kraftwerk-Home-Computer.mp3
|snumberofrows=7
|colorscheme=Violator
}}
{{Sample source
|song={{S|Sweetest Perfection}}
|artist=[[Depeche Mode]]
|releaseyear=1990
|ssample1=Bell tree sample
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Fleetwood_Mac Fleetwood Mac}} - "{{EL|https://en.wikipedia.org/wiki/Black_Magic_Woman Black Magic Woman}}"''' - 1982
|sstatus1=C
|snotes1=This sample is looped and manipulated to produce a ghostly pad with oscillating pitch and creative panning effects during the verses.
|snumberofrows=1
|sround=1
|colorscheme=Violator
}}
{{Sample source with audio
|song={{S|Personal Jesus}}
|artist=[[Depeche Mode]]
|releaseyear=1989
|smsample1=Foot stomp drum elements
|smsnotes1=Wilder recalls in separate Q&A and Editorial features on {{Shunt}}, the official [[Recoil]] project site: "The main stomps... [were] a recording of 2 or 3 people jumping up and down on flight cases."<ref name="shuntVIO"></ref><ref>Source: [http://oldsite.recoil.co.uk/ SHUNT : ARCHIVES : REPORT : EDITORIAL : VIOLATOR]</ref>
|smsample2=Slide guitar fill
|smsnotes2=Album producer [[Flood]] recalled the unique slide guitar sound recorded on the second day of production on "Personal Jesus" in his 2011 Mute Short Circuit presentation:
<blockquote>I'd said, well, I always thought that on the original demo [for Personal Jesus], [the slide guitar part] sounded like voices. Somebody going "Rahh!" And they all looked at me as though I was mad. I said [...] if we just combine the two sounds, it would be unique, it won't be just a slide guitar [...] And [[Dave Gahan|[Dave Gahan]]] finally turned around and goes  "What, like this? Rahhh!" I went "Yes, exactly like that!" So Dave went, alright then, sample this then: "Rahhh!" I went "Yep, that's perfect!" They were all looking at me as though I was mad! But, that is half of the sound that you hear when you hear the finished article.
</blockquote>
|smsample3=Breathing rhythm
|smsnotes3=Album producer Flood describes the origin of the "Personal Jesus" breathing rhythm recorded on the third day of the song's production in his 2011 Mute Short Circuit presentation:
<blockquote>
The next day, we [started] to do the famous breath. And the breath came about because we wanted to do, we were trying harmonica actually, to do the bass part and that type of sound. And the sound just wasn't right, but what we did like was the sound of someone going "Haah", and so we got a load of "Haah" from [[Martin L. Gore|[Martin Gore]]], and I think [[Alan Wilder|[Alan Wilder]]] as well, and then chucked them all together. And that makes up the "ooh-ooh-ooh-ahh-ahh-ahh", it's all from trying to get the harmonica for a bass sound.
</blockquote>
|smsample4=Tom drum fills
|smsnotes4=An ambient drum sample originally recorded for use with 1983's {{s|Pipeline}} is utilised in combination with a tom drum sound (itself originally recorded for use with 1987's "I Want You Now") to form a series of two unique drum fills preceding each verse section.
|ssample1="Metallic" hi-hat
|ssource1='''Emulator II factory library disk #71: DAS Synth'''
|sstatus1=C
|snotes1=A lo-fi synthesizer sample derived from Emulator II factory library disk #71 "DAS Synth" is played several keys above its root key to produce a metallic ticking sound that is used in place of a hi-hat starting from the second chorus section of "Personal Jesus".
|sexample1=ss-PJ_EII-71-DAS-Synth_SAMPLE-7.mp3
|ssample2=Bass guitar
|ssource2='''<i>{{EL|http://www.vintagesynth.com/emu/emulator3.php Emulator III}} OMI Universe of Sounds</i> - Volume 1 - Machine Set - "Stein Bass A1", "Stein Bass D2"'''
|sstatus2=C
|snotes2=A series of bass guitar samples derived from the Emulator III OMI Universe of Sounds "Machine Set" voice are utilised throughout "Personal Jesus".
|sexample2=ss-PJ-EIII-UoS-Vol1-MachineSet-SteinBass.mp3
|ssample3=Clap-like percussion
|ssource3='''<i>{{EL|http://www.vintagesynth.com/emu/emulator3.php Emulator III}} OMI Universe of Sounds</i> - Volume 2 - Tough Tones - "NOISE BURST"'''
|sstatus3=C
|snotes3=A treated copy of a clap-like percussive sound derived from the Emulator III OMI Universe of Sounds "Tough Tones" voice is utilised throughout "Personal Jesus" starting from the second chorus section.
|sexample3=ss-PJ-EIII-UoS-Vol2-ToughTones-NOISE_BURST.mp3
|ssample4="I'm not crazy anymore!" vocal sample
|ssource4='''<i>{{EL|https://en.wikipedia.org/wiki/A_Cry_in_the_Wilderness A Cry In The Wilderness}}</i> (film)''' - 1974
|sstatus4=L
|snumberofrows=4
|colorscheme=Violator
}}
 
{{Sample source with audio
|song={{S|Halo}}
|artist=[[Depeche Mode]]
|releaseyear=1990
|smsample1=Minimoog/ARP 2600 bass
|smsnotes1=The origin of the bass is a combination of likely two or more unique synthesized parts, including a 'dark' velocity-sensitive synth bass layered with an additional bass part. According to Wilder, these bass parts are likely to have originated from the Minimoog and producer Flood's ARP 2600.<ref name="shuntVIO"></ref>
|smsample2=Vocal "ahhs"
|smsnotes2=The choir stabs heard during the first chorus are comprised of a series of solo vocal "ahh" samples. Other songs to feature these vocal elements include {{S|Enjoy The Silence}},{{S|World In My Eyes}}, {{S|Policy Of Truth}} (as a layer mixed in with the lead melody), {{S|Memphisto}}, and the sustained choir chords heard during the second verse of {{S|In Your Room}} as it was performed on the [[:Category:1993 Devotional Tour|Devotional]], [[:Category:1994 Exotic Tour|Exotic]], and [[:Category:2017-2018 Global Spirit Tour|Global Spirit]] tours.
|smsample3=Snare
|smsnotes3=A crisp snare can be heard on every odd bar starting from the third bar of each chorus section in {{S|Halo}}. Notably, this sound is also used throughout Wilder's 1989 "Eurotech Version" remix of Toni Halliday's "Time Turns Around". As this sample is not audible in the original version or other remixed versions of "Time Turns Around", it is presumed to be a self-made sample.
 
|ssample1=Main drum loop
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Tone_L%C5%8Dc Tone Lōc}} - "Don't Get Close"''' - 1989
|sstatus1=C
|snotes1=The main drum loop used throughout "Halo" is derived from the intro {{EL|https://en.wikipedia.org/wiki/Drum_solo drum solo}} of "Don't Get Close" by American rapper {{EL|https://en.wikipedia.org/wiki/Tone_L%C5%8Dc Tone Lōc}} from his 1989 debut album ''{{EL|https://en.wikipedia.org/wiki/L%C5%8Dc-ed_After_Dark Lōc-ed After Dark}}'' (itself derived from the intro drum solo of "{{EL|https://en.wikipedia.org/wiki/Rock_Candy Rock Candy}}" by {{EL|https://en.wikipedia.org/wiki/Montrose_(band) Montrose}} for their 1973 {{EL|https://en.wikipedia.org/wiki/Montrose_(album) debut album}} of the same name). The drum sample is a standard {{music|time|4|4}} rhythm featuring a quick double {{EL|https://en.wikipedia.org/wiki/Bass_drum bass drum}} shuffle on the first beat of bar one, a similar double bass drum pattern occurring during the first beat of bar two on each half beat, and a powerful drum fill at the end of bar two. The first two bars of the drum solo intro are sampled and {{EL|https://en.wikipedia.org/wiki/Audio_time_stretching_and_pitch_scaling timestretched}} via resampling to match the approximate 112 BPM tempo of "Halo". The resulting timestretched loop is chopped into one beat sections, which are subsequently swapped in or out in the following ways over the course of the song to produce a powerful, evolving drum rhythm:
 
* Variation one: In the sections leading up to the second and third verses, the "quick" double bass drum shuffle section is included on beat one, and the contents of beat three are replaced with a single bass drum and hi-hat section. The resulting one bar loop is then repeated.
* Variation two: During the verse sections, the same relative structure of the loop is kept, with the single bass drum and hi-hat section heard in beat three of variation one swapped in to beat one, and the half beat double bass drum shuffle heard in bar two beat one from the original sample swapped in to beat three. The resulting one bar loop is then repeated.
* Variation three: During the chorus sections, the half beat double bass drum shuffle is included on bar one beat one and the single bass drum and hi-hat section is included on bar one beat three to form the structure of the first bar, which is then repeated for a second bar where the "quick" double bass drum shuffle section is swapped in on bar two beat one. The resulting two bar loop is then repeated.
* During the instrumental break following the second chorus of "Halo", the contents of variation one repeat for four bars, with the drum fill present at the end of bar two in the original sample swapped in to replace the final two beats of bar four.
|sexample1=ss-Halo-Montrose-Rock-Candy-ToneLoc-DontGetClose.mp3
|sexamplenotes1=In this example, the drum break as heard in "Rock Candy" by Montrose is compared to its use case in Tone Lōc's "Don't Get Close", and is then compared to relevant sections of audio in "Halo".
|ssample2=Main drum loop
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Montrose_(band) Montrose}} - "{{EL|https://en.wikipedia.org/wiki/Rock_Candy Rock Candy}}"''' - 1973
|sstatus2=C
|snotes2=The main drum loop used throughout "Halo" is derived from the intro drum solo of "Don't Get Close" by American rapper {{EL|https://en.wikipedia.org/wiki/Tone_L%C5%8Dc Tone Lōc}} from his 1989 debut album ''{{EL|https://en.wikipedia.org/wiki/L%C5%8Dc-ed_After_Dark Lōc-ed After Dark}}'' (itself derived from the intro drum solo of "{{EL|https://en.wikipedia.org/wiki/Rock_Candy Rock Candy}}" by {{EL|https://en.wikipedia.org/wiki/Montrose_(band) Montrose}} for their 1973 {{EL|https://en.wikipedia.org/wiki/Montrose_(album) debut album}} of the same name).
|sexample2=ss-Halo-Montrose-Rock-Candy-ToneLoc-DontGetClose.mp3
|sexamplenotes2=In this example, the drum break as heard in "Rock Candy" by Montrose is compared to its use case in Tone Lōc's "Don't Get Close", and is then compared to relevant sections of audio in "Halo".
|ssample3=Drum loop
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Beastie_Boys Beastie Boys}} - "Rhymin' And Stealin"''' - 1986
|sstatus3=D
|snotes3=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] website that {{S|Never Let Me Down Again}} employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record for use with several songs, including "Halo":
<blockquote>From memory, the drums were sampled from Led Zeppelin's "When the Levee Breaks" (but secondhand from a rap record). [...] I think ''[[Violator]]'' was the first album that we used whole performance drum loops to create rhythm tracks, as opposed to programmed single drum sounds, and "Halo" was one of the first tracks we recorded for ''Violator'' in fact. [[Flood]] and I were listening to quite a lot of hip hop and rap records at the time – those artists were the forerunners when sampling larger sections of rhythms and grooves.</blockquote>
 
It is Depeche Mode Live Wiki's opinion that Wilder may have understandably confused the origin of the "Rock Candy" drum break with the Led Zeppelin work due to the ambient similarities between the break and that of the "When The Levee Breaks" drum break.
 
