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

Main article: 1993 Devotional Tour

The 1993 Devotional Tour was a multi-leg tour undertaken by Depeche Mode in support of their eighth studio album Songs Of Faith And Devotion. It began its European leg on 19 May 1993 in Lille that concluded with the Crystal Palace concert on 31 July. Following a month-long break and a 6 September rehearsal, the tour kicked off its North American leg in Quebec City and toured across Canada, the United States, and Mexico before returning to the United Kingdom for an additional string of shows in December.

After a two month break, the tour was extended with a named second leg through which the group (minus Andrew Fletcher, who took a leave of absence and was replaced by tour manager and longtime band associate Daryl Bamonte for thirty-nine of its sixty shows) played to countries and territories they had never previously visited, including South Africa, Australia, East Asia, and South America as well as additional shows in the United States and Canada.

"Higher Love"

"Higher Love" Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes	Audio
	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?....."	✖
	808 bass drum	HITCD08 - Pascal Gabriel's Dance Samples (AMG) - Track 16 - "808 BD - Long" - 1991	Confirmed	An edited 808 bass drum derived from AMG's 1991 sample CD HITCD08 - Pascal Gabriel's Dance Samples is utilised throughout "Higher Love".	Click to display/hide audio example
	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.	✖
	Tambourine loop	HITCD08 - Pascal Gabriel's Dance Samples (AMG) - Track 8 (0:40) - "Thick Tambourine Loop - 92 BPM" - 1991	Confirmed	An edited tambourine loop derived from AMG's 1991 sample CD HITCD08 - Pascal Gabriel's Dance Samples is utilised throughout "Higher Love".	Click to display/hide audio example

"Policy Of Truth"

"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 unconfirmed, 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.			✖
	Lead melody layer	The lead melody of "Policy Of Truth" is comprised of a series of layered sounds, one of which is a repurposed "ahh" vocal sample most clearly heard during the outro of "Enjoy The Silence".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Main riff	Unknown Asian instrument sample library CD	Official	During a 2016 podcast with author Rob Bell, Martin Gore was asked about the origin of this sound: 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.	✖
	Bass guitar/piano	Emulator III OMI Universe of Sounds Volume 1 - Funk Bass - "Funk Bass E1", "Funk Bass G1", "Funk Bass A1", "Funk Bass C2", "Funk Bass D2", "Funk Bass F2"	Confirmed	A dark piano/bass guitar stab heard throughout the chorus sections of "Policy Of Truth" is partly comprised of a series of bass guitar samples derived from the Emulator III Universe Of Sounds Volume 1 voice "Funk Bass".	Click to display/hide audio example Note: In this example, the raw samples are played. The samples are then layered and finally detuned.
	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 within the chorus sections of "Policy Of Truth".	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".	✖
	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.	✖
	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).
	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	A sample of 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 originally featured throughout Depeche Mode's 1986 instrumental "Christmas Island" and as a layer in the outro of "Stripped". Performed by the British vocal ensemble Gothic Voices with soprano Emma Kirkby, the sampled performance is re-purposed as a layer with one or more sounds to form a synth string pad heard throughout the chorus sections of "Policy Of Truth".	✖

"World In My Eyes"

