List of Depeche Mode live sample sources by tour/1987-1988 Music For The Masses 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 1987-1988 Music For The Masses 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.

1987-1988 Music For The Masses Tour

Pimpf

"Pimpf" Depeche Mode 1987	Self-made samples
	Sample	Notes			Audio
	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	Audio
	Tubular bells	Emulator II factory library disk #67: Tubular Bells - Preset #1: "Tubular Bell"	Confirmed	The tubular bells utilised in the final moments of "Pimpf" are derived from Emulator II factory disk #67 "Tubular Bells".	Click to display/hide audio example

Behind The Wheel

"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.
	Snare/tambourine	Talk Talk - "I Don't Believe In You" - 1986	Confirmed	A snare and tambourine hit derived from Talk Talk's "I Don't Believe In You" is used throughout "Behind The Wheel".	Click to display/hide audio example
	Verse marimba melody	Emulator II factory library disk #34: Vibraphones & Marimbas - Preset #7: "Marimbas"	Confirmed	A marimba sample derived from Emulator II factory library disk #34 "Vibraphones & Marimbas" is utilised during the verse sections of "Behind The Wheel" as it was performed on the 1987-1988 Music For The Masses tour.	✖

Strangelove

"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
	Drum elements	Cameo - Word Up! - "Word Up!" - 27 May 1986	Confirmed	The snare drum audible throughout all versions of "Strangelove" is partly comprised of a sample derived from the intro of Cameo's 1986 single "Word Up!".	Click to display/hide audio example
	Choral elements	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".	✖
	Ambient elements	Emulator II factory library disk #72: Jungle Adventure - Preset #1: "MONKEY TALK", SAMPLE 5	Confirmed	The album version intro of "Strangelove" employs a truncated and looped sample of a hyrax screeching derived from the "MONKEY TALK" preset of Emulator II factory library disk #72 "Jungle Adventure". The sample as featured on the Emulator II factory library disk was itself sampled from "Hyrax", a recording featured on the 1973 Nonesuch Explorer Series field recording LP Animals Of Africa (Sounds Of The Jungle, Plain & Bush).	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.
	Electronic drum elements	Kraftwerk - Electric Café - "The Telephone Call" ("Der Telefon-Anruf" - 10 November 1986	Confirmed	An electronic percussion sound derived from Kraftwerk's "The Telephone Call" is used for a double snare fill periodically throughout "Strangelove".	Click to display/hide audio example
	Synthesizer elements	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 elements	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
	Synthesizer elements	Reflective Arts International - Emax - Universe of Sounds Volume 1 > Synthesizers > 37. Circa 69 - SAMPLE 3	Confirmed	A clavinet sample derived from "Circa 69", a voice featured in the 1987 Emax - Universe of Sounds Volume 1 library for the E-mu Emax I is utilised sporadically throughout "Strangelove".	✖

Sacred

"Sacred" Depeche Mode 1987
	Sample sources
	Sample	Source	Status	Notes	Audio
	Reversed choir	Carl Orff - Carmina Burana - III. Cour d'amours - Amor volat undique - Royal Philharmonic Orchestra, Southend Boys' Choir, Brighton Festival Chorus - 1 February, 1976	Confirmed	"Sacred" utilises an edited choral sample derived from a 1976 Royal Philharmonic Orchestra/Southend Boys' Choir/Brighton Festival Chorus performance of the Amor volat undique movement of Cours d'amours, the third section of Carl Orff's Carmina Burana. The performance, conducted by Antal Doráti on 1 February 1976, featured soprano vocals by Norma Burrowes, tenor vocals by Louis Devos, and baritone vocals by John Shirley-Quirk. The sample contains the Latin lyric "Iuvenes, iuvencule - coniunguntur merito" ("Young men and women are rightly coupled"). The sample is played one key below its original key. The "Iuvenes, iuvencule - coniunguntur" lyric is 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, similar sampled elements also derived from Carmina Burana are used throughout "Little 15" and "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
	Shaker	Emulator II factory library disk #42: Ethnic Percussion #1 - "EthnicPerc 1", SAMPLE 6	Confirmed	A shaker sample derived from Emulator II factory library disk #42 "Ethnic Percussion #1" is utilised throughout the verse sections of "Sacred".	✖

Something To Do

"Something To Do" - Depeche Mode 1984
	Sample sources
	Sample	Source	Status	Notes
	Piano elements	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.
	Melodic elements	Yamaha DX7 factory ROM #2 Bank A: "VIBE 2"		The Music For The Masses tour arrangement of "Something To Do" employs a vibraphone-like sample derived from the Yamaha DX7 factory ROM #2A program "VIBE 2".