|ssample4=Drum loop
|ssource4='''{{EL|https://en.wikipedia.org/wiki/Led_Zeppelin Led Zeppelin}} - "When The Levee Breaks"''' - 1971
|sstatus4=D
|snotes4=Wilder confirmed that "Never Let Me Down Again" employs some drum elements originally from Led Zeppelin's "When The Levee Breaks" which were sampled second-hand from a rap record (Beastie Boys - "Rhymin And Stealin") in a Q&A on Shunt, the official Recoil website. It is Depeche Mode Live Wiki's opinion that Wilder may have understandably confused the origin of the "Rock Candy" drum break with the Led Zeppelin work due to the ambient similarities between the break and that of the "When The Levee Breaks" drum break.
|ssample5=Orchestral strings
|ssource5='''{{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler}} - {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)}} - {{EL|https://en.wikipedia.org/wiki/Chicago_Symphony_Orchestra Chicago Symphony Orchestra}}''' - March 1970
|sstatus5=C
|snotes5="Halo" employs two orchestral phrase sampled from the fourth movement of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam), conducted by {{EL|https://en.wikipedia.org/wiki/Georg_Solti Georg Solti}} and performed by the Chicago Symphony Orchestra at {{EL|https://en.wikipedia.org/wiki/Medinah_Temple Medinah Temple}} in March 1970.
|sexample5=ss-Halo-Mahler-Symphony5-Adagietto-CSO-1970.mp3
|ssample6=Orchestral strings
|ssource6='''{{EL|https://en.wikipedia.org/wiki/Edward_Elgar Edward Elgar}} - Unidentified composition'''
|sstatus6=C
|snotes6=Wilder confirmed in a 27 July 2011 interview with ''electricityclub.co.uk'' that "Halo" employs orchestral string elements sampled from an as yet unidentified piece of music composed by celebrated English composer Edward Elgar:
 
<blockquote>For the end choruses, there are some string samples which I think were derived from Elgar. One of my techniques is to find sections of classical strings and transpose / stretch these, then add my own samples, in order to formulate new and unusual arrangements. This was a case in point. The [Depeche Mode] track "Clean" utilised classical strings in a similar way.<ref>Source: [http://www.electricityclub.co.uk/the-alan-wilder-interview/ ALAN WILDER Interview - July 27, 2011]</ref></blockquote>
 
The classical recording sampled would have been recorded and released during or prior to 1989.
|snumberofrows=6
|colorscheme=Violator
}}
{{Sample source with audio
|song={{S|Waiting For The Night}}
|artist=[[Depeche Mode]]
|releaseyear=1990
|smsample1=ARP 2600 bass sequence
|smsnotes1=Wilder describes the production of this bass part in a Q&A on {{Shunt}}, the official [[Recoil]] website:
 
<blockquote>[[Flood]] and I had been listening to Tangerine Dream and decided to try and create a similar atmosphere for this track. The main sequence was put together using his [ARP 2600] and the sequencer that accompanies the synth. Due to its many velocity and filtering possibilities, this unit has a unique quality which is difficult to replicate using a modern-day sequencer triggered by MIDI. Once it has been set-up, in order for the sequence to be transposed to follow the chord structure of the song, I needed to play in each chord change from an external keyboard. A similar principal was applied to achieve the bubbling bass part which, together with the main sequence, forms the backbone of the track. The charm of the ARP sequencer stems from the slight tuning and timing variations that occur each time the part is played. This gives a sense of fluidity and continual change which seems to suit the song.
<ref name="shuntVIO2">Source: [http://oldsite.recoil.co.uk/forum/qa/dviol2.htm SHUNT : ARCHIVES : DEPECHE MODE : VIOLATOR : PAGE TWO]</ref></blockquote>
|smsample2=Bass sequence
|smsnotes2=Musician and remixer Ehron VonAllen confirmed in a YouTube analysis of his [[Jezebel (Recoil song)#Seductress Mix| remix collaboration]] with [[Alan Wilder]] that Wilder employed a bass sequence originally recorded for use with {{S|Waiting For The Night}} in {{S|Electro Blues For Bukka White}}.<ref name="EhronVonAllen">Source: [https://invidio.us/watch?v=v_mNrwcI0s8&iv_load_policy=1 Recoil - Jezebel (Seductress Mix) by Ehron VonAllen with collaboration details 1080p HD] - Ehron VonAllen</ref>
 
|ssample1=Throat singing
|ssource1='''Dmitry Damba-Darzhaa - "Край Артыы сайыр / Artyy Sayir Area"''' - 1969 or earlier
|sstatus1=C
|snotes1=A looped chant-like sample used starting from the bridge section of "Waiting For The Night" is derived from a {{EL|https://en.wikipedia.org/wiki/Tuvan_throat_singing Tuvan throat singing}} recording performed by Dmitry Damba-Darzhaa, originally released on ''Melodii Tuvi - Throat Songs And Folk Tunes From Tuva'', a 1969 collection of Tuvan music issued in the {{EL|https://en.wikipedia.org/wiki/Soviet_Union Soviet Union}}. Though the recording's performance date is not currently known, the recording was included in a 2016 compilation album ''АНТОЛОГИЯ НАРОДНОЙ МУЗЫКИ: ТУВИНСКАЯ МУЗЫКА / Anthology Of Folk Music: Tuvan Music'', which features recordings of Tuvan music performances recorded between 1958 and 1984.
|sexample1=ss-WFTN-Artyy_sayir_Area_-_Dmitry_Damba_Darzhaa.mp3
|ssample2=Vocal pad
|ssource2='''Emulator II factory library disk #12: Voices - SAMPLE 8'''
|sstatus2=C
|snotes2=A vocal pad heard throughout "Waiting For The Night" utilises a vocal sample derived from Emulator II factory library disk #12 "Voices"
|sexample2=ss-WFTN-EII-12-Voices.mp3
|ssample3=Bell-like verse chimes
|ssource3='''<i>{{EL|http://www.vintagesynth.com/emu/emulator3.php Emulator III}} OMI Universe of Sounds</i> - Guitar Chimes - "CHIME A4"'''
|sstatus3=C
|snotes3=The bell-like arpeggio audible during the verse sections of "Waiting For The Night" as it was performed on the [[:Category:1990 World Violation Tour|World Violation]] and [[:Category:1994 Exotic Tour|Exotic]] tours is comprised of a series of edited samples derived from the "Guitar Chimes" voice featured in ''Emulator III OMI Universe of Sounds''.
|sexample3=ss-WFTN-EIII-OMI-UOS-GuitarChimes-CHIME-A4.mp3
|sexamplenotes3=In this example, a sample from the Emax II sound bank containing the musical parts performed by [[Alan Wilder]] for live use with "Waiting For The Night" is compared to the equivalent sample in the "Guitar Chimes" voice featured in ''Emulator III OMI Universe of Sounds''. The two parts are then played together, producing audible phasing artifacts when superimposed.
|snumberofrows=3
|colorscheme=Violator
}}
{{Sample source with audio
|song={{S|Enjoy The Silence}}
|artist=[[Depeche Mode]]
|releaseyear=1990
 
|smsample1=Synth bassline
|smsnotes1=The synthesized bassline audible throughout "Enjoy The Silence" is produced on the {{EL|http://www.vintagesynth.com/roland/sys700.php Roland System 700}} modular analog {{EL|https://en.wikipedia.org/wiki/Synthesizer synthesizer}}.
|smsample2=Choir stabs
|smsnotes2=The textured choral stabs heard on the first beat of every measure throughout "Enjoy The Silence" are comprised of a series of sampled choir sounds each playing individual notes of a chord. Among these sounds are two sourced samples potentially derived from one or more classical recordings, the first of which is played on the first beat per measure throughout the song, the second of which is played on the first beat of every fourth chorus measure (in time with the lyric "In my arms"); a choir sound previously used for live performances of {{S|Never Turn Your Back On Mother Earth}} on the [[:Category:1987-1988 Music For The Masses Tour|Music For The Masses tour]]; and a series of custom vocal "ahh" samples likely produced by sampling vocal sustains sung by [[Martin L. Gore|Martin Gore]], which are notably also used to play the choir melody heard in the song's outro.
|smsample3=Outro choir melody
|smsnotes3=The vocal "ahhs" heard during the outro of "Enjoy The Silence" are comprised of a series of solo vocal "ahh" samples likely produced by sampling vocal sustains sung by [[Martin L. Gore|Martin Gore]]. Other songs to feature these vocal elements include {{S|Memphisto}}, {{S|World In My Eyes}}, {{S|Policy Of Truth}} (as a layer mixed in with the lead melody), {{S|Halo}}, {{S|Sibeling}} (layered quietly as a melodic element), and the sustained choir chords heard during the second verse of {{S|In Your Room}} as it was performed on the [[:Category:1993 Devotional Tour|Devotional]], [[:Category:1994 Exotic Tour|Exotic]], and [[:Category:2017-2018 Global Spirit Tour|Global Spirit]] tours. For live performances of "Enjoy The Silence", these choir elements were employed from its live debut through 2009, when it was replaced with new choir parts for use on the [[:Category:2009-2010 Tour Of The Universe|Tour Of The Universe]] and later tours (with one exception in 2013, when it returned for a live performance as part of a television [[2013-04-24_Jimmy_Kimmel_Live!,_Sony_Outdoor_Stage,_Los_Angeles,_CA,_USA|promotion]]).
|smsample4=Melodic "water droplet" sequence
|smsnotes4=A melancholic bell or "water droplet-like" sequence audible during the intro and middle eight sections of "Enjoy The Silence" is partly comprised of a sample derived from the opening moments of {{S|Blasphemous Rumours}}. Notably, this sample would later be utilised for a melodic melody heard during the verse sections of {{S|Walking In My Shoes}}.
|smsexample4=ss-ETS-BR_Bell.mp3
|smsample5=Choir pad
|smsnotes5=A choir pad comprised of an organ or accordion-like sound layered with a sustained vocal originally sung by Gore for use during the {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} section of {{S|Waiting For The Night}} is played during the chorus sections of "Enjoy The Silence" as it has been performed on all live arrangements since its live debut (as well as the intro of its [[:Category:1990 World Violation Tour|World Violation]] tour arrangement). Notably, this sound is also utilised for the main choir pad heard throughout all versions of {{S|Sea Of Sin}}, as well as a chorus pad layered with several of the vocal "ahh" sounds most obviously heard in the outro of "Enjoy The Silence" for use during the chorus sections of {{S|Halo}} as it has been performed on all live arrangements since its live debut (with one exception in the 2013-2014 [[:Category:2013-2014 Delta Machine Tour|Delta Machine]] tour).
|ssample1=Punchy harpsichord bass
|ssource1='''<i>{{EL|http://www.vintagesynth.com/emu/emulator3.php Emulator III}} OMI Universe of Sounds: Volume 2</i> - Harpsichord - "B1 HARPSIC"'''
|sstatus1=C
|snotes1=The {{EL|https://en.wikipedia.org/wiki/Harpsichord harpsichord}}-like instrument used to accent the bassline of "Enjoy The Silence" starting from the {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Bridge middle eight}} section is partly derived from the ''Emulator III Universe of Sounds: Volume 2'' voice "Harpsichord". The harpsichord sample is layered with a detuned copy of itself to produce a chorusing effect. A sampled bass synth part heard prominently in the opening moments of {{S|Clean}} is then layered with the harpsichord part on most notes used throughout the song. Notably, this sound is also used throughout Nitzer Ebb's "I Give To You".
|sexample1=ss-ETS-EIII-UoS-Vol2-B1-HARPSIC.mp3
|ssample2=Brass melody
|ssource2='''Emax I factory library disk #ZD705: French Horn - Preset #1: "French Horns", SAMPLE 6'''
|sstatus2=C
|snotes2=The {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} and {{EL|https://en.wikipedia.org/wiki/Song_structure#Conclusion_or_outro outro}} sections of "Enjoy The Silence" feature a french horn melody derived from the "French Horns" preset of Emax I factory library disk #ZD705 "French Horn".
|sexample2=ss-ETS-EmaxI-ZD705-S7.mp3
|ssample3=Chorus choir pad
|ssource3='''Emulator II factory library disk #12: Voices''' and '''Emulator II factory library disk #05: Marcato Strings'''
|sstatus3=L
|snotes3=A choir pad featured in the chorus sections of "Enjoy The Silence" is likely comprised of samples derived from Emulator II factory library disk #12 "Voices" and Emulator II factory library disk #05 "Marcato Strings". The pad is prominently featured in the opening moments of the "Hands And Feet" remix of "Enjoy The Silence".
|sexample3=ss-ETS_EII-12-Voices_EII-05-MarcatoStrings.mp3
|sexamplenotes3=In this example, the two Emulator II voices are first played separately. They are then layered together, then played with an upper mid-frequency EQ boost to approximately match the equivalent sound in the "Hands And Feet" remix of "Enjoy The Silence", which prominently features the choir pad with added phasing effects/processing.
|snumberofrows=3
|colorscheme=Violator
}}
{{Sample source with audio
|song={{S|Policy Of Truth}}
|artist=[[Depeche Mode]]
|releaseyear=1990
|smsample1=Main guitar rhythm
|smsnotes1=The guitar rhythm prominently used during the first two verses is produced by a single note played from a guitar, which is processed and looped to provide a built-in vibrato effect. The sample is then allocated across the keyboard for playback. Though not officially confirmed, a second sample is likely used to produce the faux guitar lick-esque stab with an ascending pitch bend heard on every other bar. Wilder recalled in a Q&A on {{Shunt}}, the official [[Recoil]] website: "It's a single note sampled from a guitar and then looped and played from a keyboard. The loop is what gives it the vibrato effect."<ref name="shuntVIO">Source: [http://oldsite.recoil.co.uk/forum/qa/dmviol.htm Shunt Q&A: ARCHIVES : DEPECHE MODE : VIOLATOR]</ref>
|smsample2=Hi-hat loops
|smsnotes2="Policy Of Truth" employs sampled hi-hat rhythms sequenced in an alternating pattern to form dynamic loops. Wilder explains the benefits of using loops over one-shot samples in a Q&A on Shunt, the official Recoil website:
 