"World In My Eyes" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	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 solo vocal "ahh" samples likely derived from vocals by Martin Gore play an oscillating melody during the outro of "World In My Eyes".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Drum elements	Mike Longo - Talk with the Spirits - "Angel of Love" - Recorded 16 January 1976	Confirmed	A snare drum derived from the introduction of "Angel of Love" by American jazz pianist Mike Longo is utilised throughout the 1993 Devotional tour arrangement of "World In My Eyes". The drum loop is also prominently featured on the "Grungy Gonads" remix of "Walking In My Shoes", 1993 Devotional tour performances of "Fly On The Windscreen", and live performances of Recoil's "Jezebel" as it was performed on the 2010-2011 Selected Events tour.	✖
	Snare drum	Fad Gadget - Fireside Favourites - "Newsreel" - 7 November 1980	Confirmed	A manipulated, reversed snare drum sample derived from the opening moments of "Newsreel" from the 1980 Fad Gadget album Fireside Favourites is utilised throughout the 1993 Devotional tour arrangement of "World In My Eyes". Contrary to how the sample is used throughout the album version of "World In My Eyes" as a main snare drum, the sample is used sporadically as a riser throughout the live arrangement. Notably, this sample would also see use in the outro of "Personal Jesus". Former Depeche Mode member Alan Wilder recalled the snare drum sound of "World In My Eyes" in an undated Q&A on Shunt, the official Recoil project site: "[...] I think we made it from scratch or it could be a combination of analogue and a sample."	✖
	Guitar elements	Fleetwood Mac - "Black Magic Woman" - 29 March 1968	Confirmed	A guitar chord featured in the intro of Fleetwood Mac's 1968 single "Black Magic Woman" is utilised sporadically throughout "World In My Eyes". The guitar sound was performed by Fleetwood Mac founder Peter Green, who achieved its distinct shimmering effect by playing a D minor triad on the 17th fret with vibrato. A manipulated copy of the sample is played with an oscillating pitch bend layered with a separate sample (derived from Emulator II factory library disk #37: Electric Guitar) to produce a wavering verse section riff. A second copy of the sample appears on the first beat after each chorus section.	Click to display/hide audio example
	Pitch bending verse section fill	Emulator II factory library disk #36: Lead Guitar	Confirmed	An electric guitar sample derived from Emulator II factory library disk #36 "Lead Guitar" is played in reverse with an oscillating pitch bend and layered with a separate sample (derived from Fleetwood Mac's "Black Magic Woman") to produce the "whirl" effect that occurs during the verse sections.	✖
	Orchestral strings	Emulator II factory library disk #05: Marcato Strings	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".	Click to display/hide audio example
	"Orchestral" hit/synthesizer stab	Thomas Dolby - The Golden Age of Wireless - "She Blinded Me with Science" - 1982	Confirmed	A synth hit derived from the final moments of Thomas Dolby's 1982 single "She Blinded Me with Science" is utilised as an orchestral hit during the final bar of each chorus section of "World In My Eyes"	Click to display/hide audio example
	"Clicking" verse percussion rhythm	Kraftwerk - The Man-Machine - "The Man-Machine" ("Die Mensch-Maschine") - May 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 - Computer World - "Home Computer" ("Heimcomputer") - 1981	Confirmed	"World In My Eyes" employs a manipulated sample derived from the latter half of Kraftwerk's "Home Computer".	Click to display/hide audio example
	Chorus rock organ	Emax I factory library disk #ZD703: Rock Organ - SAMPLE 4	Confirmed	A manipulated sample of an organ derived from Emax I factory library disk #ZD703 "Rock Organ" is utilized throughout the chorus sections of "World In My Eyes".	Click to display/hide audio example
	Bass layer	Sound Ideas - Series 1000 General Effects Library - CD #1018 Naval Boats, Ships, Motorcycles - Track #35 "SHIP, HORN" (filename "ShipHorn 1018_35") - 1983	Confirmed	A truncated sample of a naval ship horn derived from Sound Ideas's 1983 sound effects library Series 1000 General Effects Library CD #1018 Naval Boats, Ships, Motorcycles is utilised throughout the chorus sections of "World In My Eyes" as a bass layer. The library is notable for debuting as the first commercially available sound effects library of its kind on compact disc.	Click to display/hide audio example
	Synth string	Akai S1000/S1100 Sound Library - Violin Ensemble SL1093 - "E5 VL-E"	Likely	A processed sample of a violin derived from Akai S1000/S1000 sound library disk "Violin Ensemble SL1093" is likely utilised as a pre-chorus section riser throughout "World In My Eyes".	Click to display/hide audio example

"Walking In My Shoes"

