Depeche Mode sample sources

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In audio production, sampling refers to the use of a portion (or sample) from a sound recording within another recording. As pioneers of the electronic music genre in the early 1980s, Depeche Mode were among the most prolific acts to make use of sampling technology within a traditional 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.

To view a list of sample sources for Recoil works, see Recoil sample sources.

Glossary Terms used in this article

Information

Key
Official	The sample is confirmed to have been used in the specified song by a past/present member of Depeche Mode, an individual involved in its production, or band archivist Daniel "BRAT" Barassi.
Confirmed	The sample is independently confirmed to have been used in the specified song.
Likely	The sample is likely to have been used in the specified song but has not yet been confirmed.
Unconfirmed	The sample is not yet confirmed to have been used in the specified song.
Disproven	The sample is confirmed to not have been used in the specified song.
Unknown	It is unclear if the sample was used in the specified song.

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.

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 across the world. This article serves to provide 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 the production of the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.

This article differentiates samples by their origin: Self-made samples, which describes any material originally recorded by Depeche Mode or Recoil, and Sourced samples, which describe samples which were not originally recorded by either group. In addition to confirmed samples, this article also covers samples that are commonly misreported as having been used but have been directly refuted by a member or associate of Depeche Mode or Recoil.

As ever, if you notice an error or wish to request the removal of a sample source in this article, please feel free to contact us.

Depeche Mode

Speak & Spell (1981)

"Just Can't Get Enough" Depeche Mode 1981	Self-made samples
	Sample	Notes			Audio
	Bell-like melody accent	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 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 "Glass (10)", features an untitled preset ("NULL PRESET"), which contains a bell-like sample. This bell element is used to play a melodic accent on the main melody best heard in the opening moments of the Music For The Masses tour arrangement of "Just Can't Get Enough". Notably, a variation of this sound is used during the middle eight section of "Master And Servant" as it was performed on the aforementioned tour as well as the World Violation tour.			Click to display/hide audio example Note: In this example, a sample from the Emax I sound bank containing the musical parts performed by Alan Wilder for use during the Music For The Masses tour arrangement of "Just Can't Get Enough" is compared to the equivalent sample in Bascombe's Emulator II disk "Glass (10)". The two parts are then played together, producing audible phasing artifacts when superimposed.
	Sample sources
	Sample	Source	Status	Notes	Audio
	Trumpet stabs	Emulator II factory library disk #21: Assorted Trombones - Preset #1: "7 TRUMPETS", SAMPLE 4	Confirmed	The Music For The Masses tour arrangement of "Just Can't Get Enough" employs a sample of a trumpet derived from the "7 TRUMPETS" preset of Emulator II factory library disk #21 "Assorted Trombones".	Click to display/hide audio example Note: In this example, a sample from the Emulator II factory library disk #21 "Assorted Trombones" is played back in full, and is then used to play an approximate ascending brass line similar to the equivalent part as it was performed in the Music For The Masses tour arrangement of "Just Can't Get Enough" (live audio snippet derived from the 101 live album).

A Broken Frame (1982)

"Leave In Silence" - Depeche Mode 1982
	Sample sources
	Sample	Source	Status	Notes
	Orchestral string layer	Korg 01/W Bank A, voice #77: ArcoAttack - SAMPLE "127 F#5"	Confirmed	The unplayed Devotional tour arrangement of "Leave In Silence" was planned to include an orchestral string sample derived from the "ArcoAttack" voice of the Korg 01/W workstation synthesizer layered with an organ-like sample for use as a pad.
	Electric piano	Korg 01/W Bank B, voice #81: Digi Years - SAMPLE "127 C5" and Bank B, voice #24: Acoustic Guitar - SAMPLE "127 F#4"	Confirmed	The unplayed Devotional tour arrangement of "Leave In Silence" was planned to include electric piano and acoustic guitar samples derived from the "Digi Years" and "Acoustic Guitar" voices of the Korg 01/W workstation synthesizer.
	Brass swells	Korg 01/W Bank B, voice #92: SFZ Brass - SAMPLE "127 C5-L", SAMPLE "127 C5-R"	Confirmed	The Devotional arrangement of "Leave In Silence" was planned to include an edited brass swell sample derived from the "SFZ Brass" voice of the Korg 01/W workstation synthesizer.

"Shouldn't Have Done That" - Depeche Mode 1982	Self-made samples
	Sample	Notes
	Ambient marching	Daniel Miller described the origin of this sound in the sleeve notes for the 2006 A Broken Frame remaster CD: "I remember we got Blancmange in to do some on-the-spot marching for 'Shouldn't Have Done That' because they were in the studio next door, making their record, and they were mates with Depeche Mode."

Construction Time Again (1983)

"Love, In Itself" Depeche Mode 1983
	Sample sources
	Sample	Source	Status	Notes	Audio
	Synthesized choir pad	Synclavier II Timbre Directory Diskette #3 - 2338 Voices #1	Confirmed	The synthesized solo choir sound audible throughout "Love, In Itself" is derived from the "Voices #1" timbre of Synclavier II timbre directory diskette #3.	Click to display/hide audio example Note: In this example, a section of the outro as heard in the center channel of the 2006 5.1 reissue containing the relevant synth choir sound is compared to the source sound as produced by the Arturia Synclavier V, a Synclavier VST emulation (timbre "2338 Voices 1" courtesy of Synclavier co-inventor Cameron Jones via "Timbre Share" Facebook group).
	Chorus kalimba arpeggio	Synclavier II Timbre Directory Diskette #1 - 2136 Calimba #2	Confirmed	The percussive kalimba-like arpeggio heard during the chorus sections of "Love, In Itself" is derived from the "Calimba #2" timbre of Synclavier II timbre directory diskette #1. Notably, this sound is also utilised throughout "It Doesn't Matter" and the middle eight section of "If You Want".	Click to display/hide audio example Note: In this example, a section of the third chorus as heard in the rear right channel of the 2006 5.1 reissue containing the relevant synth line is compared to the source sound as produced by the Arturia Synclavier V, a Synclavier VST emulation (timbre "2136 CALIMBA 2" courtesy of Synclavier co-inventor Cameron Jones via "Timbre Share" Facebook group).
	Synth pad	Synclavier II Timbre Directory Diskette #3 - 2382 String Section	Confirmed	A synth pad sound derived from the "String Section" timbre of Synclavier II timbre directory diskette #3 is utilised throughout the verse sections of "Love, In Itself", heard most prominently during the third verse.	Click to display/hide audio example Note: In this example, a section of the third verse as heard in the rear right channel of the 2006 5.1 reissue containing the relevant synth line is compared to the source sound as produced by the Arturia Synclavier V, a Synclavier VST emulation (timbre "2382 STRING SECTION" courtesy of Synclavier co-inventor Cameron Jones via "Timbre Share" Facebook group).

"Everything Counts" - Depeche Mode 1983	Self-made samples
	Sample	Notes
	One-shot guitar chug	Part of the "chugging" guitar rhythm most clearly heard during the opening bars and throughout "Mercy In You" is sampled, transposed up several notes, and filtered to produce a rhythmic element heard during the choruses and break section of "Everything Counts" as it was performed on the Devotional tour.
	Middle eight melody	The middle eight melody as heard in the Devotional arrangement of "Everything Counts" is performed using a series of edited samples derived from an e-bow guitar performance originally recorded for use in "Walking In My Shoes".
	Sample sources
	Sample	Source	Status	Notes
	Chorus synth riff	Yamaha DX7 factory ROM #1 Bank B: "CALIOPE"	Confirmed	The Music For The Masses tour arrangement of "Everything Counts" employs a series of two metallic synth samples reminiscent of a calliope for use as a riff during the chorus and outro sections. The samples are derived from the Yamaha DX7 factory ROM #1 program "CALIOPE" and are performed via the E-MU Emax sampling keyboard.
	Ascending/descending two note melody	Yamaha DX7 factory ROM #4 Bank A: "OBOE"	Confirmed	The Music For The Masses tour arrangement of "Everything Counts" employs an oboe-like sample derived from the Yamaha DX7 factory ROM #4 program "OBOE". The sample is layered with a separate sample for sporadic use as an oscillating two note swell occurring once per bar throughout the song.
	Xylophone melody	Korg 01/W Bank A, voice #10: GhostRyder - SAMPLE "127 C5"	Confirmed	The Devotional tour arrangement of "Everything Counts" employs an edited "ghostly" percussive sample derived from the "GhostRyder" voice of the Korg 01/W workstation synthesizer. The sample is layered with a self-made xylophone sample derived from the studio recording of "Everything Counts" to form the lead xylophone melody instrument.
	Orchestral strings	Korg 01/W Bank A, voice #07: TheStrings - SAMPLE "127 F#3", SAMPLE "127 C5", SAMPLE "127 C2", SAMPLE "127 C3" and Bank A, voice #77: ArcoAttack - SAMPLE "127 F#5"	Confirmed	The Devotional tour arrangement of "Everything Counts" employs an orchestral string instrument during its chorus and outro sections that is comprised of a series of stock and edited orchestral string samples derived from the "TheStrings" and "ArcoAttack" voices of the Korg 01/W workstation synthesizer. Varying combinations of the "TheStrings" samples are layered together to form octaves, which were subsequently recorded to form a single sample in which the octave is "baked" into the sample (in order, these samples are "127 C2", "127 C3", and "127 F#3": "127 C2" and "127 C3" combine to form an octave chord playing an A; "127 C2" and "127 C3" then combine to form a similar octave playing an E; and "127 F#3" and "127 C3" combine to form an alternate A octave one key above the original A octave). Conversely, samples "127 F#3", "127 C5", and the "ArcoAttack" "127 F#5" sample are also utilised separately as non-octave samples. The resulting orchestral string instrument was performed by Alan Wilder. Notably, varying combinations of these samples are also utilised for use in the Devotional arrangements of "A Question Of Lust" and "I Want You Now", as well as the unplayed Devotional arrangement for "Leave In Silence".
	Verse synth layer	Korg 01/W Bank B, voice #51: Super Tine - SAMPLE "80 C6"	Confirmed	The Devotional tour arrangement of "Everything Counts" employs an electric piano-like tine sample derived from the "Super Tine" voice of the Korg 01/W workstation synthesizer. The sample is layered with a self-made synth sample to form the synth stabs performed during the verse sections.
	Resonant synth pad	E-MU Emax II Elements Of Sound Volume 1 - "Synth World" - Preset #2: "Synth Wash", SAMPLE 21, SAMPLE 22	Confirmed	A resonant synth pad derived from the "Synth Wash" preset of the E-MU Emax II Elements Of Sound Volume 1 factory disk "Synth World" is used to play a series of chords during the chorus and outro of "Everything Counts" as it was performed on the World Violation tour and during the outro of the Devotional tour arrangement.
	Verse fill	Korg 01/W Bank B, voice #71: PercussiveOrgan 2 - SAMPLE "127 F#4"	Confirmed	The Devotional tour arrangement of "Everything Counts" employs an edited percussive organ sample derived from the "PercussiveOrgan 2" voice of the Korg 01/W workstation synthesizer. The organ sample is layered with another sample to form the melodic fill performed during the verse sections.
	Breathing sound	Kraftwerk - "Tour de France" - 1983	Unknown
	Intro sweep	Kraftwerk - "The Robots" - 1978	Unknown

"The Landscape Is Changing" - Depeche Mode 1983
	Sample sources
	Sample	Source	Status	Notes
	Spoken word in German	Einstürzende Neubauten - "Merle (Die Elektrik)" - 1983	Unknown

"Told You So" Depeche Mode 1983
	Sample sources
	Sample	Source	Status	Notes	Audio
	Middle eight organ	E-MU Emulator I factory library disk #28 Prod Set - "Pipe Organ (L) (04-005-102M1) - Pipe Organ (U) (04-005-101M1)"	Confirmed	The middle eight section of "Told You So" employs a pipe organ instrument derived from Emulator I factory library disk #28 "Pipe Organ - Pipe Organ".	Click to display/hide audio example Note: In this example, Emulator I factory disk $28 "Pipe Organ - Pipe Organ" is compared to the middle eight section of "Told You So" as heard in the center channel of the 2006 Construction Time Again 5.1 reissue.