<blockquote>[...] No two snare beats sound the same when played by a drummer - I like that. That's why I prefer to use lots of drum loops with all the feel (and flaws) of the original performance. Most of the drum sounds on ''Violator'' were sampled (apart from obvious electro sounds) but the rhythms were still programmed. Some hi-hat patterns ("[Policy Of Truth]" for example) were played and sampled as loops and in the case of "Halo" and "Clean" it's all loops. Again, I prefer the looped parts because of the performance element.<ref name="shuntVIO">Source: [http://oldsite.recoil.co.uk/forum/qa/dmviol.htm Shunt Q&A: ARCHIVES : DEPECHE MODE : VIOLATOR]</ref></blockquote>
|smsample3=Lead melody layer
|smsnotes3=The lead melody of "Policy Of Truth" is comprised of a series of layered sounds, one of which is a repurposed "ahh" vocal sample most clearly heard during the outro of "Enjoy The Silence". Other songs to feature these vocal elements include {{S|Memphisto}}, {{S|World In My Eyes}}, {{S|Halo}}, and the sustained choir chords heard during the second verse of {{S|In Your Room}} as it was performed on the [[:Category:1993 Devotional Tour|Devotional]], [[:Category:1994 Exotic Tour|Exotic]], and [[:Category:2017-2018 Global Spirit Tour|Global Spirit]] tours.
|ssample1=Main riff
|ssource1='''Unknown Asian instrument sample library CD'''
|sstatus1=OC
|snotes1=In a 2016 podcast with author and former pastor {{EL|https://en.wikipedia.org/wiki/Rob_Bell Rob Bell}}, [[Martin L. Gore|Martin Gore]] was asked about the origin of this sound:
 
<blockquote>
'''Rob Bell''': The riff, there's like three or four parts that are like sort of stacked in very tightly in the mix. I assume there's some really subjective aesthetic thing going on where you're just like, "It should sound like striking the edge of a glass bottle..." [...]
 
'''Martin Gore''': I think it's more organic than that. I think part of the sounds that you're talking about are samples that we... even during ''[[Violator]]'' we were doing quite a bit of sampling, so it probably came from some weird Asian instrument sample CD or a classical Asian music CD, with a [pitch] bend in it.<ref>Source: [https://dmlive.wiki/wiki/2016-01-25_The_RobCast,_Los_Angeles,_CA,_USA 2016-01-25] The RobCast 2016-01-25 Martin Gore interview</ref>
</blockquote>
 
The sample library or classical release in question that was sampled for the main riff components would have been in circulation by 1989. The riff is comprised of two looped samples, one with a natural built-in pitch bend and a short loop, and one without a pitch bend with an equally short loop.
 
|ssample2=Piano/bass guitar stab
|ssource2='''<i>{{EL|http://www.vintagesynth.com/emu/emulator3.php Emulator III}} OMI Universe of Sounds Volume 1</i> - Funk Bass - "Funk Bass E1", "Funk Bass G1", "Funk Bass A1", "Funk Bass C2", "Funk Bass D2", "Funk Bass F2"'''
|sstatus2=C
|snotes2=A dark piano/bass guitar stab heard throughout the chorus sections of "Policy Of Truth" is partly comprised of a series of bass guitar samples derived from the ''Emulator III Universe Of Sounds Volume 1'' voice "Funk Bass". The samples are layered and played back with slight detuning to produce a chorusing effect. The Emulator III instrument's original keymapping is as follows:
* '''Sample''': Funk Bass E1 - '''Assignment''': C2-F♯2
* '''Sample''': Funk Bass G1 - '''Assignment''': C2-B2
* '''Sample''': Funk Bass A1 - '''Assignment''': G2-B2
* '''Sample''': Funk Bass C2 - '''Assignment''': C3-E3
* '''Sample''': Funk Bass D2 - '''Assignment''': C3-D♯3
* '''Sample''': Funk Bass F2 - '''Assignment''': D#3-F♯3
* '''Sample''': Funk Bass D2 - '''Assignment''': E3-F♯3
 
|sexample2=ss-POT-EIII-UoS-V1_Funk-Bass-E1-G1-A1-C2-D2-F2.mp3
|sexamplenotes2=In this example, the raw samples are played. The samples are then layered and finally detuned.
|ssample3=Looped guitar rhythm
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Toni_Halliday Toni Halliday}} - "Time Turns Around"''' - 1989
|sstatus3=C
|snotes3=A looped guitar rhythm used during the verses of Toni Halliday's "Time Turns Around" is re-purposed for use during the chorus sections of "Policy Of Truth".<ref>Credit to Home user [https://www.depeche-mode.com/forum/index.php?topic=32731.msg761072#msg761072 'Alex'] for this discovery.</ref> The parts were likely derived from the stems utilised by Wilder in the production of the "Eurotech Version" remix he produced for the March 1989 ''Time Turns Around - Very Special Version'' promotional release.
|sexample3=ss-POT-Toni-Halliday-Time-Turns-Around.mp3
|ssample4=Guitar solo
|ssource4='''{{EL|https://en.wikipedia.org/wiki/Toni_Halliday Toni Halliday}} - "Time Turns Around"''' - 1989
|sstatus4=C
|snotes4=Various cuts of the guitar solo from Toni Halliday's "Time Turns Around" are sampled and subsequently looped to form the sustained guitar pads heard during the outro of {{S|Policy Of Truth}}. The parts were likely derived from the stems utilised by Wilder in the production of the "Eurotech Version" remix he produced for the March 1989 ''Time Turns Around - Very Special Version'' promotional release.
|ssample5=Snare drum fill
|ssource5='''{{EL|https://en.wikipedia.org/wiki/Tone_Loc Tone Lōc}} - "{{EL|https://en.wikipedia.org/wiki/Funky_Cold_Medina Funky Cold Medina}}"''' - March 1989
|sstatus5=C
|snotes5=A snare fill derived from "{{EL|https://en.wikipedia.org/wiki/Funky_Cold_Medina Funky Cold Medina}}", the second single from American rapper {{EL|https://en.wikipedia.org/wiki/Tone_Loc Tone Lōc's}} debut album ''{{EL|https://en.wikipedia.org/wiki/L%C5%8Dc-ed_After_Dark Lōc-ed After Dark}}'', is used following the first chorus and leading up to the outro of the "Policy Of Truth (7" Version)" remix. Notably, this snare fill is also used in the "Beat Box Mix", "Capitol Mix", and "Pavlov's Dub" remixes of "Policy Of Truth", as well as the live arrangement of "Policy Of Truth" as it was performed on the [[:Category:1990 World Violation Tour|World Violation]] tour.
|ssample6=Chorus pad
|ssource6='''{{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #38: Pipe Organ - Preset #1: "Pipe Organ"'''
|sstatus6=C
|snotes6={{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #38 "Pipe Organ" is used to play a series of ascending {{EL|https://en.wikipedia.org/wiki/Pipe_organ pipe organ}} pads during the chorus sections of "Policy Of Truth".
|sexample6=ss-POT-EII-38-Pipe-Organ.mp3
|sexamplenotes6=In this example, chords played using the Emulator II factory disk #38 "Pipe Organ" are compared to the equivalent audio heard during the second chorus of "Policy Of Truth" derived from the center channel of the 2006 ''[[Violator]]'' 5.1 reissue.
|ssample7=Chorus pad
|ssource7='''<i>{{EL|http://www.vintagesynth.com/emu/emulator3.php Emulator III}} OMI Universe of Sounds</i> - Bowed Psaltery - "PSALTERY B3"''' and '''<i>Emulator III OMI Universe of Sounds</i> - Rebel Victory - "GIANT 5"'''
|sstatus7=C
|snotes7=The pads performed during the chorus sections of the [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Policy Of Truth" utilise a series of samples derived from the "Bowed Psaltery" and "Rebel Victory" voices featured in <i>Emulator III OMI Universe of Sounds</i>.
|sexample7=ss-POT93-EIII-PSALTERY-GIANT.mp3
|sexamplenotes7=In this example, two samples derived from ''Emulator III OMI Universe of Sounds'' voices "Bowed Psaltery" and "Rebel Victory" are layered and played back via a sampling keyboard. The result is then compared to a selection of live audio from the first chorus section of "Policy Of Truth" as heard in the [[Devotional]] video release (played out of phase to more clearly expose the relevant sound).
|snumberofrows=7
|colorscheme=Violator
}}
{{Sample source with audio
|song={{S|Blue Dress}}
|artist=[[Depeche Mode]]
|releaseyear=1990
|smsample1=Ambient wind-like pad
|smsnotes1=In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} {{EL|https://en.wikipedia.org/wiki/Floppy_disk floppy disks}} that accompanied a collection of restored studio equipment used by ''[[Music For The Masses]]'' co-producer [[Dave Bascombe]] during the production of music albums for artists other than [[Depeche Mode]] in the mid to late eighties. One floppy disk, labeled "Sound Effects 2", features a single untitled preset ("NULL PRESET") that is comprised of a variety of sound effects. Among these sound effects is an unlooped copy of the ambient wind-like pad that reverberates throughout [[Interlude No. 3]], the atmospheric piece of instrumental music that bridges {{S|Blue Dress}} and {{S|Clean}}.
|smsexample1=ss-BDress-DB-EII-Sound_Effects_2_S5.mp3
|smsample2=Guitar-like pluck
|smsnotes2=A guitar-like pluck sample is layered with a separate sound to form the dramatic chorus melody. Notably, this sample is also used as a layer of the lead melody of {{S|Never Let Me Down Again}}, a melodic fill throughout {{S|Strangelove}}, and as a layer for the harpsichord-like lead melody of the "Spanish Taster" mix of {{S|To Have And To Hold}}.
|smsample3=Warm pad
|smsnotes3=A warm synth-like pad sample is utilised throughout "Blue Dress". Notably, this sample is also performed during the third verse section of {{S|World In My Eyes}} as it was performed on the [[:Category:1993 Devotional Tour|Devotional]] tour. It is also used as a layer of the six note melody performed sporadically throughout the instrumental outro of {{S|Personal Jesus}} in all live concert performances since its live debut.
 
|smsample4=Verse arpeggio
|smsnotes4=A {{EL|https://en.wikipedia.org/wiki/Steelpan steel drum}}-like sample most prominently heard during the verses of {{S|Stripped}} is repurposed for use as a melodic arpeggio during the second verse section of "Blue Dress".
 