"Walking In My Shoes" Depeche Mode 1993	Self-made samples
	Sample	Notes			Audio
	Processed piano/harpsichord riff	Wilder describes the composition of this sound in a Q&A on Shunt, the official Recoil website: "[...] Flood and I began to construct the various drum loops, the string arrangements, the main riff (which combined a piano and harpsichord through a distorted guitar amp) and all the other bits and pieces [of the song]."			✖
	"Water droplet-like" verse pad	A soft bell or "water droplet-like" melody audible during the verse sections of "Walking In My Shoes" is partly comprised of a treated sample derived from the opening moments of "Blasphemous Rumours".			Click to display/hide audio example
	Sample sources
	Sample	Source	Status	Notes	Audio
	Drum loop	Mike Longo - Talk with the Spirits - "Angel of Love" - Recorded 16 January 1976	Confirmed	A drum loop derived from the introduction of "Angel of Love" by American jazz pianist Mike Longo is utilised throughout the live arrangement of "Walking In My Shoes" as it was performed on the 1993 Devotional tour. The drum loop is also prominently featured on the "Grungy Gonads" remix of "Walking In My Shoes", 1993 Devotional tour performances of "Fly On The Windscreen", and live performances of Recoil's "Jezebel" as it was performed on the 2010-2011 Selected Events tour.	✖
	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".	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 and second chorus sections of "Walking In My Shoes".	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 the fifth movement of 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 played in various ways throughout the second and third verse sections of "Walking In My Shoes".	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).
	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".	Click to display/hide audio example
	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	Beastie Boys - "3-Minute Rule" - 25 July 1989	Confirmed	A drum break derived from "3 Minute Rule" by the Beastie Boys (itself a sample derived from early-mid 1970s pop group Fancy's 1974 "Feel Good") is used during the chorus, middle eight, and outro sections of 'Walking In My Shoes'.	Click to display/hide audio example
	Tambourine loop	AMG - HITCD08 - Pascal Gabriel's Dance Samples - Track 8 (0:40) - "Thick Tambourine Loop - 92 BPM" - 1991	Confirmed	An edited tambourine loop derived from AMG's 1991 sample CD HITCD08 - Pascal Gabriel's Dance Samples is utilised throughout "Walking In My Shoes".	Click to display/hide audio example
	Drum loop	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 "Walking In My Shoes".	✖
	Drum elements	LL Cool J - Walking with a Panther - "Smokin', Dopin'" - 9 June 1989	Confirmed	A sample of audio featuring drum elements derived from the intro of "Smokin', Dopin'" by LL Cool J is utilised throughout "Walking In My Shoes".	Click to display/hide audio example
	Solina strings	Akai S1000/S1100 Sound Library - Violin Section #1 SL1064 - Solid String - SOLINA or S.W.M. #2 - Solid String - "SOLINA"	Confirmed	A synthesized solina string sound layered with a variety of sampled orchestral phrases audible in "Walking In My Shoes" from the second verse section onwards is derived from the "Solid String" preset of a Akai S1000/Akai S1100 factory library disk.	✖
	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".	✖
	Orchestral strings	Dmitri Shostakovich - String Quartet No. 15 in E-flat minor - Op. 144: II - Serenade: Adagio - Gidon Kremer • Daniel Phillips • Kim Kashkashian • Yo-Yo Ma - Shostakovich Quartet No. 15, Op. 144 - Gubaidulina: Rejoice! - 1989	Likely	A reversed string phrase sampled from the second movement of a live performance of Dmitri Shostakovich's String Quartet No. 15 recorded at the Kaufmann Concert Hall, New York, 1985 is likely employed as an orchestral string layer within "Walking In My Shoes".	✖

"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".			✖
	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".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Percussive elements (car door shutting)	BBC Records - BBC Sound Effects No. 2 - BAND 6. SPORTS CAR - TRIUMPH TR3 - "Door close" - 1970	Official	In April 2023, Music For The Masses co-producer Dave Bascombe kindly confirmed in an email exchange for the Depeche Mode Live Wiki that several sounds utilised for "Behind The Wheel" originated from a series of sound effects LPs published by BBC Records. A sample of a Triumph TR3 sports car door shutting derived from "Door close", a sound effect featured on the 1970 BBC Records LP BBC Sound Effects No. 2, is utilised most prominently in the intro of "Behind The Wheel". Bascombe describes how various driving-related sounds later used for "Behind the Wheel" were originally procured during his tenure as producer for It's Immaterial's 1986 single "Driving Away From Home": "Yes, [those] sound effects are from a BBC sound effects album [...] Most of the [...] driving effects were sampled for use on an extended mix of 'Driving Away From Home' by It's Immaterial... the 'Dead Man's Curve' mix."	✖
	Ambient elements (submarine asdic/sonar sound effect)	BBC Records - BBC Sound Effects No. 8 - BAND 5. SUBMARINE WARFARE - ANTI-SUBMARINE ACTION - "Asdic - Searching" - 1972	Official	In April 2023, Music For The Masses co-producer Dave Bascombe kindly confirmed in an email exchange for the Depeche Mode Live Wiki that several sounds utilised for "Behind The Wheel" originated from a series of sound effects LPs published by BBC Records. A sample of a 1961 anti-submarine detection asdic/sonar system searching for a target derived from "Asdic - Searching", a sound effect featured on the 1972 BBC Records LP BBC Sound Effects No. 8, is utilised as a melodic element during the verse sections of "Behind The Wheel".	✖
	Snare/tambourine	Talk Talk - The Colour of Spring - "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	E-mu Systems - 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.	✖
	Synthesizer elements	Synclavier II Timbre Directory Diskette #1 - 2148 ELEC.DULCIMER 2	Confirmed	The sitar-like melody audible throughout "Behind The Wheel" consists of a manipulated sitar sample derived from Emulator II factory library disk #61 "Sitar" layered with a manipulated sample derived from an edit of "2148 - ELEC.DULCIMER 2", a dulcimer-like timbre featured on Synclavier II timbre directory diskette #1. Similarly, "ELEC.DULCIMER 2" was previously used to melodic effect during the verse sections of "The Landscape Is Changing".	✖

"Halo"