Some Great Reward (1984)

"Something To Do" - Depeche Mode 1984
	Sample sources
	Sample	Source	Status	Notes
	Rhythm piano	Korg 01/W Bank A, voice #01: 16' Piano - SAMPLE "127 C2" and Bank B, voice #01: 8' Piano - SAMPLE "100 C3" and Bank B, voice #27: String Pad - SAMPLE "60 C2", SAMPLE "60 C3"	Confirmed	The Devotional tour arrangement of "Something To Do" employs a series of piano and string pad samples derived from the "16' Piano", "8' Piano", and "String Pad" voices of the Korg 01/W workstation synthesizer. Sample "127 C2" from the "16' Piano" voice and "60 C2" from the "StringPad" voice are layered and recorded to form a combined sample with a root key of F3. Similarly, sample "100 C3" from the "8' Piano" voice and "60 C3" from the "StringPad" voice are layered and recorded to form a combined sample with a root key of C4. The resulting piano/string samples make up the bass notes of the rhythm performed live by Alan Wilder during the verse and chorus sections.
	Bell-like rhythm	Yamaha DX7 factory ROM #3 Bank B: "CELESTE"		The Music For The Masses tour arrangement of "Something To Do" employs a bell-like sample derived from the Yamaha DX7 factory ROM #3 program "CELESTE". The sample is performed as a rhythm part throughout the song.

"Lie To Me" Depeche Mode 1984
	Sample sources
	Sample	Source	Status	Notes	Audio
	Lead melody	Synclavier II Timbre Directory Diskette #2 - 2263 Oboe Source	Confirmed	The lead melody heard throughout "Lie To Me" is derived from the "Oboe Source" timbre of Synclavier II timbre directory diskette #2. Notably, similar edits of this timbre are also used throughout "Blasphemous Rumours" and the middle eight section of "It Doesn't Matter Two".	Click to display/hide audio example Note: In this example, a section of the intro as heard in the center channel of the 2006 5.1 reissue containing the relevant synth line is compared to the source sound as produced by the Arturia Synclavier V, a Synclavier VST emulation (patch "2263 OBOE SOURCE" courtesy of Synclavier co-inventor Cameron Jones via "Timbre Share" Facebook group).

"It Doesn't Matter" - Depeche Mode 1984
	Sample sources
	Sample	Source	Status	Notes
	Kalimba	Synclavier II Timbre Directory Diskette #1 - 2136 Calimba #2	Confirmed	The kalimba instrument audible throughout the verse sections of "It Doesn't Matter" is derived from the "Calimba #2" timbre of Synclavier II timbre directory diskette #1. Notably, this timbre is also used during the chorus sections of "Love, In Itself" and the middle eight of "If You Want".

"Master And Servant" - Depeche Mode 1984	Self-made samples
	Sample	Notes
	Middle eight melody	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 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 "Glass (10)", features an untitled preset ("NULL PRESET"), which contains a bell-like sample. This bell element is used to play a G♯ octave, which is subsequently sampled and layered with a manipulated piano sound to form the melody played on every second bar during the middle eight of "Master And Servant" as it was performed on the Music For The Masses and World Violation tours. Notably, this sound is also used as a melodic accent throughout the Music For The Masses tour arrangement of "Just Can't Get Enough".
	Sample sources
	Sample	Source	Status	Notes
	Middle eight melody	Yamaha DX7 factory ROM #1 Bank B: "TOY PIANO"	Confirmed	A metallic bell-like melody performed during the middle eight section of "Master And Servant" as it was performed on the Music For The Masses tour is derived from the Yamaha DX7 factory ROM #1 program "TOY PIANO".

"If You Want" - Depeche Mode 1984
	Sample sources
	Sample	Source	Status	Notes
	Middle eight kalimba melody	Synclavier II Timbre Directory Diskette #1 - 2136 Calimba #2	Likely

"Blasphemous Rumours" - Depeche Mode 1984	Self-made samples
	Sample	Notes
	Verse snare	The snare heard during the verse sections of "Blasphemous Rumours" was produced by recording the sound of a hammer smashing against a concrete floor. Alan Wilder states in the November 1984 issue of International Musician and Recording World: We sampled some concrete being hit for what turned out to be the snare sound. All that entailed was us hitting a big lump of concrete with a sampling hammer. The engineer / producer we use, Gareth Jones, has got this brilliant little recorder called a Stellavox which we use with two stereo mikes and it's as good as any standard 30ips reel-to-reel but this is very small and therefore very portable. So we just took the Stellavox out into the middle of this big, ambient space and miked up the ground and hit it with a big metal hammer. The sound was... like concrete being hit. I can't really put it any other way.
	Sample sources
	Sample	Source	Status	Notes
	Oboe melody	Synclavier II Timbre Directory Diskette #2 - 2263 Oboe Source	Confirmed	The atmospheric oboe melody heard throughout "Blasphemous Rumours" is derived from the "Oboe Source" timbre of Synclavier II timbre directory diskette #2. Wilder comments on the composition of this sound in the Shunt "The Singles 81-85" editorial: Musically too, [Blasphemous Rumours] stood out from the crowd and once again proved that only a group like [Depeche Mode] (with a track whose opening bars featured the unlikely combination of a backwards oboe against a hammer crashing onto concrete) could subvert the pop charts and still have a hit record on their hands.
	Middle eight bell melody	Yamaha DX7 factory ROM #1 Bank B: "TOY PIANO"	Confirmed	A metallic, bell-like sound derived from the Yamaha DX7 factory ROM #1 program "TOY PIANO" is used to perform a melody during the first middle eight section of "Blasphemous Rumours" as it was performed on the Music For The Masses tour.
	Post-chorus melody	Yamaha DX7 factory ROM #2 Bank A: "SAX BC"	Confirmed	The metallic saxophone-like synth melody following the first and second chorus sections of "Blasphemous Rumours" as it was performed on the Music For The Masses tour is comprised of a sample derived from the Yamaha DX7 factory ROM #2 program "SAX BC".

"Master And Servant" (Slavery Whip Mix) - Depeche Mode 1984
	Sample sources
	Sample	Source	Status	Notes
	Drum elements	Frankie Goes To Hollywood - "Relax" - 1983	Disproven	Magazine The Face reported in February 1985: Alan Wilder: No, I don't mind admitting it. We nicked a beat off one of Frankie's records and stuck it on our 12-inch. But I mean the actual sound, not the idea. It's not a drum sound that sells a record anyway, it's the whole song and the musical ideas. [...] In 1986, Electronics & Music Maker magazine reported: "In response to a complaint that Depeche Mode stole a Frankie Goes To Hollywood drum sound, Frankie's engineers replied that the Frankie drum sound was actually a Linn - itself a recording!" Wilder directly refutes this claim in response to a fan question during a Q&A on Shunt, the official Recoil project site: Q: [Is there] any truth behind the section in Dave Thompson's book (Depeche Mode: Some Great Reward) that says (around the time of "Master And Servant") that [Depeche Mode] sampled a Frankie Goes To Hollywood drum loop? If so, what track was it used on? A: Surprisingly, no truth whatsoever.

"People Are People" (Are People People? Mix) - Depeche Mode 1984
	Sample sources
	Sample	Source	Status	Notes
	Doo-wop vocal sample	The Citadels - "When I Woke Up This Morning" - 1964	Official	Credit to Daniel Barassi for this discovery.

Catching Up with Depeche Mode (1985)

"Shake The Disease" Depeche Mode 1985	Self-made samples
	Sample	Notes			Audio
	Celeste-like bell	A filtered bell element reminiscent of a celeste is employed during the post-chorus sections layered with a variety of other parts, including a separate bell sample and synthesized parts. This distinctive sound would also see use in several other Depeche Mode songs recorded during this era, including "It Doesn't Matter Two" and "But Not Tonight".			✖
	Metallic percussive element	A textured, highly-resonant percussive element with a high frequency is used during the post-chorus sections layered with several other parts and processed with reverb. The sample is re-triggered to play in time with the bell melody, and is played in two ways: one where the sample is re-triggered in time with the bell melody and then allowed to play out (or allowed to play from beginning to end) on the seventh keypress, and one where the sample cuts away on the seventh keypress without playing in full. Notably, this sample is also used in several other songs recorded by Depeche Mode between 1984 and 1985, including "It Doesn't Matter".			✖
	Hi-hats (open and closed)	A basic 4/4 hi-hat rhythm comprised of one closed and one open hi-hat is employed throughout the verses and chorus sections. These hi-hat parts would also be used in several other songs produced during that time, including "But Not Tonight" and "Here Is The House".			✖
	Verse melody synth layer	A synth sample originally recorded for use during the verse sections of "Everything Counts" is layered with a separate sample to form the eight note melody performed throughout the first half of each verse section. This sample is also used to subtle effect throughout the chorus sections of "Here Is The House".			Click to display/hide audio example
	Sample sources
	Sample	Source	Status	Notes	Audio
	Middle eight melody	Yamaha DX7 factory ROM #1 Bank B: "CALIOPE"	Confirmed	A manipulated calliope-esque sample derived from the Yamaha DX7 factory Rom #1 program "CALIOPE" is layered with a series of other instruments to form the layered melody performed during the middle eight section of "Shake The Disease".	Click to display/hide audio example
	Verse melody	Emulator II factory library disk #04: Grand Piano - Preset #1: "Piano #1"	Confirmed	"Shake The Disease" utilises a series of edited samples derived from Emulator II factory library disk #04 "Grand Piano". As is common practice with multi-sampled instruments, the samples are keymapped onto separate sections of a sampler keyboard in accordance with their pitch to approximate the differences in tone between notes of differing octaves on a traditional piano, and are subsequently layered with a guitar-like sample to form the melody performed in the latter half of each verse section.	Click to display/hide audio example Note: In this example, Emulator II factory disk #04 "Grand Piano" is compared to a selection of audio from the "Remixed Extended" remix of "Shake The Disease" (played out of phase to more clearly expose the verse melody) to demonstrate the similarity in tone between the Emulator II contents and one layer of the verse melody.
	Chorus synth melody layer	Synclavier II Resynth Library Disk #4 - 4464 Harp	Confirmed	A harp-like synth pluck sound derived from the "Harp" timbre of Synclavier II Resynth library diskette #4 is layered with a separate sampled sound to form the lead melody heard during the chorus sections of "Shake The Disease".	Click to display/hide audio example Note: In this example, a selection of audio derived from "Shake The Disease" is compared to the source sound as produced by the Arturia Synclavier V, a Synclavier VST emulation (Resynth timbre "4464 Harp" courtesy of Synclavier co-inventor Cameron Jones via "Timbre Share" Facebook group).
	Post-chorus bell melody layer	Synclavier II Timbre Directory Diskette #3 - 2337 Chimes #1	Confirmed	A bell-like chime sound derived from the "Chimes #1" timbre of Synclavier II timbre directory diskette #3 is used to play a basic two octave seven note melody layered with a series of other sounds to form the bell melody heard during the post-chorus sections of "Shake The Disease".	Click to display/hide audio example Note: In this example, a selection of audio derived from "Shake The Disease" (played out of phase to more clearly expose the sound in question) is compared to the source sound as produced by the Arturia Synclavier V, a Synclavier VST emulation (Resynth timbre "2337 Chimes #1" courtesy of Synclavier co-inventor Cameron Jones via "Timbre Share" Facebook group).