Blasphemous Rumours

"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".

Stripped

"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
	Operatic vocal	Hildegard of Bingen, Gothic Voices, Emma Kirkby, Christopher Page - A Feather on the Breath of God - "Columba aspexit" - April 1985 (recorded 14 September 1981)	Confirmed	An operatic vocal derived from a September 1981 performance of "Columba aspexit", a piece of sacred vocal music written in the 12th century by German abbess Hildegard of Bingen, is utilised as a layer to form a synth string part audible throughout the outro of "Stripped". Featuring the British vocal ensemble Gothic Voices with soprano Emma Kirkby, the sampled performance is notably used throughout "Christmas Island". An edited copy of this sound would later see use as a re-purposed synth string part heard during the chorus sections of "Policy Of Truth".	✖
	Piano verse melody	Emulator II factory library disk #04: Grand Piano - Preset #1: "Piano #1", SAMPLE 2	Confirmed	The repeating melody heard throughout the verse sections is partly comprised of a manipulated piano sample derived from Emulator II factory library disk #04 "Grand Piano".	Click to display/hide audio example
	Snare drum	New Order - "Love Vigilantes" - 1985	Confirmed	The first of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Stripped". Similarly, this snare sound is used throughout "Breathing In Fumes", "Christmas Island", "Never Let Me Down Again", and "Nothing".	✖

The Things You Said

"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".

Black Celebration

"Black Celebration" - Depeche Mode 1986
	Sample sources
	Sample	Source	Status	Notes
	Verse melody	Emulator II factory library disk #24: Clarinet & Bass Clarinet - Preset #1: "Clarinets"	Confirmed	A sample derived from Emulator II factory library disk #24 "Clarinet & Bass Clarinet" is utilised for a melody during the third verse of "Black Celebration".

Shake The Disease

"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".			✖
	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).
	Hi-hats (open and closed), snare drum, bass drum	Yamaha RX-11 - Digital Rhythm Programmer - 1984	Confirmed	A series of bass drum, snare drum, and hi-hat samples derived from the Yamaha RX-11 programmable drum machine are utilised throughout "Shake The Disease".	✖
	Accordion elements	Emulator II factory library disk #23: Accordian & Banjo - SAMPLE 4	Confirmed	An accordion sample derived from Emulator II factory library disk #23 "Accordian & Banjo" is utilised throughout the intro and chorus sections of "Shake The Disease".	✖
	Mandolin elements	Emulator II factory library disk #25: Nylon Guitar & Mandolin - SAMPLE 5	Confirmed	A mandolin sample derived from Emulator II factory library disk #25 "Nylon Guitar & Mandolin" is utilised throughout the verse sections of "Shake The Disease".	✖

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	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 drum elements derived from Led Zeppelin's "When The Levee Breaks", which are repurposed for "Nothing".
	Snare drum	New Order - "Love Vigilantes" - 1985	Confirmed	The second of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Nothing". Similarly, this snare sound is used throughout "Stripped", "Breathing In Fumes", "Christmas Island", and "Never Let Me Down Again".
	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.
	Slap bass guitar	Emulator II factory library disk #30: Funk Rock Bass - Preset #2: "Slap Bass 1"	Confirmed	A slap bass guitar sample derived from Emulator II factory library disk #30 "Funk Rock Bass" is utilised throughout "Nothing".