"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.			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Lead riff	Sound Ideas - Series 1000 General Effects Library - CD #1018 Naval Boats, Ships, Motorcycles - Track #35 "SHIP, HORN" (filename "ShipHorn 1018_35") - 1983 (originally available on reel-to-reel tape, 1979)	Confirmed	The lead riff heard throughout "Halo" employs a truncated sample of a naval ship horn derived from Sound Ideas's 1983 sound effects library Series 1000 General Effects Library CD #1018 Naval Boats, Ships, Motorcycles. The library is notable for debuting as the first commercially available sound effects library of its kind on compact disc.	Click to display/hide audio example
	Orchestral strings	Barry Adamson - Moss Side Story - The Swinging Detective - 6 March 1989	Confirmed	An orchestral string staccato derived from Barry Adamson's 1989 instrumental "The Swinging Detective" is utilised throughout "Halo".	Click to display/hide audio example
	Orchestral strings	Gustav Mahler, Zubin Mehta - Symphony No.5 in C sharp minor - IV Adagietto: Sehr Langsam. V. Rondo - Finale: Allegro - Los Angeles Philharmonic - 1977	Confirmed	"Halo" employs orchestral phrases sampled from a 1977 performance of the fourth movement of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam), conducted by Zubin Mehta and performed by the Los Angeles Philharmonic.	✖
	Orchestral strings	Gustav Mahler, Georg Solti - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam) - Chicago Symphony Orchestra - March 1970	Confirmed	"Clean" employs two looped orchestral phrases sampled from the fourth movement of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam), conducted by Georg Solti and performed by the Chicago Symphony Orchestra at Medinah Temple in March 1970.	Click to display/hide audio example
	Drum loop	Tone Lōc - Lōc-ed After Dark - "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).	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	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".
	Snare drum	Fine Young Cannibals - The Raw & the Cooked - "She Drives Me Crazy" - 26 December 1988	Confirmed	A manipulated snare drum audible during the chorus sections of "Halo" is derived from the opening moments of the Fine Young Cannibals 1988 single "She Drives Me Crazy". Notably, this sound is also used throughout Wilder's 1989 "Eurotech Version" remix of Toni Halliday's "Time Turns Around", as well as the 2012 Recoil cover of Talk Talk's "Inheritance".	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.	✖
	Rhythmic breath sample	Unidentified pornographic film	Unknown	The rhythmic vocal rhythm audible in the opening moments of "Halo" is confirmed by Violator engineer Roberto Baldi as having been sampled from a pornographic film. The film is likely to have released on VHS or Betamax cassette and would have been in circulation by May 1989.	✖

"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
	Bass drum, snare drum elements	Led Zeppelin - Led Zeppelin IV - "When The Levee Breaks" - 1971	Confirmed	A manipulated section of audio derived from the intro of the 1971 Led Zeppelin cover of "When The Levee Breaks" is utilised throughout the 1993 Devotional Tour arrangement of "Stripped".	✖

"Condemnation"

"Condemnation" Depeche Mode 1993	Self-made samples
	Sample	Notes			Audio
	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 a tambourine against a wall.			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	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.	✖

"Judas"

"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.

"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.

"Death's Door"

"Death's Door" as it was performed on the 1993 Devotional Tour is not known to contain samples from any identifiable sources.

"Get Right With Me"

"Get Right With Me" - Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes
	Led Zeppelin "When The Levee Breaks" snare and bass drum	Led Zeppelin - "When The Levee Breaks" - 1971	Official	Alan Wilder confirmed in a Q&A on Shunt, the official Recoil project website that "Never Let Me Down Again" among other Depeche Mode songs employ drum elements derived from Led Zeppelin's "When The Levee Breaks".
	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)". 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)").

"Mercy In You"

"Mercy In You" Depeche Mode 1993	Self-made samples
	Sample	Notes			Audio
	Sampled sitar-like wail	"Mercy In You" employs a treated sound with a distinct bitcrushing effect as a melodic hook during the second verse section. This sound, which saw similar use throughout "Personal Jesus", is based on a Moog synthesizer sound originally recorded as a bass layer heard throughout "Never Let Me Down Again".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Choir	Ennio Morricone - Moses the Lawgiver (Original Soundtrack) - "Moses Theme (Main Titles)" - 1974	Confirmed	A series of choir phrases derived from the title theme of Italian/British television miniseries Moses the Lawgiver as composed by Ennio Morricone are re-pitched and played in a new sequence from how they were originally recorded to form the lush choir textures heard during the chorus sections of "Mercy In You". The choir phrases prominently feature the late Italian singer Gianna Spagnulo.	Click to display/hide audio example
	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". The sample is looped and played with a long release time.	✖
	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.	✖
	Drum loop	The Headhunters - "God Make Me Funky" - 1975	Confirmed	Multiple sections of the "God Make Me Funky" drum break are utilised throughout "Mercy In You".	✖
	Conga loop	HITCD08 - Pascal Gabriel's Dance Samples (AMG) - Track 8 - "Conga Loop (Dull)" - 1991	Confirmed	An edited conga loop derived from AMG's 1991 sample CD HITCD08 - Pascal Gabriel's Dance Samples is utilised throughout the Devotional tour arrangement of "Mercy In You".	Click to display/hide audio example
	Outro 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"	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 were also utilised in live performances for the Devotional tour arrangements of "Walking In My Shoes", "Fly On The Windscreen", and "Something To Do".	✖