|colorscheme=Violator
|smsnumberofrows=4
}}
{{Sample source with audio
|song={{S|Clean}}
|artist=[[Depeche Mode]]
|releaseyear=1990
|smsample1=Female "ah" vocal sample
|smsnotes1="Clean" employs a female "ah" vocal part originally recorded for use throughout 1987's {{S|I Want You Now}}. The part is performed in time with the snare starting from the second verse. Wilder recalled the performers responsible for this vocal part in a Q&A on {{Shunt}}, the official [[Recoil]] website: "...I think it was a couple of girls who were hanging around the studio - thought we'd make use of them ;-)"<ref name="shuntMFTM">Source: [http://oldsite.recoil.co.uk/forum/qa/dmmftm.htm Shunt Q&A: ARCHIVES : DEPECHE MODE : MUSIC FOR THE MASSES]</ref>
|ssample1=Bass guitar
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Pink_Floyd Pink Floyd}} - "{{EL|https://en.wikipedia.org/wiki/One_of_These_Days_(instrumental) One Of These Days}}"''' - 1971
|sstatus1=D
|snotes1=Wilder confirmed in a Q&A on {{Shunt}}, the official [[Recoil]] project site that "Clean" does not employ a sample from Pink Floyd: "I recognise the similarity but It's not a Floyd sample. It was programmed using a combination of analogue synth and sampled bass [guitar]."<ref>Source: [http://oldsite.recoil.co.uk/forum/qa/dviol2.htm Shunt Q&A: ARCHIVES : DEPECHE MODE : VIOLATOR]</ref>
|ssample2=Looped orchestral strings
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler}} - {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)}} - {{EL|https://en.wikipedia.org/wiki/Chicago_Symphony_Orchestra Chicago Symphony Orchestra}}''' - March 1970
|sstatus2=C
|snotes2="Clean" employs a looped orchestral phrase sampled from the fourth movement of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam), conducted by {{EL|https://en.wikipedia.org/wiki/Georg_Solti Georg Solti}} and performed by the Chicago Symphony Orchestra at {{EL|https://en.wikipedia.org/wiki/Medinah_Temple Medinah Temple}} in March 1970. It is looped on a sustained phrase to produce a dramatic orchestral pad.  This sample is also used in {{S|Memphisto}}, {{S|Halo}}, and {{S|My Joy}}.
|sexample2=ss-Clean-Mahler-Symphony5-Adagietto-CSO-1970.mp3
|ssample3=Orchestral string elements
|ssource3='''Unidentified classical music recording'''
|sstatus3=C
|snotes3="Clean" utilises two looped sections of orchestral strings during its outro, one of which is derived from a performance of Gustav Mahler's Symphony No. 5. The other loop is presumably derived from an as yet unidentified piece of classical music written by British composer Edward Elgar. Notably, both sampled string loops as heard in the outro of "Clean" are re-purposed for use throughout the verse and chorus sections of "Halo".
|snumberofrows=3
|colorscheme=Violator
}}
 
{{Sample source
|song={{S|Memphisto}}
|artist=[[Depeche Mode]]
|releaseyear=1990
|smsample1=Vocal "ahh" samples
|smsnotes1=Unlooped versions of the samples comprising the solo vocal "ahh" melody heard in the outro of {{S|Enjoy The Silence}} are re-used to dramatic effect as a vocal element in "Memphisto". Other notable uses of these vocal elements include the choir stabs audible during the first chorus of "Halo", a quietly-mixed melody in the outro of {{S|World In My Eyes}}, and the sustained choir chords heard during the second verse of {{S|In Your Room}} as it was performed on the [[:Category:1993 Devotional Tour|Devotional]], [[:Category:1994 Exotic Tour|Exotic]], and [[:Category:2017-2018 Global Spirit Tour|Global Spirit]] tours.
|smsample2=Bass stabs
|smsnotes2=A sampled synth bass stab most prominently heard throughout "Clean" is employed as a bass layer throughout "Memphisto". Notably, this part is used to similar effect throughout "Enjoy The Silence".
|ssample1=Looped orchestral strings
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler}} - {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)}} - {{EL|https://en.wikipedia.org/wiki/Chicago_Symphony_Orchestra Chicago Symphony Orchestra}}''' - March 1970
|sstatus1=C
|snotes1="Memphisto" employs an orchestral phrase sampled from the fourth movement of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam), conducted by {{EL|https://en.wikipedia.org/wiki/Georg_Solti Georg Solti}} and performed by the Chicago Symphony Orchestra at {{EL|https://en.wikipedia.org/wiki/Medinah_Temple Medinah Temple}} in March 1970. Other songs to feature this sample include "Clean", "Halo", and "My Joy".
|ssample2=Looped orchestral strings
|ssource2='''Unidentified classical music recording'''
|sstatus2=C
|snotes2=Both sampled string loops best heard in the outro of "Clean" are also used throughout "Memphisto", notably during the second chorus section onward. One of the two is derived from a performance of Gustav Mahler's Symphony No. 5.
|snumberofrows=2
|colorscheme=Violator
}}
 
{{Sample source with audio
|song={{S|Kaleid}}
|artist=[[Depeche Mode]]
|releaseyear=1990
|ssample1=Tremolo guitar
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Steve_Harley Steve Harley}} & {{EL|https://en.wikipedia.org/wiki/Steve_Harley_%26_Cockney_Rebel Cockney Rebel}} - "What Ruthy Said"''' - 1973
|sstatus1=C
|snotes1=A rhythmic tremolo guitar element heard in the opening moments of Steve Harley & Cockney Rebel's "What Ruthy Said" is sampled and used throughout "Kaleid".
|sexample1=ss-Kaleid-SteveHarleyCockneyRebel-WhatRuthySaid.mp3
|ssample2=Distorted wah guitar fill
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Borghesia Borghesia}} - "Message"''' - 1989
|sstatus2=C
|snotes2=A "slurry" guitar sound processed with wah and distortion heard during the opening moments of {{EL|https://en.wikipedia.org/wiki/Borghesia Borghesia's}} "Message" is sampled, pitched down 100 cents, time-stretched, processed with a chorus or flanger effect to widen the stereo image and EQ'd for use as a fill throughout "Kaleid".<ref name="FC">Credit to 'Fatherless Child' for this discovery.</ref>
|sexample2=ss-Kaleid-Borghesia-TheMessage.mp3
|ssample3=Synth string pad
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Borghesia Borghesia}} - "Young Prisoners"''' - 1989
|sstatus3=L
|snotes3=A synth string pad sound likely derived from the opening moments of {{EL|https://en.wikipedia.org/wiki/Borghesia Borghesia's}} "Young Prisoners" may be utilised throughout "Kaleid" and its various remixes.
|snumberofrows=3
|sround=1
|colorscheme=Violator
}}
{{Sample source
|song="[[Sea Of Sin]] (Tonal Mix)"
|artist=[[Depeche Mode]]
|releaseyear=1990
|smsample1=Choir pad
|smsnotes1=All versions of "Sea Of Sin" utilise a "ghostly" choir pad during its {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} and {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} sections. The pad is comprised of an organ or accordion-like sound layered with a sustained vocal originally sung by [[Martin L. Gore|Martin Gore]] for use during the {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} section of {{S|Waiting For The Night}}. Notably, this sound is also played live during the chorus sections of {{S|Enjoy The Silence}} as it has been performed on all live arrangements since its live debut (as well as the intro of its [[:Category:1990 World Violation Tour|World Violation]] tour arrangement). This sound is also layered with several of the vocal "ahh" sounds most famously used during the outro of "Enjoy The Silence" for use during the chorus sections of {{S|Halo}} as it has been performed on all live arrangements since its live debut (with one exception in the 2013-2014 [[:Category:2013-2014 Delta Machine Tour|Delta Machine]] tour).
|smsnumberofrows=1
|colorscheme=Violator
}}
{{Sample source
|song={{S|Sea Of Sin}} (Sensoria Mix)
|artist=[[Depeche Mode]]
|releaseyear=1990
|smsample1=Choir pad
|smsnotes1=All versions of "Sea Of Sin" utilise a "ghostly" choir pad during its verse and chorus sections. The pad is comprised of an organ or accordion-like sound layered with a sustained vocal originally sung by Martin Gore for use during the middle eight section of {{S|Waiting For The Night|U}}.
|smsnumberofrows=1
|colorscheme=Violator
}}
{{Sample source
|song={{S|Happiest Girl}} (Pulsating Orbital Mix)
|artist=[[Depeche Mode]]
|releaseyear=1990
|ssample1=Engine idling/orchestral hit sample
|ssource1='''{{EL|https://en.wikipedia.org/wiki/The_Tornados The Tornadoes}} - "{{EL|https://en.wikipedia.org/wiki/Telstar_(instrumental) Telstar}}"''' - 1962
|sstatus1=OC
|snotes1=Credit to <span class="plainlinks">[https://www.bratproductions.com/ Daniel Barassi]</span> for this discovery.<ref>Source: Home user 'BRATMix' forum [https://www.depeche-mode.com/forum/index.php?topic=32731.msg760525#msg760525 post]</ref>
|snumberofrows=1
|sround=1
|colorscheme=Violator
}}
{{Sample source
|song="[[Policy Of Truth|Policy Of Truth (Beat Box Mix)]]"
|artist=[[Depeche Mode]]
|releaseyear=1990
|ssample1=Snare drum fill
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Tone_Loc Tone Lōc}} - "{{EL|https://en.wikipedia.org/wiki/Funky_Cold_Medina Funky Cold Medina}}"''' - March 1989
|sstatus1=C
|snotes1=A snare fill derived from "{{EL|https://en.wikipedia.org/wiki/Funky_Cold_Medina Funky Cold Medina}}", the second single from American rapper {{EL|https://en.wikipedia.org/wiki/Tone_Loc Tone Lōc's}} debut album ''{{EL|https://en.wikipedia.org/wiki/L%C5%8Dc-ed_After_Dark Lōc-ed After Dark}}'', is utilised throughout the "(7" Version)", "Beat Box Mix", "Capitol Mix", and "Pavlov's Dub" remixes of "Policy Of Truth", as well as the live arrangement of "Policy Of Truth" as it was performed on the [[:Category:1990 World Violation Tour|World Violation]] tour.
|snumberofrows=1
|sround=1
|colorscheme=Violator
}}
{{Sample source
|song="[[Policy Of Truth|Policy Of Truth (Capitol Mix)]]"
|artist=[[Depeche Mode]]
|releaseyear=1990
|ssample1=Snare drum fill
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Tone_Loc Tone Lōc}} - "{{EL|https://en.wikipedia.org/wiki/Funky_Cold_Medina Funky Cold Medina}}"''' - March 1989
|sstatus1=C
|snotes1=A snare fill derived from "{{EL|https://en.wikipedia.org/wiki/Funky_Cold_Medina Funky Cold Medina}}", the second single from American rapper {{EL|https://en.wikipedia.org/wiki/Tone_Loc Tone Lōc's}} debut album ''{{EL|https://en.wikipedia.org/wiki/L%C5%8Dc-ed_After_Dark Lōc-ed After Dark}}'', is utilised throughout the "(7" Version)", "Beat Box Mix", "Capitol Mix", and "Pavlov's Dub" remixes of "Policy Of Truth", as well as the live arrangement of "Policy Of Truth" as it was performed on the [[:Category:1990 World Violation Tour|World Violation]] tour.
|snumberofrows=1
|sround=1
|colorscheme=Violator
}}
{{Sample source
|song={{S|Policy Of Truth}} (Pavlov's Dub)
|artist=[[Depeche Mode]]
|releaseyear=1990
|ssample1=Snare drum fill
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Tone_Loc Tone Lōc}} - "{{EL|https://en.wikipedia.org/wiki/Funky_Cold_Medina Funky Cold Medina}}"''' - March 1989
|sstatus1=C
|snotes1=A snare fill derived from "{{EL|https://en.wikipedia.org/wiki/Funky_Cold_Medina Funky Cold Medina}}", the second single from American rapper {{EL|https://en.wikipedia.org/wiki/Tone_Loc Tone Lōc's}} debut album ''{{EL|https://en.wikipedia.org/wiki/L%C5%8Dc-ed_After_Dark Lōc-ed After Dark}}'', is utilised throughout the "(7" Version)", "Beat Box Mix", "Capitol Mix", and "Pavlov's Dub" remixes of "Policy Of Truth", as well as the live arrangement of "Policy Of Truth" as it was performed on the [[:Category:1990 World Violation Tour|World Violation]] tour.
|ssample2="I must not conceal from you tonight...the truth as I see it" Winston Churchill vocal (spoken)
|ssource2='''{{EL|https://winstonchurchill.org/resources/speeches/1946-1963-elder-statesman/mit-mid-century-convocation/ MIT Mid-Century Convocation}}''' - {{EL|https://en.wikipedia.org/wiki/Winston_Churchill Winston Churchill}} speech at Mass. Institute of Technology, Thursday, March 31, 1949
|sstatus2=C
|snumberofrows=2
|sround=1
|colorscheme=Violator
}}
{{Sample source
|song="[[Policy Of Truth|Policy Of Truth (Trancentral Mix)]]"
|artist=[[Depeche Mode]]
|releaseyear=1990
|ssample1="I'm not a politician, I'm a businessman" Robert Hoskins vocal (spoken)
|ssource1='''<i>{{EL|https://en.wikipedia.org/wiki/The_Long_Good_Friday The Long Good Friday}}</i> (film)''' - 1980
|sstatus1=C
|ssample2=Richard Nixon vocal (spoken)
|ssource2='''The "{{EL|https://en.wikipedia.org/wiki/Checkers_speech Checkers speech}}"''', {{EL|https://en.wikipedia.org/wiki/Richard_Nixon Richard M. Nixon}} speech broadcast, 1952'''
|sstatus2=C
|snumberofrows=2
|sround=1
|colorscheme=Violator
}}
{{Sample source
|song={{S|World In My Eyes}} (Oil Tank Mix)
|artist=[[Depeche Mode]]
|releaseyear=1990
|ssample1=N/A
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Kraftwerk Kraftwerk}} - "{{EL|https://en.wikipedia.org/wiki/Musique_Non-Stop Musique Non-Stop}}"''' - 1986
|sstatus1=UC
|snumberofrows=1
|sround=1
|colorscheme=Violator
}}
 