"It's Called A Heart" - Depeche Mode 1985	Self-made samples
	Sample	Notes
	Sampled guitar-like loop	"It's Called A Heart" makes sporadic use of a looped guitar part during the instrumental breaks following each chorus section. This sample would later famously be used to form the lead melody heard throughout "A Question Of Time".
	Sample sources
	Sample	Source	Status	Notes
	Bass guitar element	Emulator II factory library disk #06: Bass, Synth, Drums - Preset #1: "Bass Synth 1"	Confirmed	"It's Called A Heart" utilises a bass guitar sample derived from Emulator II factory library disk #06 "Bass, Synth, Drums".
	"Ghostly" choir/synth pad	Emulator II factory library disk #12: Voices - Preset #1: "Voices 1", SAMPLE 3	Confirmed	The "ghostly" choir/synth-like pad audible throughout the intro and verse sections of "It's Called A Heart" features a sample derived from the "Voices 1" preset of Emulator II factory library disk #12 "Voices". Notably, this sample is also used throughout "But Not Tonight".

Black Celebration (1986)

"Fly On The Windscreen" - Depeche Mode 1986	Self-made samples
	Sample	Notes
	"Over and done with" vocal sample	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."
	Sample sources
	Sample	Source	Status	Notes
	"[...] Their living hell [...]" vocal sample	Peter Jennings, ABC World News Tonight (television news report, unknown date)	Unknown	Jennings was an active 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.
	Sampled scratch	N.W.A. - "Fuck tha Police" - 1988	Confirmed	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 Devotional tour arrangement of "Fly On The Windscreen". Notably, this scratch sample is also used throughout the Devotional tour version of "I Want You Now".
	Verse piano layer	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"	Confirmed	The 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 Korg 01/W workstation synthesizer. Varying combinations of these piano samples are also performed live in the Devotional arrangements for "Walking In My Shoes", "Mercy In You", and "Something To Do". Notably, the Korg 01/W "16' Piano" voice is famously heard in the video game soundtracks to 1998's critically-acclaimed The Legend Of Zelda: Ocarina Of Time and 2000's The Legend Of Zelda: Majora's Mask.
	Chorus synth choir layer	Korg 01/W Bank A, voice #87: Air Vox - SAMPLE "127 C4"	Confirmed	The Devotional tour arrangement of "Fly On The Windscreen" employs an "airy" choir vocal sample derived from the "Air Vox" voice of the Korg 01/W workstation synthesizer. The choir is layered with a series of sampled synth parts to form the synth melody performed throughout the chorus section.
	Chorus synth strings	Korg 01/W Bank B, voice #27: String Pad - SAMPLE "60 C2", SAMPLE "60 C3", SAMPLE "60 C4"	Confirmed	The 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 octave comprised of G3 and G4. 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 E6.
	French horns	Korg 01/W Bank A, voice #02: OrchBrass - SAMPLE "127 F#4", SAMPLE "127 C5"	Confirmed	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.

"A Question Of Lust" - Depeche Mode 1986	Self-made samples
	Sample	Notes
	Reverberated percussive rhythm	"A Question Of Lust" utilises a sampled percussive element throughout its verse sections. Notably, this sound is also used throughout "Christmas Island".
	Sample sources
	Sample	Source	Status	Notes
	Outro synth melody	Korg 01/W Bank A, voice #10: GhostRyder - SAMPLE "127 C5" and Bank B, voice #61: Gospel Organ - SAMPLE "127 C5"	Confirmed	The 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 Korg 01/W workstation synthesizer. The samples layer together to form the outro synth melody.
	Vibraphone	Korg 01/W Bank B, voice #65: Vibraphone - SAMPLE "127 F#2", SAMPLE "127 F#3", SAMPLE "100 C4", SAMPLE "100 F#4"	Confirmed	The Devotional tour arrangement of "A Question Of Lust" employs a series of edited vibraphone samples derived from the "Vibraphone" voice of the 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 verse and chorus sections.
	Verse strings	Korg 01/W Bank A, voice #07: TheStrings - SAMPLE "127 C5"	Confirmed	The Devotional tour arrangement of "A Question Of Lust" employs an orchestral string sample derived from the "TheStrings" voice of the Korg 01/W workstation synthesizer. The sample is layered with a separate sample to form a resonant string instrument performed during the verse and chorus sections.

"Sometimes" - Depeche Mode 1986
	Sample sources
	Sample	Source	Status	Notes
	"Sometimes" vocal sample	Louis Armstrong - "Sometimes I Feel Like A Motherless Child" - 1958	Confirmed	A choir vocal singing the word "sometimes" is sampled from the one minute nineteen second mark of Louis Armstrong's "Sometimes I Feel Like A Motherless Child" and processed with reverb for use in the intro of "Sometimes".

"It Doesn't Matter Two" Depeche Mode 1986	Self-made samples
	Sample	Notes			Audio
	Celeste-like bell	A 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 "Shake The Disease" and "But Not Tonight".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Middle eight melody	Synclavier II Timbre Directory Diskette #2 - 2263 Oboe Source	Confirmed	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 Synclavier II timbre directory diskette #2. Notably, this timbre is also featured throughout "Lie To Me" and "Blasphemous Rumours".	Click to display/hide audio example

"A Question Of Time" Depeche Mode 1986	Self-made samples
	Sample	Notes			Audio
	Guitar-like pluck	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 "But Not Tonight".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Moan-like vocal sample	The Chanters - "She Wants To Mambo" - 1954	Official	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 EQ for added top-end during the chorus sections of "A Question Of Time". Martin Gore confirmed the use of the sample in the August 1986 issue of Electronics & Music Maker: 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 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 chorus section of "A Question of Time". 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 fill during the intro and throughout the song's outro. Rather than playing out from start to finish as it does during the chorus sections, the sample is played with a fast decay five notes down from its root key and detuned slightly to form the unique rhythmic hit.	Click to display/hide audio example Note: 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.

"Stripped" Depeche Mode 1986	Self-made samples
	Sample	Notes			Audio
	Bass drone	The textured bass drone sound used throughout "Stripped" is achieved by running a bass sound through a Leslie cabinet.			✖
	Exploding firework	An exploding firework sound recorded on 5 November 1985 by Gareth Jones in the Westside studio car park is used as a unique drum fill alternative throughout "Stripped". Daniel Miller describes the recording process of this sound in the 2006 Black Celebration remaster documentary: 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. Other notable uses of this sample include "Breathing In Fumes", the final moments of "Pimpf" (where it is layered with a large choir stab and played several notes down from its root key) and various live performances of "Never Let Me Down Again".			✖
	Tom drums	A series of tom drums with a unique "roomy" quality occur throughout "Stripped". 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." Notably, these tom drum sounds are also used as fills throughout "Never Let Me Down Again" and "Breathing In Fumes".			✖
	Car ignition sound	The ignition of Dave Gahan's Porsche 911 was recorded and sampled for use in the opening moments of "Stripped", playing in time with the first bass note.			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Motorbike idling sound	Emulator I factory library disk #81: Motor Cycle Rev - Motor Cycle Idling (08-001-117M1)	Official	"Stripped" employs a sample of a motorbike engine idling played one octave down from its original pitch. The sample is looped to form a "chunky" repeating rhythm that occurs throughout the song. The loop is also present on 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: 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. Notably, this sample is also used in "Breathing In Fumes" and the Music For The Masses tour arrangement of "Pipeline".	Click to display/hide audio example
	Piano verse melody	Emulator II factory library disk #04: Grand Piano - Preset #1: "Piano #1", SAMPLE 2	Confirmed	The driving verse melody is comprised of a manipulated piano sample derived from Emulator II factory library disk #04 "Grand Piano".	Click to display/hide audio example

"Here Is The House" - Depeche Mode 1986	Self-made samples
	Sample	Notes
	Mandolin-like sampled guitar	Martin Gore told Electronics and Music Magazine in 1986: [...] 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 up-strokes. It sounded very funny — almost like a real player.

"But Not Tonight" Depeche Mode 1986	Self-made samples
	Sample	Notes			Audio
	Mandolin-like sampled guitar	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. Martin Gore told Electronics and Music Magazine in 1986: [...] 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.			✖
	Vibraphone-like percussive bell	A vibraphone-like percussive bell element is employed during the latter half of each verse section, utilising a 1/4 delay to achieve a hypnotic "bouncing" effect. This distinctive sound would also see use in other Depeche Mode productions, including "Shake The Disease" and "It Doesn't Matter Two".			✖
	Guitar-like pluck	A brief "plucked" guitar-like sound plays a tight four note sequence with a fast release time as a fill sporadically throughout "But Not Tonight". Notable uses of this sample in other songs include the bassline of "A Question Of Time".			✖
	Hi-hats (open and closed)	A sequenced 4 4 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 "Here Is The House" and "Shake The Disease".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Choir stab	Emulator II factory library disk #12: Voices - Preset #1: "Voices 1", SAMPLE 3	Confirmed	The reverberated choir sample utilised throughout "But Not Tonight" is derived from Emulator II factory library disk #12 "Voices".	Click to display/hide audio example

"Fly On The Windscreen" (Death Mix) - Depeche Mode 1986
	Sample sources
	Sample	Source	Status	Notes
	"I don't care how you feel!" vocal sample	Richard Pryor - Unidentified film	Unknown
	"[...] help the dying [...]" vocal sample	Steve Kroft, CBS News (television news report, unknown date)	Unknown	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.