"I Feel You"

"I Feel You" Depeche Mode 1993	Self-made samples
	Sample	Notes			Audio
	Distorted noise pad	A sample 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 synthesizer in a Q&A on Shunt, the official Recoil website: "[...] The noise actually comes from a synth."			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Drum loop	Angelo Badalamenti - Twin Peaks: Fire Walk With Me (Music From the Motion Picture Soundtrack) - "The Pink Room" - 11 August 1992	Confirmed	A manipulated drum loop derived from "The Pink Room", an instrumental featured on the film soundtrack for the 1992 David Lynch film Twin Peaks: Fire Walk With Me, is utilised throughout the verse and outro sections of "I Feel You". Wilder describes the sample in an undated response to a fan question in a Q&A on Shunt: "Yes, they are very similar, aren't they? 'The Pink Room' was released before 'I Feel [You]' so Lynch couldn't have borrowed it. The fact that Lynch is interested enough to make music at all is rare for a film director. Perhaps he should concentrate even more on music since 'Lost Highway';-)"	Click to display/hide audio example

"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
	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	E-mu Systems - 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	E-mu Systems - 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	E-mu Systems - 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

"Rush"

"Rush" Depeche Mode 1993
	Sample sources
	Sample	Source	Status	Notes	Audio
	Chorus section guitar stab	Peter Gabriel - "Not One of Us" - 1980	Confirmed	A treated, distorted guitar heard during the chorus sections of "Rush" is derived from a guitar lick heard in the opening moments of "Not One of Us" from Peter Gabriel's 1980 album Peter Gabriel (released in the United States as Peter Gabriel III and on streaming services as Peter Gabriel 3: Melt).	Click to display/hide audio example
	Chorus section loop	Peter Gabriel - "Not One of Us" - 1980	Confirmed	A treated, distorted guitar loop heard during the chorus sections of "Rush" is derived from the opening moments of Peter Gabriel's "Not One of Us".	Click to display/hide audio example
	Verse section guitar wail	Peter Gabriel - "Not One of Us" - 1980	Confirmed	A treated, distorted guitar wail heard during the first and second verse sections of "Rush" is derived from the opening moments of Peter Gabriel's "Not One of Us".	Click to display/hide audio example
	Verse section guitar chug	Peter Gabriel - "Not One of Us" - 1980	Confirmed	A treated, heavy-sounding sampled guitar sample heard during the first and second verse sections of "Rush" is derived from a brief guitar chug heard in the opening moments of Peter Gabriel's "Not One of Us".	Click to display/hide audio example Note: In this example, the left stereo channel of the sampled audio from "Not One of Us" is sampled, pitched down several keys, and subsequently processed using a software reverb effect. The result is then sampled again and played back from a keyboard.
	Middle eight ambient pad/percussive rhythm	Suzanne Vega - "Institution Green" - 1990	Confirmed	A section of ambient pad with sparse percussive elements derived from Suzanne Vega's "Institution Green" is used to atmospheric effect throughout the middle eight section of "Rush".	Click to display/hide audio example
	Drum loop	Renegade Soundwave - "On TV" - 1989	Confirmed	A section of audio derived from the outro of "On TV" by Renegade Soundwave is utilised as a loop throughout "Rush".	Click to display/hide audio example

"In Your Room"