== ''Until The End Of The World (soundtrack)'' (1991) ==
 
{{Sample source
|song={{S|Death's Door}}
|artist=[[Depeche Mode]]
|releaseyear=1991
|smsample1=Guitar chords with tremolo
|smsnotes1={{S|Death's Door}} re-purposes guitar chords originally recorded for {{S|Blue Dress}} for its chorus and middle eight sections.<ref>Source: ''Violator'' engineer Steve Lyon [https://www.facebook.com/steveproducerlyon/posts/1765495130148200 Facebook] post.</ref> This guitar part is also notably used to dramatic effect in [[Recoil|Recoil's]] {{S|Missing Piece}}.
|smsample2=Slide guitar
|smsnotes2=A slide guitar part used in the final moments of {{S|Clean}} is re-purposed as an atmospheric effect throughout "Death's Door", particularly in the outro section. Notably, this sample is also used to rhythmic effect throughout Recoil's "Missing Piece".
|smsnumberofrows=2
}}
 
== <i>[[Songs Of Faith And Devotion]]</i> (1993) ==
 
{{Sample source
|song={{S|I Feel You}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|smsample1=Distorted noise pad
|smsnotes1=A sample of distorted noise is utilised as a riser during the intro and just before the break sections of {{S|I Feel You}}. [[Alan Wilder]] confirms this particular part originated from a synthesizer in a Q&A on {{Shunt}}, the official [[Recoil]] website: "[...] The noise actually comes from a synth."<ref name="shuntSOFAD">Source: [http://oldsite.recoil.co.uk/forum/qa/dmsfd.htm Shunt Q&A: ARCHIVES  :  DEPECHE MODE  :  SONGS OF FAITH AND DEVOTION]</ref>
 
Part of the initial transient of the distorted noise loop present in the album version of {{S|I Feel You|U}} is removed so that the part begins on a brief moment of elevated pitch. This subtle edit would see use in all live performances of the song from the [[:Category:1993 Devotional Tour|Devotional]] tour onward.
|smsnumberofrows=1
|colorscheme=SOFAD
}}
{{Sample source with audio
|song={{S|Walking In My Shoes}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|smsample1=Processed piano/harpsichord riff
|smsnotes1=Wilder describes the composition of this sound in a Q&A on ''Shunt'', the official Recoil website: "[...] [[Flood]] and I began to construct the various drum loops, the string arrangements, the main riff (which combined a piano and harpsichord through a distorted guitar amp) and all the other bits and pieces [of the song]."<ref name="shuntSOFAD"></ref>
|smsample2="Water droplet-like" verse pad
|smsnotes2=A soft bell or "water droplet-like" melody audible during the verse sections of "Walking In My Shoes" is partly comprised of a treated sample derived from the opening moments of "Blasphemous Rumours". Notably, this sample was also used during the intro and middle eight sections of "Enjoy The Silence".
|smsexample2=ss-WIMS-BR_Bell.mp3
|ssample1=Piano
|ssource1='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank A, voice #01: 16' Piano - SAMPLE "127 C1", SAMPLE "127 C2", SAMPLE "100 C3"''' and '''Bank B, voice #01: 8' Piano - SAMPLE "100 C3", SAMPLE "127 F#3", SAMPLE "127 C4"'''
|sstatus1=C
|snotes1=All live arrangements of "Walking In My Shoes" employ a series of manipulated piano samples derived from the "16' Piano" and "8' Piano" voices of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer. Varying combinations of these piano samples are also performed live in the Devotional arrangements for {{S|Fly On The Windscreen}}, {{S|Mercy In You}}, and {{S|Something To Do}}.
|ssample2=Drum loop
|ssource2='''{{EL|https://en.wikipedia.org/wiki/The_Disposable_Heroes_of_Hiphoprisy The Disposable Heroes of Hiphoprisy}} - "Language Of Violence"''' - 1992
|sstatus2=C
|snotes2=The {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} sections of "Walking In My Shoes" employ a drum loop derived from the opening moments of "Language Of Violence" by {{EL|https://en.wikipedia.org/wiki/The_Disposable_Heroes_of_Hiphoprisy The Disposable Heroes of Hiphoprisy}}.
|sexample2=ss-WIMS-DHOH-LanguageOfViolence.mp3
|ssample3=Drum loop
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Fancy_(band) Fancy}} - "Feel Good"''' - 1974
|sstatus3=C
|snotes3=A drum break derived from Fancy's "Feel Good" is used during the chorus, middle eight, and outro sections of 'Walking In My Shoes'.
|sexample3=ss-WIMS-Fancy-FeelGood.mp3
|ssample4=Orchestral strings
|ssource4='''{{EL|https://en.wikipedia.org/wiki/Elmer_Bernstein Elmer Bernstein}} - ''{{EL|https://en.wikipedia.org/wiki/Cape_Fear_(1991_film) Cape Fear}}'' (film soundtrack) - "Rape And Hospital"''' - 1991
|sstatus4=C
|snotes4=An orchestral string phrase from the opening moments of "Rape And Hospital", an ambient orchestral song conducted by {{EL|https://en.wikipedia.org/wiki/Elmer_Bernstein Elmer Bernstein}} for the 1991 {{EL|https://en.wikipedia.org/wiki/Cape_Fear_(1991_film) remake}} of the 1962 psychological thriller film ''{{EL|https://en.wikipedia.org/wiki/Cape_Fear_(1962_film) Cape Fear}}'', is layered with other string elements to form evolving string pads during the second and third verse sections of {{S|Walking In My Shoes}}.
|sexample4=ss-WIMS-CapeFear-RapeAndHospital.mp3
|ssample5=Orchestral strings
|ssource5='''{{EL|https://en.wikipedia.org/wiki/Elmer_Bernstein Elmer Bernstein}} - ''{{EL|https://en.wikipedia.org/wiki/Cape_Fear_(1991_film) Cape Fear}}'' (film soundtrack) - "Frightened Sam"''' - 1991
|sstatus5=C
|snotes5=A brief orchestral string and woodwind phrase from the introduction of "Frightened Sam", an orchestral song from the 1991 remake of ''Cape Fear'', is layered with other orchestral elements to form a melodic descending string phrase starting from the third verse section of {{S|Walking In My Shoes|U}}.
|sexample5=ss-WIMS-CapeFear-FrightenedSam.mp3
|ssample6=Orchestral strings
|ssource6='''{{EL|https://en.wikipedia.org/wiki/Ennio_Morricone Ennio Morricone}} - <i>Ennio Morricone - Chamber Music</i> - "Musica Per 11 Violini"''' - 1988
|sstatus6=C
|snotes6=A brief orchestral phrase sampled from a 1988 performance of Ennio Morricone's "Musica Per 11 Violini" (originally written for the 1968 {{EL|https://en.wikipedia.org/wiki/Giallo giallo}} {{EL|https://en.wikipedia.org/wiki/Thriller_film thriller film}} ''{{EL|https://en.wikipedia.org/wiki/A_Quiet_Place_in_the_Country A Quiet Place in the Country}}'' ({{EL|https://en.wikipedia.org/wiki/Italian_language Italian}}: ''Un tranquillo posto di campagna'') is employed as a lush orchestral pad during the latter half of the second verse and second chorus sections of "Walking In My Shoes".
|sexample6=ss-WIMS-MusicaPer11Violini.mp3
|sexamplenotes6=In this example, the sampled string phrase is first compared to the latter half of the second verse section as it is heard in the ''{{EL|https://web.ilikemusic.com/ ilikemusic.com}}'' instrumental version of "Walking In My Shoes" (played out of phase to more clearly expose the sound in the mix), followed by the same section of music as heard in the rear stereo channels of the ''[[Songs Of Faith And Devotion]]'' 5.1 reissue.
|ssample7=Orchestral strings
|ssource7='''{{EL|https://en.wikipedia.org/wiki/Dmitri_Shostakovich Dmitri Shostakovich}} - {{EL|https://en.wikipedia.org/wiki/String_Quartet_No._15_(Shostakovich) String Quartet No. 15 in E-flat minor}} - Op. 144: V. Funeral March: Adagio molto - <i>Gidon Kremer • Daniel Phillips • Kim Kashkashian • Yo-Yo Ma - Shostakovich Quartet No. 15, Op. 144 - Gubaidulina: Rejoice!</i>''' - 1989
|sstatus7=C
|snotes7=A descending three note orchestral string phrase sampled from a live performance of {{EL|https://en.wikipedia.org/wiki/Dmitri_Shostakovich Dmitri Shostakovich's}} {{EL|https://en.wikipedia.org/wiki/String_Quartet_No._15_(Shostakovich) String Quartet No. 15}} recorded at the Kaufmann Concert Hall, New York, 1985<ref>Source: {{EL|https://www.discogs.com/Gidon-Kremer-Daniel-Phillips-Kim-Kashkashian-Yo-Yo-Ma-Shostakovich-Gubaidulina-Shostakovich-Quartet-/release/6677225 Discogs}} - ''Shostakovich*, Gubaidulina* ‎– Shostakovich: Quartet No. 15, Op. 144 · Gubaidulina: Rejoice!'' - Notes: Shostakovich: recorded in live performance at the Kaufmann Concert Hall, New York, 1985. Gubaidulina: recorded at the Methuen Music Hall, Methuen, Massachusetts, 1988</ref> is employed as an orchestral string layer played in various ways throughout the second and third verse sections of "Walking In My Shoes".
|sexample7=ss-WIMS-Shostakovich.mp3
|sexamplenotes7=In this example, the sampled string phrase is compared to the latter half of the second verse section as it is heard in the ''{{EL|https://web.ilikemusic.com/ ilikemusic.com}}'' instrumental version of "Walking In My Shoes" (played out of phase to more clearly expose the sound in the mix).
|ssample8=Tambourine loop
|ssource8='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 8 (0:40) - "Thick Tambourine Loop - 92 BPM"''' - 1991
|sstatus8=C
|snotes8=An edited tambourine loop derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' is utilised throughout "Walking In My Shoes".
|sexample8=ss-WIMS-AMG-HITCD08-PascalGabriel-Thick-Tambourine.mp3
|snumberofrows=8
|colorscheme=SOFAD
}}
{{Sample source
|song={{S|Condemnation}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|smsample1=Improvised flight case bass drum
|smsnotes1=[[Alan Wilder|Wilder]] describes the recording of various elementary elements of {{S|Condemnation}} in an editorial on {{Shunt}}, the official [[Recoil]] website:
<blockquote>With experimentation still prevalent, the elementary sounds for the 3rd single, "Condemnation" were recorded in the basement of the Madrid villa with one person banging a flight case, another clapping and a third scraping the wall with a tambourine.
 