Music For The Masses (1987)

"Never Let Me Down Again" - Depeche Mode 1987	Self-made samples
	Sample	Notes
	Guitar riff	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: [...] I remember 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 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 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.
	Lead melody	The lead melody is comprised of a plucked sample reminiscent of a guitar combined with a solo vocal-like pad with a short 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 reverb to produce the textured, "roomy" effect heard on the album version of "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 fill during the verses of "Strangelove", the lead melody heard throughout the "Spanish Taster" mix of "To Have And To Hold", and a verse melody in "Blue Dress". In addition to its use in "Never Let Me Down Again" and "I Want You Now", the aforementioned solo vocal-like pad is also heard during the chorus sections of "Nothing".
	Exploding firework	An exploding firework sound originally sampled for use with "Stripped" is occasionally played on the final note during live performances of "Never Let Me Down Again". Other notable uses of this sample include the final moments of "Pimpf", where it is layered with a large female-esque choir stab and played several notes down from its original key.
	Synth bass	A synthesized bass drone originally recorded for use with "Policy Of Truth" is layered in with the original "Never Let Me Down Again" bass pad for live performances on the 1993-1994 Devotional and Exotic tours.
	Tom drums	In an April 2020 interview with Piano & Keyboard Artist producer Vaughn George, Bascombe confirmed that the tom drum fills heard throughout "Never Let Me Down Again" are comprised of the tom drum sounds originally recorded for use in "Stripped": Vaughn George: So you actually used some of the sounds from previous albums? Dave Bascombe: A few, yeah [...] For instance, I think on "Never Let Me Down Again", the tom-toms are a combination of the toms from "Stripped" mixed with some other samples. 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."
	Wine glass arpeggio	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 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 arpeggio that occurs throughout the chorus sections of "Never Let Me Down Again". Notably, this sound is also used in "Behind The Wheel", "Route 66", "Strangelove", and the Recoil instrumental "Grain".
	Sample sources
	Sample	Source	Status	Notes
	"When The Levee Breaks" drum samples	Beastie Boys - "Rhymin' And Stealin" - 1986	Official	The "When The Levee Breaks" drum loop sampled on the Beastie Boys song "Rhymin And Stealin" was subsequently sampled by Bascombe for use with "Never Let Me Down Again". Wilder confirmed in a Q&A on Shunt, the official Recoil website: "From memory, the drums [for 'Never Let Me Down Again') were sampled from Led Zeppelin's 'When The Levee Breaks' (but secondhand from a rap record). It is one of the most commonly used drum samples – for obvious reasons as it has that very special '[John Bonham]' sound." 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": ["Never Let Me Down Again" is the one] that hit me when I first heard that demo, I thought that’s just fantastic [...] [We] were round at [Alan Wilder’s] house – and I said "Right, I want to use 'When The Levee Breaks' [Led Zeppelin] drums on this." [...] I suggested using them for the main kick and snare.
	"When The Levee Breaks" drum samples	Led Zeppelin - "When The Levee Breaks" - 1971	Official	Wilder confirmed in a Q&A on Shunt, the official Recoil website 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").
	Orchestral strings and choir pads	Carl Orff - Carmina Burana - "O Fortuna"	Official	In an April 2020 interview with Piano & Keyboard Artist producer Vaughn George, Bascombe confirms the origin of the cinematic orchestral samples used in the outro of 'Never Let Me Down Again': Vaughn George: These days you [can] just buy a sample library. Now, if you take out the samples at the end of "Never Let Me Down Again", you did have this big cinematic sound. Where did those samples come from? Dave Bascombe: I think it was Carmina Burana [...] It took ages getting it all in time and in tune. [Nowadays] that's a piece of piss. The sampled parts are derived from the final moments of a stereo recording of "O Fortuna", the opening and closing movement of Carl Orff's Carmina Burana cantata, which features a powerful sustained note comprised of choir vocals, orchestral strings, brass, and timpani. The resulting stereo pad is then split into separate monophonic samples, so that one sample prominently features the orchestral strings and the other prominently features the choir. The results are subsequently tuned, separately looped, and layered with orchestral brass elements. The samples are then played back in a call and response phrase in which the sample featuring the orchestral strings plays for the entirety of each bar, and the sample featuring the choir is played starting on every second beat until the end of the measure.
	Guitar riff and drum elements	3rd Bass - "Wordz Of Wisdom, Pt. 2" - 1989	Official	American hip-hop group 3rd Bass employed an 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 World Violation tour. Wilder would later use this sample and other elements from "Wordz Of Wisdom, Pt. 2" in the live production of "In Your Room" as part of Recoil's 2010-2011 Selected Events tour.

"The Things You Said" - Depeche Mode 1987
	Sample sources
	Sample	Source	Status	Notes
	Choir layer	Emulator I factory library disk #16: Male Voice - Female Voice - "Female Voice" (02-002-101M2)	Confirmed	"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".
	Choir layer	Emulator II factory library disk #12: Voices - Preset #1: "Voices 1", SAMPLE 8	Confirmed	The sustained choir utilised throughout the live arrangement of "The Things You Said" as it was performed on the 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 "Blue Dress".

"Strangelove" Depeche Mode 1987	Self-made samples
	Sample	Notes			Audio
	Four note bell-like wine glass riff	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 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 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 intro, chorus, and outro sections of "Strangelove". Notably, this sound is also used in "Never Let Me Down Again", "Behind The Wheel", "Route 66", and the Recoil instrumental "Grain".			✖
	Bass piano	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 E and a similar sample playing an A. The former sample is used throughout the middle eight of the album version of "Strangelove". Notably, this sound is also used throughout "Nothing".			Click to display/hide audio example
	Synth bass	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 middle eight of "Strangelove".			✖
	Bass guitar	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 "The Sermon".			Click to display/hide audio example Note: In this example, the contents of the Emulator II voice are compared to the chorus section of "Strangelove" as heard on the SACD LFE channel of the 2006 Music For The Masses 5.1 reissue.
	Sample sources
	Sample	Source	Status	Notes	Audio
	Main choir layer	Emulator I factory library disk #16: Male Voice - Female Voice - "Female Voice" (02-002-101M2)	Confirmed	"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".	Click to display/hide audio example
	Intro high pitch loop	Emulator II factory library disk #72: Jungle Adventure - Preset #1: "MONKEY TALK", SAMPLE 5	Confirmed	The album version intro of "Strangelove" employs a looped sample of a monkey screeching derived from the "MONKEY TALK" preset of 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.	Click to display/hide audio example Note: 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.
	Metallic filtered synth sample	Emulator II factory library disk #71: DAS Synth - Preset #3: "BASS BANG", SAMPLE 4	Confirmed	"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 "Master And Servant" as it was performed on the Music For The Masses tour.	Click to display/hide audio example
	Sitar pluck	Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6	Confirmed	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 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 "Pleasure, Little Treasure", "Behind The Wheel" and "Master And Servant" as it was performed on the Music For The Masses and World Violation tours.	Click to display/hide audio example

"Sacred" Depeche Mode 1987
	Sample sources
	Sample	Source	Status	Notes	Audio
	Reversed choir	Carl Orff - Carmina Burana - III. Cour d'amours - "Amor volat undique"	Confirmed	"Sacred" utilises a manipulated choral performance derived from a stereo recording of the "Amor volat undique" movement of "Cours d'amours", the third section of Carl Orff's Carmina Burana. The sample contains the Latin lyric "Iuvenes, iuvencule - coniunguntur merito", which translates to "Young men and women are rightly coupled". The sample is played one key below its original key. The "Iuvenes, iuvencule - coniunguntur" lyric is reversed while the "merito" lyric remains playing forwards. The sample is then looped and layered with a loop derived from a vocal by Martin Gore to create the mysterious textured pad utilised throughout the intro and middle eight sections. Notably, a similar choir sample also derived from Carmina Burana is used to create the cinematic choir stabs heard in the outro of "Never Let Me Down Again".	Click to display/hide audio example
	Chorus counter melody	Synclavier II Timbre Directory Diskette #1 - 2164 Heavy Keyboard	Confirmed	The Music For The Masses tour arrangement of "Sacred" employs a sampled synthesized sound derived from an edit of the "Heavy Keyboard" timbre of Synclavier II timbre directory diskette #1 for use as a counter melody during the song's chorus sections.	Click to display/hide audio example

"Behind The Wheel" Depeche Mode 1987	Self-made samples
	Sample	Notes			Audio
	Bassline	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 hoover tube, a pitched-down sample of a guitar pluck, and a Minimoog bass for additional low end presence. 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 "The Sermon".			✖
	Car door shutting snare	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 "Driving Sound FX", features two presets comprised of various 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 "Behind The Wheel". This sound is most clearly heard in the intro of the Devotional tour arrangement of "Behind The Wheel".			Click to display/hide audio example Note: 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 Devotional tour.
	Wine glass arpeggio	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 arpeggio that occurs throughout "Behind The Wheel", most clearly heard during the instrumental break immediately after the first verse. Notably, this sound is also used in "Never Let Me Down Again", "Strangelove", "Route 66", and the Recoil instrumental "Grain".			✖
	"Submarine" verse stabs	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 submarine sonar navigation system sound. This sample is processed with reverb and played with a long decay to produce the "ghostly" monophonic melody performed during the verse sections of "Behind The Wheel".			Click to display/hide audio example Note: 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.
	Sample sources
	Sample	Source	Status	Notes	Audio
	Sitar pluck	Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6	Confirmed	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 "Behind The Wheel". The full sample consists of a plucked sitar playing a 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 "Strangelove" and "Master And Servant" as it was performed on the Music For The Masses and World Violation tours.	Click to display/hide audio example Note: 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.