"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.			✖
	"Ah" vocals	A series of self-made solo vocal "ahh" samples are layered with a selection of samples derived from Emulator II factory library disk #33 "Voices" to produce a lush choir used during the second verse of "In Your Room" as it was performed on the Devotional and Global Spirit tours.			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Variphon elements	Talk Talk - Spirit of Eden - "The Rainbow" - 1988	Confirmed	"In Your Room" employs a variophon pad derived from the left stereo channel of Talk Talk's "The Rainbow".	Click to display/hide audio example
	Ambient elements	Airto Moreira - I'm Fine, How Are You? - "Nativity" - 1977	Confirmed	A manipulated, reversed section of audio derived from the intro of Airto Moreira's 1977 album track "Nativity" is utilised in the intro of "In Your Room".	Click to display/hide audio example
	Drum elements	Rusty Bryant - "Fire Eater" - 1971	Confirmed	A drum break derived from Rusty Bryant's "Fire Eater" is heard throughout "In Your Room" starting from the second verse. The loop is sequenced to play in a different way from how it was originally performed.	✖
	Drum elements	Dan Reed Network - Slam - "I'm Lonely, Please Stay" - 1989	Confirmed	A loop derived from the intro of "I'm Lonely, Please Stay" by Dan Reed Network is utilised throughout "In Your Room" from the third verse section onwards.	Click to display/hide audio example
	Synthesizer elements	Roland JD-800 internal factory pre-load soundbank - A-11: Millennium (Waveforms: "16. Spark Vox1" (TONE A), "22. Cutters" (TONE C), "14. Wire Str" (TONE D) - 1991	Confirmed	A synthesized bass sound used sporadically throughout the intro of "In Your Room" is derived from an edit of the Roland JD-800 internal factory patch "A-11 Millennium". The edited patch as heard in the intro of "In Your Room" is played at a low to medium velocity with Tone B "67. Org Bell" disabled. The factory preset and its primary sampled waveforms were designed by German sound designer Eric Persing during his tenure as Chief Sound Designer for the Roland Corporation.	Click to display/hide audio example
	Choir elements	Sonic Images Sample Library - Volume 4 - SICD 2028 - Stack Sounds B - Slow Orchestra Pad - "SICD2028-14-04 SLOW ORCHESTRA PAD F#2" - 1990	Confirmed	A choir pad derived from Sonic Images Sample Library - Volume 4 SICD 2028 - Stack Sounds B is utilised during the intro section of "In Your Room".	Click to display/hide audio example
	Strings, choir elements	Emulator II factory library disk #33: Voices, Emulator II factory library disk #05: Marcato Strings, Akai S1000/S1100 Sound Library - Violin Section #1 SL1064 - Solid String - SOLINA or S.W.M. #2 - Solid String - "SOLINA"	Likely	A series of lush string pads likely utilised during the middle eight, chorus and outro sections of "In Your Room" are partly comprised of a series of choir, orchestral strings, and synthesizer sounds derived from the Akai S1000 sound library and the Emulator II factory library. The choir aspect of this sound consists of two samples derived from Emulator II factory library disk #33 "Voices".	Click to display/hide audio example
	Drum elements	HITCD08 - Pascal Gabriel's Dance Samples (AMG) - Track 16 - "808 BD - Long" - 1991	Confirmed	An edited 808 bass drum derived from AMG's 1991 sample CD HITCD08 - Pascal Gabriel's Dance Samples is utilised throughout the intro and first verse sections of "In Your Room".	Click to display/hide audio example
	Choir elements	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 Emulator II factory library disk #33 "Voices".	Click to display/hide audio example
	Choir elements	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 Emulator II factory library disk #33 "Voices".	Click to display/hide audio example

"Personal Jesus"

"Personal Jesus" Depeche Mode 1989	Self-made samples
	Sample	Notes			Audio
	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.			✖
	Tom drum fills	An ambient drum sample originally recorded for use with 1983's "Pipeline" is utilised in combination with a tom drum sound originally recorded for use with 1987's "I Want You Now" to form a series of two unique drum fills preceding each verse section.			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	"Metallic" hi-hat	Emulator II factory library disk #71: DAS Synth	Confirmed	A lo-fi synthesizer sample derived from Emulator II factory library disk #71 "DAS Synth" is played several keys above its root key to produce a metallic ticking sound that is used in place of a hi-hat starting from the second chorus section of "Personal Jesus".	Click to display/hide audio example
	Clap-like percussion	Emulator III OMI Universe of Sounds - Volume 2 - Tough Tones - "NOISE BURST"	Confirmed	A treated copy of a clap-like percussive sound derived from the Emulator III OMI Universe of Sounds "Tough Tones" voice is utilised throughout "Personal Jesus" starting from the second chorus section.	Click to display/hide audio example
	Snare drum	Fad Gadget - Fireside Favourites - "Newsreel" - 7 November 1980	Confirmed	A manipulated snare sound derived from the opening moments of "Newsreel" from the 1980 Fad Gadget album Fireside Favourites is utilised throughout the outro of the album version of "Personal Jesus". Notably, this sample would also see use throughout "World In My Eyes". Former Depeche Mode member Alan Wilder recalled the snare drum sound of "World In My Eyes" in an undated Q&A on Shunt, the official Recoil project site: "[...] I think we made it from scratch or it could be a combination of analogue and a sample."	✖
	Bass guitar	Emulator III OMI Universe of Sounds - Volume 1 - Machine Set - "Stein Bass A1", "Stein Bass D2"	Confirmed	A series of bass guitar samples derived from the Emulator III OMI Universe of Sounds "Machine Set" voice are utilised throughout "Personal Jesus".	Click to display/hide audio example
	Preaching, vocal elements	Anthony Thomas - Thy Kingdom Come... Thy Will Be Done (1988 TV Movie) - 6 April 1988 (television release)	Confirmed	A series of audio excerpts derived from filmmaker Anthony Thomas's 1988 TV movie Thy Kingdom Come... Thy Will Be Done featuring sermons delivered by American televangelists Jim Bakker, W.A. Criswell, Jerry Falwell, Pat Robertson, James Robison, Jimmy Swaggart, and motivational speaker Zig Ziglar, originally sampled for use in the "Pump Mix" of "Personal Jesus", are utilised sporadically throughout the outro section of all live performances of "Personal Jesus" since its debut. The phrases sampled for use in live performances of "Personal Jesus" include: "[...] the lord Jesus Christ Himself"; "I'm not crazy anymore!"; "Listen to me!"; Pat Robertson exclaiming: "[...] because the bible's the truth"; filmmaker Anthony Thomas inquiring: "Tell me what you've learned about God's love [...]"; and "[personal] [Jesus!]". Violator engineer Pino Pischetola describes the origin of these samples in Kevin May and David McElroy's 2022 book Halo: The Story Behind Depeche Mode's Classic Album Violator: During another mix of "Personal Jesus", I remember François listened to it many times and then he had this idea to put American-style preachers as a sample. That’s what became [the] "The Lord Jesus Christ himself" sample. In order to get that, François called a friend in Los Angeles that had a recording of everything you might want. So he calls him late at night and says, "Listen, I need something very quick. Something with preachers speaking." And his friend says, "Okay. I will FedEx it to you in a couple of hours." So two days later, using what must have used the fastest courier in the world [...] we got a cassette from LA with all the preachers on it. We spent two hours listening to all the preachers and different phrases, and then François picked up on that one and a few others to put into a sampler and fly in the song at a certain moment. That was really a fun thing to do.	Click to display/hide audio example