The vocals - which were to have a 'barbershop choir meets gospel Elvis Presley' flavour - proved that [[Depeche Mode]] had not abandoned their desire to find different and exciting ways of producing music. Built up track by track, individual takes were sung by (mainly) [[Martin L. Gore|Martin]] and (sometimes) Alan and then manipulated using vari-speed to produce very low and very high pitches. Once added to [[Dave Gahan|Dave's]] lead vocal, the resulting close harmonies provided the barbershop body of the track."<ref>Source: [http://oldsite.recoil.co.uk/forum/qa/dlives.htm Shunt Q&A: ARCHIVES : EDITORIAL : DM Singles 86-98]</ref>
</blockquote>
|smsample2=Tambourine
|smsnotes2=The tambourine fill present at the end of each bar repeating throughout the piece is produced by scraping a tambourine against a wall.
|ssample1=Piano
|ssource1='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank B, voice #01: 8' Piano'''
|sstatus1=C
|snotes1=A Korg 01/W Pro X transplanted onto a grand piano body is confirmed to have been used for the piano numbers performed on the [[:Category:1993 Devotional Tour|Devotional]] tour.<ref>Source: "Depeche Mode" - {{EL|https://dmlive.wiki/wiki/1993-10-xx_Musician_-_Depeche_Mode ''Musician'' - October 1993}}.</ref>
|snumberofrows=1
|colorscheme=SOFAD
}}
{{Sample source with audio
|song={{S|Mercy In You}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|smsample1=Sampled sitar-like wail
|smsnotes1="Mercy In You" employs a treated sound with a distinct bitcrushing effect as a melodic hook during the second {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} section. This sound, which saw similar use throughout {{S|Personal Jesus}}, is based on a Moog synthesizer sound originally recorded as a bass layer heard throughout {{S|Never Let Me Down Again}}.
|ssample1=Choir
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Moses_the_Lawgiver Moses the Lawgiver (Original Soundtrack)}} - "Moses Theme (Main Titles)"''' - {{EL|https://en.wikipedia.org/wiki/Ennio_Morricone Ennio Morricone}} - 1974
|sstatus1=C
|snotes1=A series of choir phrases derived from the title theme of Italian/British television miniseries ''{{EL|Moses the Lawgiver}}'' as composed by Ennio Morricone are re-pitched and played in a new sequence from how they were originally recorded to form the lush choir textures heard during the chorus sections of {{S|Mercy In You}}. The choir phrases prominently feature the late Italian singer {{EL|https://it.wikipedia.org/wiki/Gianna_Spagnulo Gianna Spagnulo}}.
|sexample1=ss-MIY_MosesTheme_Morricone.mp3
|ssample2=Variphon pad
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Talk_Talk Talk Talk}} - "The Rainbow"''' - 1988
|sstatus2=C
|snotes2="Mercy In You" employs a variophon pad with a unique distorted texture derived from Talk Talk's "The Rainbow".<ref name="shuntSOFAD"></ref> The sample is looped and played with a long release time. Notably, a non-distorted version of this sample is used during the first verse and outro of "In Your Room".<ref name="BairdCredit"></ref>
|ssample3=Drum loop
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Five_Stairsteps Five Stairsteps}} - "Don't Change Your Love"''' - 1968
|sstatus3=C
|snotes3=The live version of "Mercy In You" as it was performed on the [[:Category:1993 Devotional Tour|Devotional]] tour features a sample of the classic Five Stairsteps' "Don't Change Your Love" drum break.
|ssample4=Drum loop
|ssource4='''{{EL|https://en.wikipedia.org/wiki/The_Headhunters The Headhunters}} - "God Make Me Funky"''' - 1975
|sstatus4=C
|snotes4=Multiple sections of the "God Make Me Funky" drum break are sliced and looped to form a funky percussive rhythm heard throughout {{S|Mercy In You}}.
|ssample5=Conga loop
|ssource5='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 8 - "Conga Loop (Dull)"''' - 1991
|sstatus5=C
|snotes5=An edited conga loop derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' is utilised throughout the [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Mercy In You".
|sexample5=ss-MIY-AMG-HITCD08-PascalGabriel-84-CongaLoopDull.mp3
|ssample6=Outro piano
|ssource6='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank A, voice #01: 16' Piano - SAMPLE "127 C1", SAMPLE "127 C2", SAMPLE "100 C3"''' and '''Bank B, voice #01: 8' Piano - SAMPLE "100 C3"'''
|sstatus6=C
|snotes6=The [[:Category:1993 Devotional Tour|Devotional]] tour arrangement of "Mercy In You" employs a series of piano samples derived from the "16' Piano" and "8' Piano" voices of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer. Varying combinations of these piano samples were also utilised in live performances for the Devotional tour arrangements of {{S|Walking In My Shoes}}, {{S|Fly On The Windscreen}}, and {{S|Something To Do}}.
|snumberofrows=6
|colorscheme=SOFAD
}}
{{Sample source
|song={{S|Judas}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|smsample1="If you want my love" choir
|smsnotes1=This vocal performance is comprised of a large number of individual vocal recordings of individuals employed during the recording of {{S|Judas}}, the final album track to be recorded at Chateau du Pape Studio, with each individual's vocal performance multitracked six times each for a total of ninety individual voices, with additional delay, reverb, and EQ to introduce an intimate southern church-like quality to the vocals. Wilder describes the recording of this particular part in a Q&A on {{Shunt}}, the official [[Recoil]] website: "15 people (tape op's, studio secretaries, the cook etc...) multitracked 6 times making a total of 90 voices + delays and reverbs. Then we eq'ed the sound to make it seem like it was sung in a deep southern church hall in the 1960's, rather than Wembley stadium."<ref name="shuntSOFAD"></ref>
|smsample2=Brass
|smsnotes2="Judas" and "Higher Love" each employ similar sample-based brass parts during their respective bridge sections.
|ssample1=Orchestral strings
|ssource1='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank A, voice #07: TheStrings'''
|sstatus1=L
|snotes1=The Devotional tour arrangement of "Judas" likely employs orchestral string parts derived from the "TheStrings" voice of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer.
|snumberofrows=1
|colorscheme=SOFAD
}}
{{Sample source with audio
|song={{S|In Your Room}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|smsample1=Double-tracked "splang" guitar chord
|smsnotes1=A series of four unique guitar chords are utilised as stabs at the start of each bar during the chorus sections of {{S|In Your Room}}. Wilder describes the composition of this sound in a Q&A on {{Shunt}}, the official [[Recoil]] website:
 
<blockquote>Affectionately known (to me anyway) as 'Splang' rather than 'twoo, twaa and twee', the sound is derived from a guitar. Each chord was sampled individually and then double-tracked with a second but different guitar sound. There is also a string/choir pad (another backwards sound) playing the same chords in the background.<ref name="shuntSOFAD"></ref>
|smsample4=Textured ambient noise pad (looped)
|smsnotes4=A textured loop used sporadically during the intro and first verse of "In Your Room" is a brief sample of ambient noise with audible wind chimes in the background, which produces a "grainy" textured pad when reversed. The sample is reversed and subsequently looped, then transposed down several notes from its original key.
|smsample5=Vocal "ahhs" samples
|smsnotes5=A series of self-made solo vocal "ahh" samples are layered with a selection of samples derived from Emulator II factory library disk #33 "Voices" to produce a lush choir used during the second verse of "In Your Room" as it was performed on the [[:Category:1993 Devotional Tour|Devotional]] and [[:Category:2017-2018 Global Spirit Tour|Global Spirit]] tours. Notably, these vocal parts are also utilised for the outro choir melody of {{S|Enjoy The Silence}}, a quietly-mixed melody in the outro of {{S|World In My Eyes}}, choir stabs during the first chorus of {{S|Halo}}, {{S|Sibeling}}, {{S|Policy Of Truth}}, and the solo vocal melody prominently used throughout {{S|Memphisto}}.
|ssample1=Drum loop
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Rusty_Bryant Rusty Bryant}} - "Fire Eater"''' - 1971
|sstatus1=C
|snotes1=A drum break derived from Rusty Bryant's "Fire Eater" is heard throughout "In Your Room" starting from the second verse. The loop is sequenced to play in a different way from how it was originally performed:
 
#Bar one: The loop repeats on every beat for three beats, and is then allowed to play uninterrupted for the last two beats
#Bar two: The loop repeats on every beat for two beats, and is then allowed to play uninterrupted for the last three beats
#Bar three: The loop is allowed to play uninterrupted for the entirety of bar three
#Bar four: The loop repeats on every beat for two beats, and is then allowed to play uninterrupted for the last three beats
 
The resulting sequence is looped to repeat every four bars throughout the verses and chorus sections. As the verse sections of the album version of "In Your Room" include an additional bar following the fourth line to accommodate [[Martin L. Gore|Martin Gore's]] ethereal vocal "ahs", the timing of the loop relative to the music changes naturally as the verse progresses, lending a "live" quality to the sequenced loop.
|ssample2=Variphon pad
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Talk_Talk Talk Talk}} - "The Rainbow"''' - 1988
|sstatus2=C
|snotes2='In Your Room' employs a {{EL|https://en.wikipedia.org/wiki/Variophon variophon}} pad derived from the left stereo channel of {{EL|https://en.wikipedia.org/wiki/Talk_Talk Talk Talk's}} "{{EL|https://en.wikipedia.org/wiki/Spirit_of_Eden The Rainbow}}".<ref name="shuntSOFAD"></ref> The resulting pad is looped and played with a slow release during the first verse and outro of "In Your Room". Notably, a distorted version of this sample is used during the final verse of "Mercy In You".<ref name="BairdCredit"></ref>
|sexample2=ss-ROOM-TalkTalk-TheRainbow.mp3
|ssample3=Main choir
|ssource3='''Emulator II factory library disk #33: Voices - Preset #1: "PompousChoir"'''
|sstatus3=C
|snotes3=The first and second {{EL|https://en.wikipedia.org/wiki/Song_structure#Verse verse}} and {{EL|https://en.wikipedia.org/wiki/Song_structure#Chorus_or_refrain chorus}} sections of "In Your Room" as it was performed on the [[:Category:1993 Devotional Tour|Devotional]], [[:Category:1994 Exotic Tour|Exotic]], and [[:Category:2017-2018 Global Spirit Tour|Global Spirit]] tours feature choir {{EL|https://en.wikipedia.org/wiki/Chord_(music) chords}} derived from {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #33 "Voices".
|sexample3=ss-ROOM-EII-33-PompousChoir.mp3
|ssample4=Verse two choir
|ssource4='''Emulator II factory library disk #33: Voices - Preset #1: "PompousChoir" - SAMPLE 7, SAMPLE 8, SAMPLE 9, SAMPLE 10'''
|sstatus4=C
|snotes4=The stereo choir pads utilised during the second verse section as it was performed on the [[:Category:1993 Devotional Tour|Devotional]], [[:Category:1994 Exotic Tour|Exotic]], and [[:Category:2017-2018 Global Spirit Tour|Global Spirit]] tours are comprised of a selection of four choir samples derived from {{EL|http://www.vintagesynth.com/emu/emulator2.php Emulator II}} factory library disk #33 "Voices".
|sexample4=ss-ROOM-EII-33-PompousChoir-VerseTwo.mp3
|ssample5=Middle eight/outro strings
|ssource5='''Emulator II factory library disk #33: Voices - Preset #1: "PompousChoir" - SAMPLE 7, SAMPLE 9'''
|sstatus5=C
|snotes5=The stereo string pads utilised during the {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} and {{EL|https://en.wikipedia.org/wiki/Song_structure#Conclusion_or_outro outro}} sections as it was performed on the Devotional, Exotic, and Global Spirit tours are comprised of a series of choir, orchestral tremolo strings, and other sustained pads that combine to form a wide, lush orchestral sound. The choir aspect of this sound consists of two samples derived from Emulator II factory library disk #33 "Voices".
|sexample5=ss-ROOM-EII-33-PompousChoir-Mid8.mp3
|ssample6=808 bass drum
|ssource6='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 16 - "808 BD - Long"''' - 1991
|sstatus6=C
|snotes6=An edited 808 bass drum derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' is utilised throughout the intro and first verse sections of "In Your Room".
|sexample6=ss-IYR-AMG-HITCD08-PascalGabriel-16-808-BD-Long.mp3
|ssample7=Low-octave choir pad
|ssource7='''<i>Sonic Images Sample Library - Volume 4 - SICD 2028 - Stack Sounds B</i> - Slow Orchestra Pad - "SICD2028-14-04 SLOW ORCHESTRA PAD F#2"''' - 1990
|sstatus7=L
|snotes7=A low octave choir pad likely derived from ''Sonic Images Sample Library - Volume 4 SICD 2028 - Stack Sounds B'' may be utilised during the intro section of "In Your Room".
|sexample7=ss-IYR-SICD2028-14-04_SLOW_ORCHESTRA_PAD_F-2.mp3
|snumberofrows=7
|colorscheme=SOFAD
}}
{{Sample source
|song={{S|Get Right With Me}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=Sampled scratch
|ssource1='''{{EL|https://en.wikipedia.org/wiki/N.W.A N.W.A}} - "8 Ball (Remix)"''' - 1988
|sstatus1=C
|snotes1="Get Right With Me" utilises a sampled scratch derived from the outro of {{EL|https://en.wikipedia.org/wiki/N.W.A N.W.A}}'s "8 Ball (Remix)". Notably, this scratch is layered with another scratch sample also derived from N.W.A. for use throughout the [[:Category:1994 Exotic Tour|Exotic]] tour arrangement of {{S|I Want You Now}}.
 