"I Want You Now" Depeche Mode 1987	Self-made samples
	Sample	Notes			Audio
	Female "ahh" vocal samples / Sample of multiple laughing girls	"I Want You Now" employs a series of breathy female vocals (accompanied by a similar vocal provided by Martin Gore) 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 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 ;-)" Album producer Dave Bascombe recalls: "It was Fashion Week when we were in 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!" Notably, the female "ahh" vocalization heard during the verses would be repurposed to similar effect in "Clean" starting from the second verse.			✖
	"Breathing" accordion loop	The "breathing" effect heard throughout "I Want You Now" is produced by an accordion being inflated and deflated without depressing a key.			✖
	Middle eight falsetto vocal melody	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 falsetto note that is used to play a monophonic melody during the middle eight of "I Want You Now".			Click to display/hide audio example Note: In this example, a raw sample from the Emax II sound bank containing the parts performed by Alan Wilder for the 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)".
	Tambourine loop	A tambourine loop is utilised in the Exotic tour arrangement of "I Want You Now" starting from the middle eight section onwards. Notably, this loop is also used throughout Recoil's "Last Call for Liquid Courage".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Female orgasm vocal samples (x2)	Unidentified pornographic film	Unknown	The pornographic film sampled by Depeche Mode for use in the production of "I Want You Now" is likely to have released on VHS or Betamax cassette and would have been in circulation by July 1987.	✖
	Accordion	Emulator II factory library disk #23: Accordian & Banjo - Preset #1: "Accordian 1"	Confirmed	The middle eight and outro sections of "I Want You Now" feature accordion chords played using the "Accordian 1" preset of Emulator II factory library disk #23 "Accordian & Banjo".	Click to display/hide audio example Note: 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.
	"Funky" drum loop	Neil Conti's Funky Drums From Hell (AMG) - Partition #2: Mellow Antique - "AMG Warm Poetry 3" - March 1993	Confirmed	The 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 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.	Click to display/hide audio example Note: 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 March 1994 performance of "I Want You Now".
	Re-pitched Snare drum	Neil Conti's Funky Drums From Hell (AMG) - Partition #1: Hard Funk - "AMG Snowball 3"	Confirmed	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 timestretched via resampling to produce a 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.	Click to display/hide audio example Note: 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 March 1994 performance of "I Want You Now".
	Orchestral strings	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"	Confirmed	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 Korg 01/W workstation synthesizer. Notably, varying combinations of these samples are also utilised for use in the Devotional arrangement of "Everything Counts" as well as the unplayed Devotional arrangement for "Leave In Silence".	Click to display/hide audio example Note: In this example, six samples from the Emax II sound bank containing the orchestral string parts performed by Alan Wilder for the 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"
	Sampled scratch	N.W.A. - "Fuck tha Police" - 1988	Confirmed	The scratch effect heard in the opening moments of "Fuck tha Police" by N.W.A. is 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 "Fly On The Windscreen" as it was performed on the 1993 Devotional tour.	Click to display/hide audio example Note: In this example, the scratch heard in the opening bars of "Fuck tha Police" are compared to a selection of soundboard audio from a March 1994 performance of "I Want You Now".
	Sampled scratch	N.W.A - "8 Ball (Remix)" - 1988	Confirmed	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)".	Click to display/hide audio example Note: In this example, the scratch heard in the closing bars of "8 Ball (Remix)" are compared to a selection of soundboard audio from a March 1994 performance of "I Want You Now".

"To Have And To Hold" - Depeche Mode 1987	Self-made samples
	Sample	Notes
	Russian radio news broadcast	A sample of a radio news broadcast featuring a male voice speaking in Russian can be heard during the intro and 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 composer Mark Morgan for use in the ambient song "The Vault of the Future" in the 1997 post-apocalyptic adventure video game Fallout, 1998's Fallout 2 and 2010's acclaimed Fallout: New Vegas.
	Metallic snare layer	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".

"Nothing" - Depeche Mode 1987	Self-made samples
	Sample	Notes
	Post-chorus metallic percussive triplet	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": 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 snare drums and kicks, although I did use, there’s one interesting sound which is used as a [hi-hat] on, I think "Nothing", or maybe a few things, which is a pneumatic 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.
	Solo vocal-like pad with short loop	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".
	Bass piano	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 E and a similar sample playing an 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 "Strangelove".
	Sample sources
	Sample	Source	Status	Notes
	"When The Levee Breaks" drum samples	Beastie Boys - "Rhymin' And Stealin" - 1986	Confirmed	Wilder confirmed in a Q&A on Shunt, the official Recoil website 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"). The "Bonham" snare drum sample is processed and re-purposed for the snare sequence of "Nothing". The primary fill sequence features the snare playing a descending "melody" of 3-3-2, where each number corresponds to the number of snare hits and the key of the snare descends by one note from its root key every three hits.
	"When The Levee Breaks" drum samples	Led Zeppelin - "When The Levee Breaks" - 1971	Confirmed	Wilder confirmed in a Q&A on Shunt, the official Recoil website 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").
	High octave choir melody	Emulator II factory library disk #12: Voices - Preset #1: "Voices 1", SAMPLE 8	Confirmed	"Nothing" utilises a choir sample derived from 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.

"Pimpf" - Depeche Mode 1987	Self-made samples
	Sample	Notes
	Exploding firework	An exploding firework sound originally recorded for use with "Stripped" is layered in with a large choir stab in the outro of "Pimpf". 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".
	Sample sources
	Sample	Source	Status	Notes
	Sitar pluck	Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6	Confirmed	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 "Interlude No. 1 - Mission Impossible", the instrumental interlude that follows "Pimpf". The full sample consists of a plucked sitar playing a 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 "Behind The Wheel" and "Master And Servant" as it was performed on the Music For The Masses and World Violation tours.

"To Have And To Hold" (Spanish Taster) - Depeche Mode 1987	Self-made samples
	Sample	Notes
	Guitar-like pluck	A guitar-like pluck sample is layered with a harpsichord, played back with a medium decay, and processed with 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 fill heard during the verse sections of "Strangelove".

"Pleasure, Little Treasure" (Glitter Mix) - Depeche Mode 1987	Self-made samples
	Sample	Notes
	"The grabbing hands grab all they can - Everything counts in large amounts" chorus vocal	The vocal section of "Everything Counts" (Reprise) is re-purposed to form the "ghostly" vocal outro of the "Pleasure, Little Treasure" (Glitter Mix). The part is pitch shifted up by two keys, 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 gate effect programmed to allow the audio signal to pass through for the first two steps of the first and third beats per bar. The resulting "stuttering" vocal rhythm is then processed with reverb and delay.
	Organ sample	A distinct organ sample is used to play a two note phrase during the chorus sections of all versions of "Pleasure, Little Treasure". Notably, this sample is also used during the choruses of "World In My Eyes" and the outro of "Behind The Wheel" as it was performed on the World Violation, Devotional and Exotic tours.
	Sample sources
	Sample	Source	Status	Notes
	Brass	Emulator II factory library disk #60: Velocity Sax - Preset #1: "Sax Beast", SAMPLE 15	Confirmed	The portamento brass section utilised throughout the live arrangement of "Pleasure, Little Treasure" as it was performed on the 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".
	Sitar pluck	Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6	Confirmed	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 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 "Behind The Wheel" and "Master And Servant" as it was performed on the Music For The Masses and World Violation tours.

"Route 66" (Beatmasters Mix) - Depeche Mode 1987
	Sample sources
	Sample	Source	Status	Notes
	"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	Unspecified television advertisement for Name That Tune (game show)	Confirmed

"Strangelove" (The Fresh Ground Mix) - Depeche Mode 1987
	Sample sources
	Sample	Source	Status	Notes
	"Super DJ!" vocal sample	Cameo - "Word Up" - 1986	Official	A vocal sample of Cameo's Larry Blackmon shouting "super DJ!" originally recorded for use in Cameo's 1986 single "Word Up!" is repeated throughout this obscure promotional remix. Officially confirmed on depechemode.com.

Violator (1990)

"World In My Eyes" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	Main snare	The origin of the main snare sound used throughout "World In My Eyes" (and, relatedly, its similar-but-different counterpart best heard during the electronic interlude in the outro of the album version of "Personal Jesus") is unclear. Alan Wilder states 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." 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 "Enjoy The Silence" as it was performed on the World Violation tour.			✖
	Minimoog/ARP 2600 bass	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's ARP 2600.			✖
	Vocal "ahh" samples	A series of quietly-mixed solo vocal "ahh" samples likely derived from vocal sustains sung by Martin Gore play an oscillating melody during the outro of "World In My Eyes". Other notable uses of these vocal elements include the vocal melody heard during the outro of "Enjoy The Silence", the solo vocal used throughout "Memphisto", and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Bell tree sample	Fleetwood Mac - "Black Magic Woman" - 1982	Confirmed	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 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 Devotional tour version of "World In My Eyes".	✖
	"Clicking" verse percussion rhythm	Kraftwerk - "The Man-Machine" ("Die Mensch-Maschine") - 1978	Confirmed	"World In My Eyes" utilises a timestretched "clicking" percussion rhythm throughout its verse, chorus, and outro sections that is derived from the opening moments of Kraftwerk's "The Man-Machine".	Click to display/hide audio example
	"Squelchy" snare accent	Kraftwerk - "Home Computer" ("Heimcomputer") - 1981	Confirmed	"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 slightly 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 slightly 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.	Click to display/hide audio example
	Orchestral strings	Emulator II factory library disk #05: Marcato Strings - Preset #1: "Marcato Strg"	Confirmed	The verse, chorus and outro sections of "World In My Eyes" feature orchestral string chords played using the "Marcato Strg" preset of Emulator II factory library disk #05 "Marcato Strings". Notably, this famous Emulator II factory preset was also used in a variety of songs in the previous decade, including "West End Girls" by Pet Shop Boys, "The Sun Always Shines on T.V." by A-Ha, and "Book of Brilliant Things" by Simple Minds.	Click to display/hide audio example

"Sweetest Perfection" - Depeche Mode 1990
	Sample sources
	Sample	Source	Status	Notes
	Bell tree sample	Fleetwood Mac - "Black Magic Woman" - 1982	Confirmed	This sample is looped and manipulated to produce a ghostly pad with oscillating pitch and creative panning effects during the verses.

"Personal Jesus" - Depeche Mode 1989	Self-made samples
	Sample	Notes
	Foot stomp drum elements	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."
	Slide guitar fill	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: 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] 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.
	Breathing rhythm	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: 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 Gore], and I think [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.
	Sample sources
	Sample	Source	Status	Notes
	"I'm not crazy anymore!" vocal sample	A Cry In The Wilderness (film) - 1974	Likely

"Halo" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	Minimoog/ARP 2600 bass	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.			✖
	Vocal "ahhs"	The choir stabs heard during the first chorus are comprised of a series of solo vocal "ahh" samples. Other notable uses of these vocal elements include the vocal melody heard during the outro of "Enjoy The Silence", a choir melody in the outro of "World In My Eyes", the solo vocal used throughout "Memphisto", and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.			✖
	Snare	A crisp snare can be heard on every odd bar starting from the third bar of each chorus section in "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.			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Main drum loop	Tone Lōc - "Don't Get Close" - 1989	Confirmed	The main drum loop used throughout "Halo" is derived from the intro drum solo of "Don't Get Close" by American rapper Tone Lōc from his 1989 debut album Lōc-ed After Dark (itself derived from the intro drum solo of "Rock Candy" by Montrose for their 1973 debut album of the same name). The drum sample is a standard 4 4 rhythm featuring a quick double 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 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.	Click to display/hide audio example Note: 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".
	Main drum loop	Montrose - "Rock Candy" - 1973	Confirmed	The main drum loop used throughout "Halo" is derived from the intro drum solo of "Don't Get Close" by American rapper Tone Lōc from his 1989 debut album Lōc-ed After Dark (itself derived from the intro drum solo of "Rock Candy" by Montrose for their 1973 debut album of the same name).	Click to display/hide audio example Note: 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".
	Drum loop	Beastie Boys - "Rhymin' And Stealin" - 1986	Disproven	Wilder confirmed in a Q&A on Shunt, the official Recoil website 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 for use with several songs, including "Halo": 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. 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.	✖
	Drum loop	Led Zeppelin - "When The Levee Breaks" - 1971	Disproven	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.	✖
	Orchestral strings (x2)	Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)	Confirmed	"Halo" employs two looped orchestral phrases sampled from the fourth movement of a pre-1989 performance of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam). Both samples are looped on a sustained phrase to produce a dramatic orchestral part. Notably, each of these samples are re-used to dramatic effect in the respective outros of "My Joy" and "Clean".	Click to display/hide audio example
	Orchestral strings	Edward Elgar - Unidentified composition	Confirmed	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: 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. The classical recording sampled would have been recorded and released during or prior to 1989.	✖

"Waiting For The Night" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	ARP 2600 bass sequence	Wilder describes the production of this bass part in a Q&A on Shunt, the official Recoil website: 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.			✖
	Bass sequence	Musician and remixer Ehron VonAllen confirmed in a YouTube analysis of his remix collaboration with Alan Wilder that Wilder employed a bass sequence originally recorded for use with "Waiting For The Night" in "Electro Blues For Bukka White".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Bell-like verse chimes	Emulator III OMI Universe of Sounds - Guitar Chimes - "CHIME A4"	Confirmed	The bell-like arpeggio audible during the verse sections of "Waiting For The Night" as it was performed on the World Violation and Exotic tours is comprised of a series of edited samples derived from the "Guitar Chimes" voice featured in Emulator III OMI Universe of Sounds.	Click to display/hide audio example Note: 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.