"Enjoy The Silence"

"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.			✖
	Choir stabs	The textured choral stabs heard on the first beat of every measure throughout "Enjoy The Silence" are comprised of a series of sampled choir sounds each playing individual notes of a chord. Among these sounds are two sourced samples derived from the Bulgarian State Female Vocal Choir's 1975 "Sableyalo mi Agontze (The Bleating Lamb)", the first of which is played on the first beat per measure throughout the song, the second of which is played on the first beat of every fourth chorus measure (in time with the lyric "In my arms"); a choir sound previously used for live performances of "Never Turn Your Back On Mother Earth" on the Music For The Masses tour; and a series of custom vocal "ahh" samples likely produced by sampling vocal sustains sung by Martin Gore, which are notably also used to play the choir melody heard in the song's outro.			✖
	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. 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 in 2013, when it returned for a live performance as part of a television promotion).			✖
	Melodic "water droplet" sequence	A melancholic bell or "water droplet-like" sequence audible during the intro and middle eight sections of "Enjoy The Silence" is partly comprised of a sample derived from the opening moments of "Blasphemous Rumours". Notably, this sample would later be utilised for a melody heard during the verse sections of "Walking In My Shoes".			Click to display/hide audio example
	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).			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Choir elements	Bulgarian State Television Female Vocal Choir - Le Mystère des Voix Bulgares - "Sableyalo mi Agontze (The Bleating Lamb)" - 1975	Confirmed	A series of choir pads which partly comprise the choir stabs audible throughout "Enjoy The Silence" are derived from the Bulgarian State Female Vocal Choir's 1975 "Sableyalo mi Agontze (The Bleating Lamb)" as performed with Bulgarian traditional singer Kalinka Valcheva. The Bulgarian State Television Female Vocal Choir is notable for its membership, who are chosen from country villages for the beauty and fullness of their voices.	Click to display/hide audio example
	Snare drum, drums, conga drum elements	Ten City - Foundation - "That's The Way Love Is (Deep House Mix / Extended Version)" - 1989	Confirmed	A series of manipulated, treated samples of audio (including a snare drum, a looped section of audio featuring a conga rhythm, and, likely, a bass drum part) derived from the "Deep House Mix / Extended Version" remix of Ten City's 1989 single "That's The Way Love Is" are utilised throughout "Enjoy the Silence". Violator producer Flood briefly described the use of sampled drum elements utilised for "Enjoy the Silence" on 14 May 2011 at the 2011 Short Circuit presents Mute festival event: So we've done a couple of songs, and then it was time to hack into "Enjoy the Silence". So, I said, "Well, why don't we just copy an old disco classic, the rhythm of it?" So we started off doing that [...] [We] started off with [the drums], here we go. [drum rhythm plays] Which are, some of them are actually lifted from the original song. I mean, I shouldn't say that, but I just did. [audience laughs] So, that's just a copy, a complete copy of this track [...] Alan Wilder would later critique the snare drum in an undated Q&A on Shunt: "Funnily enough, our most successful single ever was one of the flattest, dullest sounding mixes with a snare drum that sounds like a sticky toffee pudding."	Click to display/hide audio example
	Punchy harpsichord bass	Emulator III OMI Universe of Sounds: Volume 2 - Harpsichord - "B1 HARPSIC"	Confirmed	The harpsichord instrument used to accent the bassline of "Enjoy The Silence" starting from the middle eight section is partly derived from the Emulator III Universe of Sounds: Volume 2 voice "Harpsichord". The harpsichord sample is layered with a detuned copy of itself to produce a chorusing effect. A sampled bass synth part heard prominently in the opening moments of "Clean" is then layered with the harpsichord part on most notes used throughout the song. Notably, this sound is also used throughout Nitzer Ebb's "I Give To You".	Click to display/hide audio example
	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
	Chorus choir pad	Emulator II factory library disk #12: Voices and Emulator II factory library disk #05: Marcato Strings	Likely	A choir pad featured in the chorus sections of "Enjoy The Silence" is likely comprised of samples derived from Emulator II factory library disk #12 "Voices" and Emulator II factory library disk #05 "Marcato Strings". The pad is prominently featured in the opening moments of the "Hands And Feet" remix of "Enjoy The Silence".	Click to display/hide audio example Note: In this example, the two Emulator II voices are first played separately. They are then layered together, then played with an upper mid-frequency EQ boost to approximately match the equivalent sound in the "Hands And Feet" remix of "Enjoy The Silence", which prominently features the choir pad with added phasing effects/processing.