|ssample2=Led Zeppelin "When The Levee Breaks" snare and bass drum
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Led_Zeppelin Led Zeppelin}} - "{{EL|https://en.wikipedia.org/wiki/When_the_Levee_Breaks#Led_Zeppelin_version When The Levee Breaks}}"''' - 1971
|sstatus2=OC
|snotes2=Wilder confirmed in a Q&A on Shunt, the official Recoil project site that "Never Let Me Down Again" employs some drum elements derived from Led Zeppelin's "When The Levee Breaks".
|snumberofrows=2
|sround=2
|colorscheme=SOFAD
}}
 
{{Sample source with audio
|song={{S|Rush}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=Chorus section guitar stab
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel Peter Gabriel}} - "{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel_(1980_album) Not One of Us}}"''' - 1980
|sstatus1=C
|snotes1=A treated, distorted guitar heard during the chorus sections of "Rush" is derived from a guitar lick heard in the opening moments of "Not One of Us" from Peter Gabriel's 1980 album ''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel_(1980_album) Peter Gabriel}}'' (released in the United States as ''Peter Gabriel III'' and on streaming services as ''Peter Gabriel 3: Melt'').
|sexample1=ss-Rush-PeterGabriel-NotOneOfUs-ChorusStab.mp3
|ssample2=Chorus section loop
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel Peter Gabriel}} - "{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel_(1980_album) Not One of Us}}"''' - 1980
|sstatus2=C
|snotes2=A treated, distorted guitar loop heard during the chorus sections of "Rush" is derived from the opening moments of Peter Gabriel's "Not One of Us".
|sexample2=ss-Rush-PeterGabriel-NotOneOfUs-ChorusLoop.mp3
|ssample3=Verse section guitar wail
|ssource3='''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel Peter Gabriel}} - "{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel_(1980_album) Not One of Us}}"''' - 1980
|sstatus3=C
|snotes3=A treated, distorted guitar wail heard during the first and second verse sections of "Rush" is derived from the opening moments of Peter Gabriel's "Not One of Us".
|sexample3=ss-Rush-PeterGabriel-NotOneOfUs-VsWail.mp3
|ssample4=Verse section guitar chug
|ssource4='''{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel Peter Gabriel}} - "{{EL|https://en.wikipedia.org/wiki/Peter_Gabriel_(1980_album) Not One of Us}}"''' - 1980
|sstatus4=C
|snotes4=A treated, heavy-sounding sampled guitar sample heard during the first and second verse sections of "Rush" is derived from a brief guitar chug heard in the opening moments of Peter Gabriel's "Not One of Us".
|sexample4=ss-Rush-PeterGabriel-NotOneOfUs-VsMel.mp3
|sexamplenotes4=In this example, the left stereo channel of the sampled audio from "Not One of Us" is sampled, pitched down several keys, and subsequently processed using a software reverb effect. The result is then sampled again and played back from a keyboard.
|snumberofrows=4
|sround=1
|colorscheme=SOFAD
}}
 
{{Sample source with audio
|song={{S|Higher Love}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=808 bass drum
|ssource1='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 16 - "808 BD - Long"''' - 1991
|sstatus1=C
|snotes1=An edited 808 bass drum derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' is utilised throughout "Higher Love".
|sexample1=ss-HL-AMG-HITCD08-PascalGabriel-16-808-BD-Long.mp3
|ssample2=Drum loop
|ssource2='''{{EL|https://en.wikipedia.org/wiki/U2 U2}} - "So Cruel"''' - 1991
|sstatus2=OC
|snotes2=Wilder indirectly confirmed in a response to a question regarding the sonic similarity between the drums of [[Depeche Mode|Depeche Mode's]] "Higher Love" and U2's "So Cruel" in a Q&A on {{Shunt}} (the official [[Recoil]] website_ that a drum loop from U2's "So Cruel" was sampled for use in "Higher Love" by reiterating that album producer [[Flood]] assisted in the production of both records. Depeche Mode would later cover this song, see '[[So Cruel]]'): "Didn't Flood work on both LP's?....."<ref name="shuntSOFAD"></ref>
|ssample3=Middle eight brass staccato
|ssource3='''{{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} Bank B, voice #22: Brass 1 - SAMPLE "127 F#2"''' and '''Bank A, voice #02: OrchBrass - SAMPLE "127 F#3"'''
|sstatus3=C
|snotes3=The Devotional tour arrangement of "Higher Love" utilises a series of edited brass samples derived from the "Brass 1" and "OrchBrass" voices of the {{EL|http://www.vintagesynth.com/korg/01w.php Korg 01/W}} workstation synthesizer. The samples are layered to form a brass instrument performed during the {{EL|https://en.wikipedia.org/wiki/Thirty-two-bar_form#Middle_eight middle eight}} section.
|ssample4=Tambourine loop
|ssource4='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 8 (0:40) - "Thick Tambourine Loop - 92 BPM"''' - 1991
|sstatus4=C
|snotes4=An edited tambourine loop derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' is utilised throughout "Higher Love".
|sexample4=ss-HL-AMG-HITCD08-PascalGabriel-Thick-Tambourine.mp3
|snumberofrows=4
|sround=1
|colorscheme=SOFAD
}}
{{Sample source
|song={{S|My Joy}}
|artist=[[Depeche Mode]]
|releaseyear=1993
|smsample1=Distorted bass hit
|smsnotes1=A distorted bass hit with built-in descending pitch originally recorded as part of the bassline of {{S|I Feel You}} is re-purposed for use as a hit in {{S|My Joy}}. The sample occurs on the beat at bar forty-seven (1:48) at the start of the break, and plays one note above its root key.
|ssample1=Snare drum fill
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Beastie_Boys Beastie Boys}} - "Funky Boss"''' - 1992
|sstatus1=C
|snotes1=A snare drum fill heard sporadically throughout "My Joy" is derived from the intro of the Beastie Boys' "Funky Boss".
|ssample2=Drum loop
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Beastie_Boys Beastie Boys}} - "{{EL|https://en.wikipedia.org/wiki/Pass_the_Mic Pass The Mic}}"''' - 1992
|sstatus2=C
|snotes2=A heavy drum loop heard throughout "My Joy" starting from the first chorus section is derived from the brief instrumental break in Beastie Boys' "Pass The Mic". Additionally, a brief snippet of the drum loop is flipped to play in reverse as a reverse drum fill.
 
The drums as they appear on "Pass The Mic" were originally performed by {{EL|https://en.wikipedia.org/wiki/Mike_D Mike D}} (Michael Diamond) during the recording of ''{{EL|https://en.wikipedia.org/wiki/Check_Your_Head Check Your Head}}'' at G-Son Studios, {{EL|https://en.wikipedia.org/wiki/Atwater_Village,_Los_Angeles Atwater Village}}, California. According to the late {{EL|https://en.wikipedia.org/wiki/Adam_Yauch MCA}} (Adam Yauch) in 1999:
<blockquote>One memorable thing about recording "Pass The Mic" was the drums. We had heard that [{{EL|https://en.wikipedia.org/wiki/Led_Zeppelin Led Zeppelin}} drummer] {{EL|https://en.wikipedia.org/wiki/John_Bonham John Bonham}} had used a really long {{EL|https://en.wikipedia.org/wiki/Bass_drum kick drum}} on something and thought it would be interesting to put his technique to the test. Taking full advantage of the size of the G-Son live room/basketball court, we wrapped a long piece of cardboard from a refrigerator box around the kick drum and then put a mic at the far end of it. Mike played the beat, and we looped it.<ref>Source: [http://www.beastiemania.com/songspotlight/show.php?s=passthemic&band=b Beastiemania Song Spotlight : Pass The Mic]</ref>
 
|ssample3=Looped orchestral strings (x2)
|ssource3='''Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)'''
|sstatus3=C
|snotes3="My Joy" employs two looped orchestral phrases sampled from the fourth movement of a performance of {{EL|https://en.wikipedia.org/wiki/Gustav_Mahler Gustav Mahler's}} {{EL|https://en.wikipedia.org/wiki/Symphony_No._5_(Mahler) Symphony No. 5}} Adagietto (Sehr langsam). The two string elements are looped on a sustained phrase to produce dramatic orchestral pads.
|ssample4="Soaring" orchestral strings
|ssource4='''{{EL|https://en.wikipedia.org/wiki/Edward_Elgar Edward Elgar}} - Unidentified composition'''
|sstatus4=C
|snotes4=Wilder confirmed in a 27 July 2011 interview with ''electricityclub.co.uk'' that "Halo" (and "My Joy" by extension) employs orchestral string elements sampled from an as yet unidentified piece of music composed by celebrated English composer Edward Elgar:
 
<blockquote>For the end choruses, there are some string samples which I think were derived from Elgar. One of my techniques is to find sections of classical strings and transpose / stretch these, then add my own samples, in order to formulate new and unusual arrangements. This was a case in point. The DM track "Clean" utilised classical strings in a similar way.<ref>Source: [http://www.electricityclub.co.uk/the-alan-wilder-interview/ ALAN WILDER Interview - July 27, 2011]</ref></blockquote>
|snumberofrows=4
|colorscheme=SOFAD
}}
{{Sample source with audio
|song={{S|My Joy}} (Slow Slide Mix)
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=Drum loop
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Beastie_Boys Beastie Boys}} - "{{EL|https://en.wikipedia.org/wiki/Pass_the_Mic Pass The Mic}}"''' - 1992
|sstatus1=C
|snotes1=A heavy drum loop heard throughout "My Joy" starting from the first chorus section is derived from the brief instrumental break in Beastie Boys' "Pass The Mic". Additionally, a brief snippet of the drum loop is flipped to play in reverse as a reverse drum fill.
|ssample2=Drum loop
|ssource2='''The Dangerous CD Company - <i>Danger 1</i> - Track 14 - "2 Echo Loop - 122bpm"''' - 1991
|sstatus2=C
|snotes2=A drum loop derived from The Dangerous CD Company's 1991 sample CD ''Danger 1'' is utilised throughout "My Joy (Slow Slide Mix)".
 