"Enjoy The Silence" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	Synth bassline	The synthesized bassline audible throughout "Enjoy The Silence" is produced on the Roland System 700 modular analog synthesizer.			✖
	Outro choir melody	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 Gore. Other notable uses of these vocal elements include the solo vocal used throughout "Memphisto", a melody in the outro of "World In My Eyes", the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours, and the choir stabs audible during the first chorus of "Halo". 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 Tour Of The Universe and later tours with one exception where it returned for a live performance as part of a television promotion.			✖
	Choir pad	A choir pad comprised of an organ or accordion-like sound layered with a sustained vocal originally sung by Gore for use during the middle eight section of "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 World Violation tour arrangement). Notably, this sound is also utilised for the main choir pad heard throughout all versions of "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 "Halo" as it has been performed on all live arrangements since its live debut (with one exception in the 2013-2014 Delta Machine tour).			✖
	Punchy harpsichord bass	The harpsichord-like instrument which accentuates the bassline of "Enjoy The Silence" starting from the middle eight section employs a punchy sampled bass synth part heard prominently throughout "Clean".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Brass melody	Emax I factory library disk #ZD705: French Horn - Preset #1: "French Horns", SAMPLE 6	Confirmed	The middle eight and 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".	Click to display/hide audio example

"Policy Of Truth" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	Main guitar rhythm	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."			✖
	Hi-hat loops	"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: [...] 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.			✖
	Piano stab	A sampled piano stab processed with reverb is audible during the chorus sections of "Policy Of Truth". Notably, this sample was also used in Wilder's "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 assumed to be a self-made sample.			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Main riff	Unknown Asian instrument sample library CD	Official	In a 2016 podcast with author and former pastor Rob Bell, Martin Gore was asked about the origin of this sound: 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. 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.	✖
	Looped guitar rhythm	Toni Halliday - "Time Turns Around" - 1989	Confirmed	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". 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.	Click to display/hide audio example
	Guitar solo	Toni Halliday - "Time Turns Around" - 1989	Confirmed	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 "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.	✖
	Snare drum fill	Tone Lōc - "Funky Cold Medina" - March 1989	Confirmed	A snare fill derived from "Funky Cold Medina", the second single from American rapper Tone Lōc's debut album 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 World Violation tour.	✖
	Chorus pad	Emulator II factory library disk #38: Pipe Organ - Preset #1: "Pipe Organ"	Confirmed	Emulator II factory library disk #38 "Pipe Organ" is used to play a series of ascending pipe organ pads during the chorus sections of "Policy Of Truth".	Click to display/hide audio example Note: 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.
	Chorus pad	Emulator III OMI Universe of Sounds - Bowed Psaltery - "PSALTERY B3" and Emulator III OMI Universe of Sounds - Rebel Victory - "GIANT 5"	Confirmed	The pads performed during the chorus sections of the Devotional tour arrangement of "Policy Of Truth" utilise a series of samples derived from the "Bowed Psaltery" and "Rebel Victory" voices featured in Emulator III OMI Universe of Sounds.	Click to display/hide audio example Note: 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).

"Blue Dress" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	Ambient wind-like pad	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 "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"Blue Dress" and "Clean".			Click to display/hide audio example
	Guitar-like pluck	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 "Never Let Me Down Again", a melodic fill throughout "Strangelove", and as a layer for the harpsichord-like lead melody of the "Spanish Taster" mix of "To Have And To Hold".			✖
	Warm pad	A warm synth-like pad sample is utilised throughout "Blue Dress". Notably, this sample is also performed during the third verse section of "World In My Eyes" as it was performed on the Devotional tour. It is also used as a layer of the six note melody performed sporadically throughout the instrumental outro of "Personal Jesus" in all live concert performances since its live debut.			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Pitch-bending choir stab	Emulator II factory library disk #12: Voices - Preset #1: "Voices 1", SAMPLE 8	Confirmed	The "otherworldly" choir-like pitch-bending sound occurring throughout "Blue Dress" is a manipulated choir sample derived from Emulator II factory library disk #12 "Voices". Notably, this sample is also used as a choir layer throughout "The Things You Said".	✖

"Clean" - Depeche Mode 1990	Self-made samples
	Sample	Notes
	Female "ah" vocal sample	"Clean" employs a female "ah" vocal part originally recorded for use throughout 1987'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 ;-)"
	Sample sources
	Sample	Source	Status	Notes
	Bass guitar	Pink Floyd - "One Of These Days" - 1971	Disproven	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]."
	Looped orchestral strings	Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)	Confirmed	"Clean" employs a looped orchestral phrase sampled from the fourth movement of a performance of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam). It is looped on a sustained phrase to produce a dramatic orchestral part. In "Clean", the sample is first heard playing one note below its root key in the outro of the song, alternating with another as-yet unidentified sampled orchestral phrase, and is the last sound to be heard at the tail end of the song's fade out (and is therefore the final sound to be heard on the Violator album). Notably, this sample is also used to dramatic effect in "Memphisto", the chorus sections of "Halo", and the outro of "My Joy". Additionally, a separate sample from this same piece of music is also used to equally dramatic effect in both "Halo" and "My Joy".
	Orchestral string elements	Unidentified classical music recording	Confirmed	"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".

"Memphisto" - Depeche Mode 1990	Self-made samples
	Sample	Notes
	Vocal "ahh" samples	Unlooped versions of the samples comprising the solo vocal "ahh" melody heard in the outro of "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 "World In My Eyes", and the sustained choir chords heard during the second verse of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours.
	Bass stabs	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".
	Sample sources
	Sample	Source	Status	Notes
	Looped orchestral strings	Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)	Confirmed	"Memphisto" employs a looped orchestral phrase sampled from the fourth movement of a performance of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam). It is looped on a sustained phrase to produce a dramatic orchestral part. Notably, this sample is also used to dramatic effect in "Clean", the chorus sections of "Halo", and the outro of "My Joy". Additionally, a separate sample from the same piece of music is used to equally dramatic effect in "Halo" and "My Joy".
	Looped orchestral strings	Unidentified classical music recording	Confirmed	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.

"Kaleid" Depeche Mode 1990
	Sample sources
	Sample	Source	Status	Notes	Audio
	Tremolo guitar	Steve Harley & Cockney Rebel - "What Ruthy Said" - 1973	Confirmed	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".	Click to display/hide audio example
	Distorted wah guitar fill	Borghesia - "Message" - 1990	Confirmed	A "slurry" guitar sound processed with wah and distortion heard during the opening moments of 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".	Click to display/hide audio example

"Sea Of Sin (Tonal Mix)" - Depeche Mode 1990	Self-made samples
	Sample	Notes
	Choir pad	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 "Waiting For The Night". Notably, this sound is also played live 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 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 "Halo" as it has been performed on all live arrangements since its live debut (with one exception in the 2013-2014 Delta Machine tour).

"Sea Of Sin" (Sensoria Mix) - Depeche Mode 1990	Self-made samples
	Sample	Notes
	Choir pad	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 "Waiting For The Night".

"Happiest Girl" (Pulsating Orbital Mix) - Depeche Mode 1990
	Sample sources
	Sample	Source	Status	Notes
	Engine idling/orchestral hit sample	The Tornadoes - "Telstar" - 1962	Official	Credit to Daniel Barassi for this discovery.

"Policy Of Truth (Beat Box Mix)" - Depeche Mode 1990
	Sample sources
	Sample	Source	Status	Notes
	Snare drum fill	Tone Lōc - "Funky Cold Medina" - March 1989	Confirmed	A snare fill derived from "Funky Cold Medina", the second single from American rapper Tone Lōc's debut album 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 World Violation tour.

"Policy Of Truth (Capitol Mix)" - Depeche Mode 1990
	Sample sources
	Sample	Source	Status	Notes
	Snare drum fill	Tone Lōc - "Funky Cold Medina" - March 1989	Confirmed	A snare fill derived from "Funky Cold Medina", the second single from American rapper Tone Lōc's debut album 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 World Violation tour.

"Policy Of Truth" (Pavlov's Dub) - Depeche Mode 1990
	Sample sources
	Sample	Source	Status	Notes
	Snare drum fill	Tone Lōc - "Funky Cold Medina" - March 1989	Confirmed	A snare fill derived from "Funky Cold Medina", the second single from American rapper Tone Lōc's debut album 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 World Violation tour.
	"I must not conceal from you tonight...the truth as I see it" Winston Churchill vocal (spoken)	MIT Mid-Century Convocation - Winston Churchill speech at Mass. Institute of Technology, Thursday, March 31, 1949	Confirmed

"Policy Of Truth (Trancentral Mix)" - Depeche Mode 1990
	Sample sources
	Sample	Source	Status	Notes
	"I'm not a politician, I'm a businessman" Robert Hoskins vocal (spoken)	The Long Good Friday (film) - 1980	Confirmed
	Richard Nixon vocal (spoken)	The "Checkers speech", Richard M. Nixon speech broadcast, 1952	Confirmed

"World In My Eyes" (Oil Tank Mix) - Depeche Mode 1990
	Sample sources
	Sample	Source	Status	Notes
	N/A	Kraftwerk - "Musique Non-Stop" - 1986	Unconfirmed

Until The End Of The World (soundtrack) (1991)

"Death's Door" - Depeche Mode 1991	Self-made samples
	Sample	Notes
	Guitar chords with tremolo	"Death's Door" re-purposes guitar chords originally recorded for "Blue Dress" for its chorus and middle eight sections. This guitar part is also notably used to dramatic effect in Recoil's "Missing Piece".
	Slide guitar	A slide guitar part used in the final moments of "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".