"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
	Drum elements	Mike Longo - Talk with the Spirits - "Angel of Love" - Recorded 16 January 1976	Confirmed	A drum loop derived from the introduction of "Angel of Love" by American jazz pianist Mike Longo is utilised throughout the 1993 Devotional tour arrangement of "Fly On The Windscreen". The drum loop is also prominently featured on the "Grungy Gonads" remix of "Walking In My Shoes", the 1993 Devotional tour performance of "World In My Eyes", and live performances of Recoil's "Jezebel" as it was performed on the 2010-2011 Selected Events tour.	✖
	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.	✖

"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
	Synthesizer elements	Yamaha Corporation - Yamaha DX7 factory ROM #4 Bank A: "OBOE"	Confirmed	The 1993 Devotional Tour arrangement of "Everything Counts" employs an oboe-like sample derived from the Yamaha DX7 factory ROM #4 program "OBOE".	✖
	Synthesizer elements	Yamaha Corporation - Yamaha DX7 factory ROM #1 Bank A: "STRINGS 1"	Confirmed	A brassy synthesized string pad heard sporadically during the 1993 Devotional Tour arrangement verse sections of "Everything Counts" is derived from Yamaha DX7 factory ROM #1 Bank A: "STRINGS 1".	✖
	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		✖

1994 Exotic Tour

The 1994 Exotic Tour (alternatively promoted as "Summer Tour '94") was an international tour undertaken by Depeche Mode in support of their eighth studio album Songs Of Faith And Devotion. The tour featured significant changes to its setlist, gradually reducing the number of songs performed from twenty during the Devotional tour to eighteen at the beginning of the Exotic tour (ultimately sixteen by the end of the tour).

"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)".
	Sample sources
	Sample	Source	Status	Notes	Audio
	Drum, record scratching elements	N.W.A. - Straight Outta Compton - "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".
	Drum, record scratching elements	N.W.A. - Straight Outta Compton - "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".
	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 elements	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 elements	Hit Music Productions (AMG) - Neil Conti's Funky Drums From Hell - 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 as published by AMG (formerly Hit Music Productions).	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".
	Snare drum elements	Hit Music Productions (AMG) - Neil Conti's Funky Drums From Hell - 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 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 to produce a snare drum 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".
	Tambourine elements	Hit Music Productions (AMG) - Rhythm of Life - Track 61 "Tambourine 1 16th accent - 98 BPM" - 1991	Confirmed	The Exotic tour arrangement of "I Want You Now" features an excerpt of a tambourine loop derived from the 1991 AMG sample library Rhythm of Life.	✖
	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"

"Somebody"

"Somebody" is not yet known to contain samples from any identifiable sources.

"Clean"

"Clean" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	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	Audio
	Orchestral strings, orchestral elements	Gustav Mahler - Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam) - Chicago Symphony Orchestra - March 1970	Confirmed	"Clean" employs two looped orchestral phrases sampled from the fourth movement of Gustav Mahler's Symphony No. 5 Adagietto (Sehr langsam), conducted by Georg Solti and performed by the Chicago Symphony Orchestra at Medinah Temple in March 1970.	Click to display/hide audio example

"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.	✖

Unplayed songs prepared for live performance

"Strangelove"

"Strangelove" Depeche Mode 1987
	Sample sources
	Sample	Source	Status	Notes	Audio
	Sitar elements	E-mu Systems - 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.	✖
	Synthesizer elements	E-mu Systems - 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

"Leave In Silence"

"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.

"Nothing"

"Nothing" Depeche Mode 1987	Self-made samples
	Sample	Notes			Audio
	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".			✖