List of Depeche Mode live sample sources by tour/1993 Devotional Tour

Glossary Terms used in this article

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

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.

Information

This page documents all verifiable sound sources for many of the musical parts used by Depeche Mode in the live concert tour arrangements of songs performed on the 1993 Devotional Tour.

Due to the manipulated nature of the samples described in this article, there is unavoidable potential for error or sample misattribution. To ensure accuracy, this article strives to use verified quotes from band members and recording personnel with citations wherever possible, audio examples, and independent research voluntarily contributed by Depeche Mode and Recoil fans worldwide. This article provides an interesting document on this topic in a tabular format that is organized, well-researched, and reasonably accurate. Please bear in mind that due to the limited number of relevant quotes for each sample from band members or associates involved in producing the music described on this page, audio samples that lack official confirmation are not guaranteed to be accurate.

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

If you notice an error or wish to contribute or request the removal of information contained within this article, please feel free to contact us.

1993 Devotional Tour

"Everything Counts"

"Everything Counts" Depeche Mode 1983	Self-made samples
	Sample	Notes			Audio
	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	Audio
	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		✖

"Fly On The Windscreen"

"Fly On The Windscreen" Depeche Mode 1986	Self-made samples
	Sample	Notes			Audio
	"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	Audio
	Vocal elements	ABC World News Tonight - "Hiroshima: 40 Years Later" (aired 5-6 August 1985)	Confirmed	A series of audio samples utilised sporadically throughout the "Final" version of "Fly On The Windscreen" feature dialogue spoken by news anchor Peter Jennings as part of the 5-6 August 1985 ABC World News Tonight special report "Hiroshima: 40 Years Later". The sampled dialogue includes the following excerpts: "[...] their living hell.", "[...] by the atomic bomb, but they actually died because of an evil [...]".	✖
	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". The scratch effect is itself a manipulated sample derived from Marva Whitney's 1969 "It's My Thing - Pt. 1". Notably, this scratch sample is also used throughout the Devotional tour version of "I Want You Now".	✖
	Sampled scratch	N.W.A - "8 Ball (Remix)" - 1988	Confirmed	The Devotional tour arrangement of "Fly On The Windscreen" utilises a sampled scratch derived from the outro of N.W.A's "8 Ball (Remix)". The scratch effect is itself a manipulated sample derived originally from the 1987 hip hop track "It's My Turn" by Dezo Daz featuring DJ Slip (which is also partly comprised of a sample derived from James Brown's 1971 "Hot Pants Pt. 1 (She Got to Use What She Got to Get What She Wants)").	✖
	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.	✖
	Drum elements	Original Concept - "Can You Feel It" - 1986	Confirmed	A section of audio featuring a Roland TR-808 drum pattern is utilised for the Devotional tour arrangement of "Fly On The Windscreen".	✖

"Something To Do"

"Something To Do" Depeche Mode 1984
	Sample sources
	Sample	Source	Status	Notes	Audio
	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.	✖

"I Want You Now"

"I Want You Now" Depeche Mode 1987	Self-made samples
	Sample	Notes			Audio
	Feminine "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 feminine "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
	Reverberated chorus section vocal	The Stick Shifts - "Automobile" - 1980 (?)	Confirmed	An edited sample derived from the opening moments of "Automobile" by The Stick Shifts is utilised during the chorus sections of "I Want You Now".	Click to display/hide audio example
	Feminine 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.
	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". The scratch effect is itself a manipulated sample derived from Marva Whitney's 1969 "It's My Thing - Pt. 1". 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)". The scratch effect is itself a manipulated sample derived originally from the 1987 hip hop track "It's My Turn" by Dezo Daz featuring DJ Slip (which is also partly comprised of a sample derived from James Brown's 1971 "Hot Pants Pt. 1 (She Got to Use What She Got to Get What She Wants)").	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".