Songs Of Faith And Devotion (1993)

"I Feel You" - Depeche Mode 1993	Self-made samples
	Sample	Notes
	Distorted noise pad	A shot of distorted noise is utilised as a riser during the intro and just before the break sections of "I Feel You". Alan Wilder confirms this particular part originated from a non-descript synthesizer in a Q&A on Shunt, the official Recoil website: "[...] The noise actually comes from a synth." Part of the initial transient of the distorted noise loop present in the album version of "I Feel You" 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 Devotional tour onward.

"Walking In My Shoes" Depeche Mode 1993	Self-made samples
	Sample	Notes			Audio
	Processed piano/harpsichord riff	The main riff is a combination of piano and harpsichord processed with copious amounts of compression and tremolo. Wilder confirms 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]."			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Piano	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"	Confirmed	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 Korg 01/W workstation synthesizer. Varying combinations of these piano samples are also performed live in the Devotional arrangements for "Fly On The Windscreen", "Mercy In You", and "Something To Do". Notably, the Korg 01/W "16' Piano" voice is famously heard in the video game soundtracks to 1998's critically-acclaimed The Legend Of Zelda: Ocarina Of Time and 2000's The Legend Of Zelda: Majora's Mask.	✖
	Drum loop	The Disposable Heroes of Hiphoprisy - "Language Of Violence" - 1992	Confirmed	The verse sections of "Walking In My Shoes" employ a drum loop derived from the opening moments of "Language Of Violence" by The Disposable Heroes of Hiphoprisy.	Click to display/hide audio example
	Drum loop	Fancy - "Feel Good" - 1974	Confirmed	The classic "Feel Good" drum break is used during the chorus, middle eight, and outro sections of 'Walking In My Shoes'. The loop is resampled to match the approximate 94 BPM tempo of "Walking In My Shoes", with the drum break sliced to start from the first beat on a bass drum hit, with an open hi-hat on the fourth step of the second beat. The resulting rhythm is then looped to repeat every two beats.	Click to display/hide audio example
	Orchestral strings	Elmer Bernstein - Cape Fear (film soundtrack) - "Rape And Hospital" - 1991	Confirmed	An orchestral string phrase from the opening moments of "Rape And Hospital", an ambient orchestral song conducted by Elmer Bernstein for the 1991 remake of the 1962 psychological thriller film Cape Fear, is layered with other string elements to form evolving string pads during the second and third verse sections of "Walking In My Shoes". Two copies of the sample are produced, with the first copy timestretched and re-pitched to play fourteen keys above its original key for two bars. The process is repeated for the second copy, with the second copy of the sample re-pitched to play eleven keys above its original key for the next two bars. The resulting four bar orchestral phrase is layered with other orchestral strings to form the sweeping orchestral phrase that bridges the second and third verse sections with the chorus of "Walking In My Shoes".	Click to display/hide audio example
	Orchestral strings	Elmer Bernstein - Cape Fear (film soundtrack) - "Frightened Sam" - 1991	Confirmed	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 "Walking In My Shoes". Multiple copies of the sample are produced, with each copy timestretched to play slightly slower than the sample's original tempo. Once timestretched, the resulting series of samples are sequenced to play a descending three note melody beginning five keys below the sample's original key, with the slower copies of the sample assigned to play the higher notes and the faster copies assigned to play the lower notes. In practice, this allows the built-in transients of the original sample to play in time with the tempo of "Walking In My Shoes".	Click to display/hide audio example
	Orchestral strings	Ennio Morricone - Ennio Morricone - Chamber Music - "Musica Per 11 Violini" - 1988	Confirmed	A brief orchestral phrase sampled from a 1988 performance of Ennio Morricone's "Musica Per 11 Violini" (originally written for the 1968 giallo thriller film A Quiet Place in the Country (Italian: Un tranquillo posto di campagna) is employed as a lush orchestral pad during the latter half of the second verse section of "Walking In My Shoes". The pad is re-pitched and layered in varying ways to form a chord in the moments leading up to the chorus section.	Click to display/hide audio example Note: 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 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.
	Orchestral strings	Dmitri Shostakovich - String Quartet No. 15 in E-flat minor - Op. 144: V. Funeral March: Adagio molto - Gidon Kremer • Daniel Phillips • Kim Kashkashian • Yo-Yo Ma - Shostakovich Quartet No. 15, Op. 144 - Gubaidulina: Rejoice! - 1989	Confirmed	A descending three note orchestral string phrase sampled from a live performance of Dmitri Shostakovich's String Quartet No. 15 recorded at the Kaufmann Concert Hall, New York, 1985 is employed as an orchestral string layer throughout the second verse section of "Walking In My Shoes". The sample is played melodically alongside a series of other orchestral parts to form the string crescendo which leads in to the second chorus.	Click to display/hide audio example Note: In this example, the sampled string phrase is compared to the latter half of the second verse section as it is heard in the ilikemusic.com instrumental version of "Walking In My Shoes" (played out of phase to more clearly expose the sound in the mix).
	Drum loop	Funkadelic - "Nappy Dugout" - 1973	Unconfirmed		✖

"Condemnation" - Depeche Mode 1993	Self-made samples
	Sample	Notes
	Improvised flight case bass drum	Wilder describes the recording of various elementary elements of "Condemnation" in an editorial on Shunt, the official Recoil website: 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 and (sometimes) Alan and then manipulated using vari-speed to produce very low and very high pitches. Once added to Dave's lead vocal, the resulting close harmonies provided the barbershop body of the track."
	Tambourine	The tambourine fill present at the end of each bar repeating throughout the piece is produced by scraping the tambourine against a wall.
	Sample sources
	Sample	Source	Status	Notes
	Piano	Korg 01/W Bank B, voice #01: 8' Piano	Confirmed	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 Devotional tour.

"Mercy In You" - Depeche Mode 1993	Self-made samples
	Sample	Notes
	Sampled sitar-like wail	"Mercy In You" employs a sampled sitar-like sound originally recorded for use throughout "Personal Jesus" as a melodic hook during the second verse section.
	Sample sources
	Sample	Source	Status	Notes
	Drum loop	The Headhunters - "God Make Me Funky" - 1975	Confirmed	Multiple sections of the classic "God Make Me Funky" drum break are sliced and looped to form a funky percussive rhythm that plays throughout "Mercy In You". The bulk of the loop is comprised of a bar of the "God Make Me Funky" break, featuring an open hi-hat on the third step of every third beat. The sample is then sliced and sequenced to match the approximate 96 BPM tempo of "Mercy In You". A second part of the break, featuring a double bass drum hit, is sliced and sequenced in with the main loop, with the softer bass drum hit on the third step of every second beat and the harder hit sequenced in time with the open hi-hat. The result is then looped throughout the introduction and verse sections of "Mercy In You".
	Drum loop	Five Stairsteps - "Don't Change Your Love" - 1968	Confirmed	The live version of "Mercy In You" as it was performed on the Devotional tour features a sample of the classic Five Stairsteps' "Don't Change Your Love" drum break. Due to the composition of the loop as it is used on this live arrangement of "Mercy In You", which features a reflection of a tambourine hit on the second beat of every bar and possesses distinct characteristics that differ somewhat from the original break, it is assumed the loop was taken secondhand from another song that sampled the original drum break (likely a rap record). Candidates for possible secondhand sample sources include the "JMJ Telephone Tap Groove" remix of Public Enemy's "Louder Than A Bomb" (the loop is exposed in the instrumental version of the remix, which was commercially available on the 1992 12" release) and the 1992 rap track "Taste of the Bass" by Hustlers Of Culture featuring EQ (2), which exposes the drum break in the intro.
	Variphon pad	Talk Talk - "The Rainbow" - 1988	Confirmed	"Mercy In You" employs a variophon pad with a unique distorted texture derived from Talk Talk's "The Rainbow" (approximately 0:55). 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".
	Outro piano rhythm	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"	Confirmed	The Devotional tour arrangement of "Mercy In You" employs a series of piano samples derived from the "16' Piano" and "8' Piano" voices of the Korg 01/W workstation synthesizer. Varying combinations of these piano samples are also performed live in the Devotional arrangements for "Walking In My Shoes", "Fly On The Windscreen", and "Something To Do".

"Judas" - Depeche Mode 1993	Self-made samples
	Sample	Notes
	"If you want my love" choir	This vocal performance is comprised of a large number of individual vocal recordings of individuals employed during the recording of "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."
	Brass	"Judas" and "Higher Love" each employ similar sample-based brass parts during their respective bridge sections.
	Sample sources
	Sample	Source	Status	Notes
	Orchestral strings	Korg 01/W Bank A, voice #07: TheStrings	Likely	The Devotional tour arrangement of "Judas" likely employs orchestral string parts derived from the "TheStrings" voice of the Korg 01/W workstation synthesizer.

"In Your Room" Depeche Mode 1993	Self-made samples
	Sample	Notes			Audio
	Double-tracked "splang" guitar chord	A series of four unique guitar chords are utilised as stabs at the start of each bar during the chorus sections of "In Your Room". Wilder describes the composition of this sound in a Q&A on Shunt, the official Recoil website: 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.			✖
	Orchestral tremolo strings	A series of sustained orchestral tremolo string parts are employed throughout the track. The strings play in alternating chords during the choruses and throughout the third verse.			✖
	Processed choir pads (reversed)				✖
	Textured ambient noise pad (looped)	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 root key for the final result.			✖
	Vocal "ahhs" samples	Solo vocal "ahh" samples are layered with a selection of "PompousChoir" preset samples from the 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 Devotional and Global Spirit tours. Notably, these vocal parts are also utilised for the outro choir melody of "Enjoy The Silence", a quietly-mixed melody in the outro of "World In My Eyes", choir stabs during the first chorus of "Halo", and the solo vocal melody used throughout "Memphisto".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Drum loop	Rusty Bryant - "Fire Eater" - 1971	Confirmed	A drum break consisting of a funky bass drum, snare, and hi-hat is lifted from "Fire Eater" by Rusty Bryant for use with "In Your Room" starting from the second verse. The loop is sequenced in an alternating fashion, so that more of the loop is heard as the song progresses: 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 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.	✖
	Variphon pad	Talk Talk - "The Rainbow" - 1988	Confirmed	'In Your Room' employs a variophon pad derived from the left stereo channel of Talk Talk's "The Rainbow" (at approximately 0:55). 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".	Click to display/hide audio example
	Main choir	Emulator II factory library disk #33: Voices - Preset #1: "PompousChoir"	Confirmed	The first and second verse and chorus sections of "In Your Room" as it was performed on the Devotional, Exotic, and Global Spirit tours feature choir chords derived from an edit of the "PompousChoir" preset of Emulator II factory library disk #33 "Voices". The chords are played with added vibrato, individually sampled, looped, and subsequently keymapped so that each chord is played back by pressing a single key at a time so as to make more efficient use of keyboard real estate and accommodate for keyboardist Andrew Fletcher's level of musical proficiency.	Click to display/hide audio example
	Verse two choir	Emulator II factory library disk #33: Voices - Preset #1: "PompousChoir" - SAMPLE 7, SAMPLE 8, SAMPLE 9, SAMPLE 10	Confirmed	The stereo choir pads utilised during the second verse section as it was performed on the Devotional, Exotic, and Global Spirit tours are comprised of a selection of four choir samples derived from the "PompousChoir" preset of Emulator II factory library disk #33 "Voices". Samples seven through ten in the "PompousChoir" preset are individually modulated to play back with moderate vibrato, truncated from the start of each sample to remove the fade-in inherent to each sample, and are subsequently re-sampled to "bake" the vibrato into each sample. Sample seven is the sole sample to have its polarity flipped. The samples are then individually looped and layered with re-purposed self-made vocal "ahhs" (most clearly heard in the outro of "Enjoy The Silence") to form the lush vocal pads used during the second verse section of "In Your Room".	Click to display/hide audio example
	Middle eight/outro strings	Emulator II factory library disk #33: Voices - Preset #1: "PompousChoir" - SAMPLE 7, SAMPLE 9	Confirmed	The stereo string pads utilised during the middle eight and 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 the "PompousChoir" preset of Emulator II factory library disk #33 "Voices" playing a monophonic melody (G, F♯, C♯) over the course of four bars, in which the F♯ is sustained across bars two and three.	Click to display/hide audio example
	Exotic percussion loop	Unknown	Unconfirmed	"In Your Room" utilises an "exotic" percussive loop comprised of a percussive instrument with a high pitch timbre, best heard in the "Apex" remix starting from 1:45. Notably, this loop is also used throughout Nitzer Ebb's "I Give To You" (also produced by Wilder), and is best heard around the three minute mark of its "Elemental" remix.	✖
	Drum loop	Simtec & Wylie - "Bootleggin" - 1971	Unconfirmed		✖
	Drum loop	Melvin Bliss - "Synthetic Substitution" - 1973	Unconfirmed		✖