A Question Of Time

"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.
	Brass chorus counter melody	Emulator II factory library disk #60: Velocity Sax - Preset #5: "HrdRd Tenor	Confirmed	A sample derived from Emulator II factory library disk #60 "Velocity Sax" is utilised for a counter melody during the choruses of "A Question Of Time" as it was performed on the 1987-1988 Music For The Masses tour.	✖

Never Let Me Down Again

"Never Let Me Down Again" Depeche Mode 1987	Self-made samples
	Sample	Notes			Audio
	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 guitar-like sample combined with a 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 layer audible throughout "Never Let Me Down Again" is likely derived from the PPG Wave 2.3 wavetable "031 Piano/Sax". Notably, A similar synthesizer bass drone originally recorded for use with "Policy Of Truth" is layered with this sound as it was performed during live performances on the 1993-1994 Devotional and Exotic tours.			✖
	Tom drums	In an April 2020 interview, 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" layered with other drum 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	Audio
	"When The Levee Breaks" drum samples	Led Zeppelin - "When The Levee Breaks" - 1971	Official	In a 4 July 2019 interview with Super Deluxe Edition, Bascombe recalled how the sampled percussion came to be used in "Never Let Me Down Again": "We were round at [Alan Wilder’s] house – and I said 'Right, I want to use "When The Levee Breaks" [Led Zeppelin] drums on [Never Let Me Down Again].' [...] I suggested using them for the main kick and snare."	Click to display/hide audio example
	Orchestral strings and choir pads	Carl Orff - Carmina Burana - I. Primo vere (In Springtime) - Ecce gratum - Royal Philharmonic Orchestra, Southend Boys' Choir, Brighton Festival Chorus - 1 February, 1976	Official	"Never Let Me Down Again" utilizes two edited choral samples derived from a Royal Philharmonic Orchestra/Southend Boys' Choir/Brighton Festival Chorus performance of the Primo vere movement of Primo vere, the first section of Carl Orff's Carmina Burana. The performance, conducted by Antal Doráti on 1 February 1976, featured soprano vocals by Norma Burrowes, tenor vocals by Louis Devos, and baritone vocals by John Shirley-Quirk. The Latin words being sung within the samples include the final moments of the lyric "Hyemis sevitia. Ah!" ("The rigors of winter. Ah!"). In an April 2020 interview, Dave Bascombe described the technical challenge of manipulating the sampled audio for use in "Never Let Me Down Again": "I think it was Carmina Burana [...] It took ages getting it all in time and in tune. [Nowadays] that's a piece of piss."	Click to display/hide audio example
	Brass layer	Emulator II factory library disk #63: ARP 2600 - SAMPLE 3	Confirmed	An edited synthesizer sample derived from Emulator II factory library disk #63 "ARP 2600" is utilised as a synth brass layer throughout the chorus sections of "Never Let Me Down Again".	Click to display/hide audio example
	Brass layer	Emulator II factory library disk #21: Assorted Trombones - SAMPLE 13	Confirmed	A looping trombone sample derived from Emulator II factory library disk #21 "Assorted Trombones" is utilised throughout the chorus and outro sections of "Never Let Me Down Again".	✖
	Pizzicato/strings	Emulator II factory library disk #08: Cello & Violin - SAMPLE 8, SAMPLE 16	Confirmed	Two cello and violin samples derived from Emulator II factory library disk #08 "Cello & Violin" are layered to form an octave with a sound previously recorded for use in 1986's "A Question Of Time" to form the pizzicato-like phrases audible during the second chorus section of "Never Let Me Down Again".	Click to display/hide audio example
	Snare drum	New Order - "Love Vigilantes" - 1985	Confirmed	The second of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Never Let Me Down Again". Similarly, this snare sound is used throughout "Stripped", "Breathing In Fumes", "Christmas Island", and "Nothing".	Click to display/hide audio example
	Tom drum layer	Emulator II OMI Universe of Sounds Volume 1 - Track Kit - "TRACK_KIT_SAMPLE 3"	Confirmed	An edited tom drum sound derived from the Emulator II OMI Universe of Sounds Volume 1 voice "Track Kit" is layered with a custom tom drum sound originally recorded for use with "Stripped" to form the tom drum fills heard throughout "Never Let Me Down Again".	✖
	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.	✖

A Question Of Lust

"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.

Master And Servant

"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".

Just Can't Get Enough

"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).

Everything Counts

"Everything Counts" - Depeche Mode 1983
	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.
	Synthesizer elements	Yamaha Corporation - Yamaha DX7 factory ROM #1 Bank A: "STRINGS 1"	Confirmed	A brassy synthesized strings pad heard sporadically during the verse sections of "Everything Counts" is played using an edit of Yamaha DX7 factory ROM #1 Bank A: "STRINGS 1".
	Breathing sound	Kraftwerk - "Tour de France" - 1983	Unknown
	Intro sweep	Kraftwerk - "The Robots" - 1978	Unknown