In June 2020, ''elektronauts.com'' user "Leo-iSL" described participating in the production of ''Danger 1'':
 
<blockquote>
The samples for [''Danger 1''] were recorded/compiled at a studio in {{EL|https://en.wikipedia.org/wiki/Arnos_Grove Arnos Grove}}. The studio was called either Sound Garden or Music Garden Studios (I can't quite remember). A lot of the samples were taken from my own record collection. The guy behind [The Dangerous CD Company] is called Brian Teasdale [...] I first went to his studio around [1991\1992] to record some {{EL|https://en.wikipedia.org/wiki/Hardcore_(electronic_dance_music_genre) Hardcore}} demos. [I] was about 19 years old. When Brian heard the records [I] was sampling from he asked if he could borrow my collection. That's how this sample CD came about. Together with Brian's sister and girlfriend we went to the {{EL|https://en.wikipedia.org/wiki/Musikmesse_Frankfurt Frankfurt Musikmesse}} and launched the CD there.<ref>''elektronauts.com'' - {{EL|https://www.elektronauts.com/t/what-was-your-first-studio-recording-experience/132521/2 What was your first studio recording experience}} - User "Leo-iSL", June 15, 2020</ref>
</blockquote>
|sexample2=ss-MJ-SlowSlide-The_Dangerous_CD_Company_-_Danger1_-_Track14_-_2_Echo_Loop.mp3
|ssample3=Drum loop
|ssource3='''The Dangerous CD Company - <i>Danger 1</i> - Track 10 - "4 Hip Loop - 121bpm"''' - 1991
|sstatus3=C
|snotes3=A drum loop derived from The Dangerous CD Company's 1991 sample CD ''Danger 1'' (itself an edit of the famous {{EL|https://en.wikipedia.org/wiki/Fancy_(band) Fancy}} "Feel Good" drum break) is utilised throughout "My Joy (Slow Slide Mix)".
|sexample3=ss-MJ-SlowSlide-The_Dangerous_CD_Company_-_Danger1_-_Track11_-_4_Hip_Loop.mp3
|ssample4=Drum loop
|ssource4='''The Dangerous CD Company - <i>Danger 1</i> - Track 10 - "1 Whine Loop - 105bpm"''' - 1991
|sstatus4=C
|snotes4=A drum loop derived from The Dangerous CD Company's 1991 sample CD ''Danger 1'' (which is itself an edit of {{EL|https://en.wikipedia.org/wiki/James_Brown James Brown's}} famous "Funky Drummer" drum break) is utilised throughout "My Joy (Slow Slide Mix)".
|sexample4=ss-MJ-SlowSlide-The_Dangerous_CD_Company_-_Danger1_-_Track10_-_1_Whine_Loop.mp3
|ssample5=Drum loop
|ssource5='''The Dangerous CD Company - <i>Danger 1</i> - Track 8 - "3 Soul Rock Loop - 105bpm"''' - 1991
|sstatus5=C
|snotes5=A drum loop derived from The Dangerous CD Company's 1991 sample CD ''Danger 1'' (originally sampled from {{EL|https://en.wikipedia.org/wiki/Dexter_Wansel Dexter Wansel's}} famous "Theme From The Planets" drum break) is utilised throughout "My Joy (Slow Slide Mix)".
|sexample5=ss-MJ-SlowSlide-The_Dangerous_CD_Company_-_Danger1_-_Track8_-_3_Soul_Rock_Loop.mp3
|ssample6=Drum loop
|ssource6='''{{EL|https://en.wikipedia.org/wiki/Fancy_(band) Fancy}} - "Feel Good"''' - 1974
|sstatus6=C
|snotes6=The famous "Feel Good" drum break is used throughout the "Slow Slide" remix of "My Joy".
|ssample7=Drum loop
|ssource7='''{{EL|https://en.wikipedia.org/wiki/James_Brown James Brown}} - "{{EL|https://en.wikipedia.org/wiki/Funky_Drummer Funky Drummer}}"''' - 1970
|sstatus7=C
|ssample8=Drum loop
|ssource8='''{{EL|https://en.wikipedia.org/wiki/Dexter_Wansel Dexter Wansel}} - "Theme From The Planets"''' - 1976
|sstatus8=C
|snumberofrows=8
|sround=1
|colorscheme=SOFAD
}}
{{Sample source with audio
|song={{S|Walking In My Shoes}} (Ambient Whale Mix)
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=Whale sound effects
|ssource1='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 64 - "Whale 2", "Whale 5", "Whale 3"''' - 1991
|sstatus1=C
|snotes1=A series of edited {{EL|https://en.wikipedia.org/wiki/Whale_vocalization whale vocalization}} sound effects derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' are utilised throughout "Walking In My Shoes (Ambient Whale Mix)".
|sexample1=ss-WIMS-AMG-HITCD08-PascalGabriel-89-Whale2-Whale5-Whale3.mp3
|ssample2=Main drum loop
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Innocence_(band) Innocence}} - "Natural Thing (Sunset Mix)"''' - 1990
|sstatus2=C
|snotes2=The main drum loop used throughout "Walking In My Shoes (Ambient Whale Mix)" is derived from the opening moments of the "Sunset Mix" of "Natural Thing" by early 1990s {{EL|https://en.wikipedia.org/wiki/United_Kingdom British}} {{EL|https://en.wikipedia.org/wiki/Contemporary_R%26B R&B}} group {{EL|https://en.wikipedia.org/wiki/Innocence_(band) Innocence}}.
|ssample3=808 bass drum
|ssource3='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 16 - "808 BD - Long"''' - 1991
|sstatus3=C
|snotes3=An edited 808 bass drum derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' is utilised throughout "Walking In My Shoes (Ambient Whale Mix)".
|ssample4=Tambourine loop
|ssource4='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 8 (0:40) - "Thick Tambourine Loop - 92 BPM"''' - 1991
|sstatus4=C
|snotes4=An edited tambourine loop derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' is utilised throughout "Walking In My Shoes (Ambient Whale Mix)".
|snumberofrows=4
|sround=1
|colorscheme=SOFAD
}}
{{Sample source
|song={{S|Walking In My Shoes}} (Grungy Gonads Mix)
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=Drum loop
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Mountain_(band) Mountain}} - "{{EL|https://en.wikipedia.org/wiki/Long_Red Long Red}}"''' - 1972
|sstatus1=C
|ssample2=Orchestral string passage
|ssource2='''{{EL|https://en.wikipedia.org/wiki/Ennio_Morricone Ennio Morricone}} - "In Chiesa" - <i>{{EL|https://en.wikipedia.org/wiki/Grand_Slam_(1967_film) Ad Ogni Costo}}</i> (film) soundtrack''' - 1967
|sstatus2=OC
|snotes2=The string passage in the introduction to this orchestral piece was sampled by the late trip-hop pioneer Jonny Dollar and Portishead member Geoff Barrow.<ref>Source: Alan Wilder [https://www.facebook.com/groups/recoilshunt/permalink/2485386374806770/ Facebook comment]</ref> for use in the "Walking In My Shoes (Grungy Gonads Mix)".<ref name="BairdCredit"></ref>
|snumberofrows=2
|sround=1
|colorscheme=SOFAD
}}
{{Sample source
|song={{S|Walking In My Shoes}} (Extended Twelve Inch Mix)
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=Drum loop
|ssource1='''{{EL|https://en.wikipedia.org/wiki/The_Disposable_Heroes_of_Hiphoprisy The Disposable Heroes of Hiphoprisy}} - "Language Of Violence"''' - 1992
|sstatus1=C
|snumberofrows=1
|sround=1
|colorscheme=SOFAD
}}
{{Sample source
|song={{S|Walking In My Shoes}} (Random Carpet Mix)
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=Orchestral string samples
|ssource1='''<i>{{EL|https://en.wikipedia.org/wiki/Doctor_Zhivago_(film) Doctor Zhivago}}</i> (film)''' - 1965
|sstatus1=UC
|snumberofrows=1
|sround=1
|colorscheme=SOFAD
}}
{{Sample source
|song="[[Walking In My Shoes]] (Anandamidic Mix)"
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=Drum loop
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Talking_Heads Talking Heads}} - "Seen And Not Seen"''' - 1980
|sstatus1=C
|snumberofrows=1
|sround=1
|colorscheme=SOFAD
}}
{{Sample source
|song={{S|In Your Room}} (Jeep Rock Mix)
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=Drum loop
|ssource1='''{{EL|https://en.wikipedia.org/wiki/Skull_Snaps Skull Snaps}} - "It's A New Day"''' - 1973
|sstatus1=C
|snumberofrows=1
|sround=1
|colorscheme=SOFAD
}}
{{Sample source
|song={{S|I Feel You}} (Helmet At The Helm Mix)
|artist=[[Depeche Mode]]
|releaseyear=1993
|ssample1=808 bass drum
|ssource1='''<i>HITCD08 - Pascal Gabriel's Dance Samples</i> ({{EL|https://amguk.co.uk/index.html AMG}}) - Track 16 - "808 BD - Long"''' - 1991
|sstatus1=C
|snotes1=An edited 808 bass drum derived from AMG's 1991 sample CD ''HITCD08 - Pascal Gabriel's Dance Samples'' is utilised throughout "I Feel You (Helmet At The Helm Mix)".
|snumberofrows=1
|sround=1
|colorscheme=SOFAD
}}
 
== <i>[[Ultra]]</i> (1997) ==
 
{{Sample source with audio
|song={{S|It's No Good}}
|artist=[[Depeche Mode]]
|releaseyear=1997
|ssample1="Electricity" sound effect
|ssource1='''Sony Media Software - <i>Methods Of Mayhem: Industrial Toolkit</i> (CD/AKAI) - Loops > FX > "Ancient Noise FX 01 78-01"''' - 1995
|sstatus1=C
|snotes1=An ambient sound effect derived from the "Ancient Noise FX 01 78-01" sample present in Sony Media Software's 1995 ''Methods Of Mayhem: Industrial Toolkit'' is utilised during the middle eight section of {{S|It's No Good}} in the moments prior to the repetition of the first verse. The sound effect can be described as an ambient environmental recording of an active electrical circuit or device emitting a buzzing sound while a bubbling effect from nearby laboratory equipment is heard in the background. The sample as heard in the sample library may have originated from a film (likely a horror or monster movie released prior to 1960).
|sexample1=ss-ItsNoGood-MethodsOfMayhem-Ancient_Noise_FX_01_78_01.mp3
|sexamplenotes1=In this example, the ''Methods Of Mayhem: Industrial Toolkit'' sample is compared to the relevant section of music as heard in the 2006 5.1 version of "It's No Good" as well as the stereo album version.
|snumberofrows=1
|sround=1
|colorscheme=Ultra
}}
 
{{Sample source
|song={{S|Painkiller}}
|artist=[[Depeche Mode]]
|releaseyear=1997
|ssample1=N/A
|ssource1='''Vanessa Paradis - "The Future Song"''' - 1992
|sstatus1=UC
|snumberofrows=1
|sround=1
|colorscheme=Ultra
}}
{{Sample source
|song={{S|It's No Good}} (Hardfloor Mix)
|artist=[[Depeche Mode]]
|releaseyear=1997
|ssample1=Drum elements
|ssource1='''Fat Larry's Band - "Down In The Avenue"''' - 1976
|sstatus1=C
|snotes1=Credit to Christopher Baird for this discovery.<ref name="BairdCredit"></ref>
|snumberofrows=1
|sround=1
|colorscheme=Ultra
}}
{{Sample source
|song={{S|Useless}} (The Kruder & Dorfmeister Session)
|artist=[[Depeche Mode]]
|releaseyear=1997
|smsample1=Slide guitar stab
|smsnotes1=A slide guitar stab originally recorded for use in {{s|Policy Of Truth}} is utilised throughout the "Kruder & Dorfmeister Session" remix of {{S|Useless}}.
|smsnumberofrows=1
|sround=1
|colorscheme=Ultra
}}
{{Sample source
|song={{S|Useless}} (Cosmic Blues Mix)
|artist=[[Depeche Mode]]
|releaseyear=1997
|ssample1="I want to hear you play some bass" vocal sample
|ssource1='''National Lampoon's <i>That's Not Funny, That's Sick</i> (Sketch comedy album)''' - 1977
|sstatus1=L
|snumberofrows=1
|sround=1
|colorscheme=Ultra
}}
 
= References =
 
<metadesc>This page aims to document all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their studio albums, official remixes, live performances, and other works.</metadesc><nowiki/>

Latest revision as of 21:30, 26 December 2022

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