"Get Right With Me" - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Sampled scratch	N.W.A - "8 Ball (Remix)" - 1988	Confirmed	"Get Right With Me" utilises a sampled scratch derived from the outro of 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 Exotic tour arrangement of "I Want You Now".
	John Bonham drum one-shots	Beastie Boys - "Rhymin' And Stealin" - 1986	Official	Wilder confirmed in a Q&A on Shunt, the official Recoil website 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"). These samples were later re-purposed for use in "Halo" and "Get Right With Me". Massive Attack would use the sampled drum elements from "Get Right With Me" on the song "Man Next Door" from their 1998 album Mezzanine, bringing the number of times this famous drum sound had been directly sampled by an artist only to then be sampled from their record by another artist to a total of three.
	Classic John Bonham drum one-shots	Led Zeppelin - "When The Levee Breaks" - 1971	Official	Wilder confirmed in a Q&A on Shunt, the official Recoil project site 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"). These samples were later re-purposed for use in "Halo" and "Get Right With Me".

"Higher Love" - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Drum loop	U2 - "So Cruel" - 1991	Official	Wilder indirectly confirmed in a response to a question regarding the sonic similarity between the drums of 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?....." The loop is produced by sampling various parts from the introduction of the original recording, where the piano and vocals are not present and the drum rhythm is most exposed. The sample is stretched to match the approximate 98 BPM tempo of "Higher Love" and is subsequently sliced into separate parts for the bass drum and snares, which are then sequenced in a different way from how they were originally performed. The piano remains partially audible in the final result. A separate slicing process and treatment of this loop is performed for drum fills, where the loop is reversed and repeated every two beats.
	Middle eight brass staccato	Korg 01/W Bank B, voice #22: Brass 1 - SAMPLE "127 F#2" and Bank A, voice #02: OrchBrass - SAMPLE "127 F#3"	Confirmed	The Devotional tour arrangement of "Higher Love" utilises a series of edited brass samples derived from the "Brass 1" and "OrchBrass" voices of the Korg 01/W workstation synthesizer. The samples are layered to form a brass instrument performed during the middle eight section.

"My Joy" - Depeche Mode 1993	Self-made samples
	Sample	Notes
	Distorted bass hit	A distorted bass hit with built-in descending pitch originally recorded as part of the bassline of "I Feel You" is re-purposed for use as a hit in "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.
	Sample sources
	Sample	Source	Status	Notes
	Snare drum fill	Beastie Boys - "Funky Boss" - 1992	Confirmed	The "rolling" snare drum fill audible in the intro of the Beastie Boys' "Funky Boss" is sampled and stretched via resampling to match the approximate 102 BPM tempo of "My Joy", with light distortion/saturation added to introduce a "dirty" quality to the part. As it was in the Beastie Boys original, this sample is used as a drum fill.
	Heavy drum loop with built-in bass drum, snare, and programmed hi-hat sequence	Beastie Boys - "Pass The Mic" - 1992	Confirmed	The heavy drum loop present in the brief instrumental break of the Beastie Boys' song "Pass The Mic" is sampled and stretched via resampling to match the approximate 102 BPM tempo of "My Joy". Once matched for tempo, the sample is sliced into two bars, placing the part that originally plays in the second bar (which features a "slurred" quality on the first snare hit) into the first bar, and the remaining content is placed into the second bar. The results are then looped with some light processing and additional drum parts added. For drum fills, the final beat of the first bar containing a snare hit is sliced and placed prior to the start of the loop. For bars containing reverse percussion fills, a brief snippet of the second bar including just the first bass drum hits and the snare drum is sampled, reversed, stretched, and played from the seventh step in the bar. The drums were originally performed by Mike D (Michael Diamond) during the recording of Check Your Head at G-Son Studios, Atwater Village, California. According to the late MCA (Adam Yauch) in 1999: One memorable thing about recording "Pass The Mic" was the drums. We had heard that [Led Zeppelin drummer] John Bonham had used a really long 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.
	Looped orchestral strings (x2)	Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam)	Confirmed	"My Joy" employs two looped orchestral phrases sampled from the fourth movement of a performance of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam). The two string elements are looped on a sustained phrase to produce dramatic orchestral pads. Notably, both string samples are also used throughout "Halo", "Memphisto", and "Clean".
	"Soaring" orchestral strings	Edward Elgar - Unidentified composition	Confirmed	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: 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. The classical recording sampled would have been released by 1989.

"My Joy" (Slow Slide Mix) - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Heavy drum loop with built-in bass drum, snare, and programmed hi-hat sequence	Beastie Boys - "Pass The Mic" - 1992	Confirmed	The heavy drum loop present in the brief instrumental break of the Beastie Boys' song "Pass The Mic" is sampled and stretched via resampling to match the approximate 102 BPM tempo of "My Joy". Once matched for tempo, the sample is sliced into two bars, placing the part that originally plays in the second bar (which features a "slurred" quality on the first snare hit) into the first bar, and the remaining content is placed into the second bar. The results are then looped with some light processing added, creating the loop that plays for eight bars in chorus with a loop from Dexter Wansel's "Theme From The Planets". A reversed percussion effect created by sampling, reversing, and stretching a brief snippet from bar two of the "Pass The Mic" loop can be heard throughout the "Slow Slide" remix. The sampled percussive element plays from the seventh step on the first beat on every other bar throughout the remix, and is processed through a phaser effect to widen the sound and add character to the part.
	Drum loop	Fancy - "Feel Good" - 1974	Confirmed	The classic "Feel Good" drum break is used throughout the "Slow Slide" remix of "My Joy". The loop is sliced to begin on a bass drum, with an open hi-hat on the fourth step of the second beat. The resulting rhythm is then repeated for the remaining two beats of the bar, with the second open hi-hat hit removed on the fourth beat.
	Drum loop	James Brown - "Funky Drummer" - 1970	Confirmed
	Drum loop	Dexter Wansel - "Theme From The Planets" - 1976	Confirmed

"Walking In My Shoes" (Ambient Whale Mix) - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Main drum loop	Innocence - "Natural Thing (Sunset Mix)" - 1990	Confirmed	The main drum loop used throughout the "Ambient Whale Mix" of "Walking In My Shoes" is derived from the opening moments of the "Sunset Mix" of "Natural Thing" by early 1990s British R&B group Innocence. The loop is timestretched via resampling to match the approximate 93 BPM tempo of "Walking In My Shoes" and repeated throughout the "Ambient Whale Mix" starting from bar seventeen.

"Walking In My Shoes" (Grungy Gonads Mix) - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Drum loop	Mountain - "Long Red" - 1972	Confirmed
	Orchestral string passage	Ennio Morricone - "In Chiesa" - Ad Ogni Costo (film) soundtrack - 1967	Official	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. for use in the "Walking In My Shoes (Grungy Gonads Mix)". The sample is stretched to match the tempo of "Walking In My Shoes", with sixteen manual scratches on the third bar producing an exciting scratch effect. The sample appears in multiple "Walking In My Shoes" remixes from the period, and has commonly been employed in many performances of this song since its live introduction on the Devotional tour.

"Walking In My Shoes" (Extended Twelve Inch Mix) - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Drum loop	The Disposable Heroes of Hiphoprisy - "Language Of Violence" - 1992	Confirmed

"Walking In My Shoes" (Random Carpet Mix) - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Orchestral string samples	Doctor Zhivago (film) - 1965	Unconfirmed

"Walking In My Shoes (Anandamidic Mix)" - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Drum loop	Talking Heads - "Seen And Not Seen" - 1980	Confirmed

"In Your Room" (Jeep Rock Mix) - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Drum loop	Skull Snaps - "It's A New Day" - 1973	Confirmed

Ultra (1997)

"Painkiller" - Depeche Mode 1997
	Sample sources
	Sample	Source	Status	Notes
	N/A	Vanessa Paradis - "The Future Song" - 1992	Unconfirmed

"It's No Good" (Hardfloor Mix) - Depeche Mode 1997
	Sample sources
	Sample	Source	Status	Notes
	Drum elements	Fat Larry's Band - "Down In The Avenue" - 1976	Confirmed	Credit to Christopher Baird for this discovery.

"Useless" (The Kruder & Dorfmeister Session) - Depeche Mode 1997	Self-made samples
	Sample	Notes
	Slide guitar stab	A slide guitar stab originally recorded for use in "Policy Of Truth" is utilised throughout the "Kruder & Dorfmeister Session" remix of "Useless".

"Useless" (Cosmic Blues Mix) - Depeche Mode 1997
	Sample sources
	Sample	Source	Status	Notes
	"I want to hear you play some bass" vocal sample	National Lampoon's That's Not Funny, That's Sick (Sketch comedy album) - 1977	Likely

Exciter (2001)

"Dream On" (Remix) - Depeche Mode 2001
	Sample sources
	Sample	Source	Status	Notes
	N/A	Kraftwerk - "The Robots" - 1978	Unknown

Playing The Angel (2005)

Playing The Angel does not contain samples from any identifiable sources.

Sounds Of The Universe (2009)

Sounds Of The Universe does not contain samples from any identifiable sources.

Delta Machine (2013)

Delta Machine does not contain samples from any identifiable sources.

Spirit (2017)

Spirit does not contain samples from any identifiable sources.