List of Depeche Mode sample sources by album/The Singles 86-98

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 aims to document all verifiable sound sources for many of the musical parts used by Depeche Mode in the production of their 1998 greatest hits album The Singles 86>98.

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.

The Singles 86>98 (1998)

Disc one

1. "Stripped"

"Stripped" Depeche Mode 1986	Self-made samples
	Sample	Notes			Audio
	Synthesizer elements	The textured bass drone sound used throughout "Stripped" is achieved by running a bass sound through a Leslie cabinet.			✖
	Percussive elements	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".			✖
	Drum , tom drum elements	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".			✖
	Ambient elements	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
	Rhythmic elements	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".	✖
	Vocal elements	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".	✖
	Drum, snare drum elements	New Order - Low-Life - "Love Vigilantes" - 13 May 1985	Confirmed	The first of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Stripped". Similarly, this snare sound is used throughout "Breathing In Fumes", "Christmas Island", "Never Let Me Down Again", and "Nothing".	✖
	Piano elements	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".	✖
	Drum, bass drum elements	Oberheim Electronics - Oberheim DMX - 1980	Confirmed	A bass drum sample audible throughout "Stripped" is derived from the Oberheim DMX drum machine.	✖

2. "A Question Of Lust"

"A Question Of Lust" Depeche Mode 1986	Self-made samples
	Sample	Notes			Audio
	Percussive elements	"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	Audio
	Synthesizer elements	Synclavier II Timbre Directory Diskette #2 - 2234 STRINGS 15 and Synclavier II Timbre Directory Diskette #2 - 2245 STRINGS 23	Confirmed	A combination sound partly comprised of edits to Synclavier II timbre directory diskette #2 "STRINGS 15" and "STRINGS 23" is used to form a warm synthesizer pad audible throughout "A Question Of Lust".	✖
	Drum elements, clap	Yamaha Corporation - Yamaha RX-11 digital drum machine - 1984	Confirmed	A clap sample derived from the Yamaha RX-11 programmable drum machine is utilised throughout the chorus sections of "A Question Of Lust".	✖

3. "A Question Of Time"

"A Question Of Time" Depeche Mode 1986	Self-made samples
	Sample	Notes			Audio
	Guitar elements	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
	Vocal elements	The Chanters - West Coast Doo-Wop Volume One - "She Wants To Mambo" - 1984	Official	A manipulated feminine moan derived from "She Wants To Mambo" by The Chanters is used to form a variety of musical elements audible during the intro, chorus and outro 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".	✖
	Drum elements, clap	Yamaha Corporation - Yamaha RX-11 digital drum machine - 1984	Confirmed	A clap sample derived from the Yamaha RX-11 programmable drum machine is utilised throughout the chorus sections of "A Question Of Time".	✖

4. "Strangelove"

"Strangelove" Depeche Mode 1987	Self-made samples
	Sample	Notes			Audio
	Melodic elements, sampled wine glass	In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by Music For The Masses producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late eighties. One floppy disk, labeled "Wineglass (106)", features an untitled preset ("NULL PRESET"), which contains a bell-like sample, presumably the sound of a wine glass being tapped. This sample is layered with a sitar sound derived from the "Sitar 2" preset of the Emulator II factory library disk #61 "Sitar" and other sounds to produce the four note riff heard throughout the intro, chorus, and outro sections of "Strangelove". Notably, this sound is also used in "Never Let Me Down Again", "Behind The Wheel", "Route 66", and the Recoil instrumental "Grain".			✖
	Piano elements	In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by Music For The Masses co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late eighties. One floppy disk, labeled "Depeche Bass Piano", features two similar untitled presets ("NULL PRESET"), which contain a sample of a one-shot two octave piano hit playing an E and a similar sample playing an A. The former sample is used throughout the middle eight of the album version of "Strangelove". Notably, this sound is also used throughout "Nothing".			✖
	Synth bass elements	In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by Music For The Masses co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late 1980s. One floppy disk, labeled "Synth Bass (24)", features a preset titled "Wave Bass" that features two "squelchy" synth bass samples that are layered with other sounds to form the bass stabs heard during the middle eight of "Strangelove".			✖
	Bass guitar elements	In May 2020, fan "DMK" kindly provided DM Live Wiki with documentation for a series of Emulator II floppy disks that accompanied a collection of restored studio equipment used by Music For The Masses co-producer Dave Bascombe during the production of music albums for artists other than Depeche Mode in the mid to late 1980s. One floppy disk, labeled "Bright Bass-GTR", features a preset titled "bright bass" that is comprised of two bass guitar samples which are used during the chorus sections of the album version and throughout the single version of "Strangelove". Notably, these bass guitar parts are also used throughout the Recoil instrumental "The Sermon".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Drum elements	Cameo - Word Up! - "Word Up!" - 27 May 1986	Confirmed	The snare drum audible throughout all versions of "Strangelove" is partly comprised of a sample derived from the intro of Cameo's 1986 single "Word Up!".	✖
	Drum elements	Kraftwerk - Electric Café - "The Telephone Call" ("Der Telefon-Anruf") - 10 November 1986	Confirmed	An electronic percussion sound derived from Kraftwerk's "The Telephone Call" is used for a snare fill heard sporadically throughout "Strangelove".	✖
	Choir elements	E-mu Systems - Emulator I factory library disk #16: Male Voice - Female Voice - "Female Voice" (02-002-101M2)	Confirmed	"Strangelove" utilises choir chords played using a sample derived from the Emulator I factory library disk #16: "Male Voice - Female Voice". Notably this choir sound is also used throughout "The Things You Said".	✖
	Melodic elements, sitar	E-mu Systems - Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6	Confirmed	A plucked sitar sample derived from 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".	✖
	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".	✖
	Drum elements, tom drum	Roland Corporation - Roland TR-707 Rhythm Composer - "Hi-Hat (Closed)" - 1985	Confirmed	A sequenced hi-hat element audible throughout "Strangelove" is derived from the Roland TR-707 drum machine.	✖

5. "Never Let Me Down Again"

"Never Let Me Down Again" - Depeche Mode 1987	Sample overview
	Click to display/hide audio Note: Audio overviews feature confirmed sample listings that have been manipulated and sequenced to approximately match the frequency response of the stated song. Aside from volume and panning automation, all audio overviews are free of any post-processing and effects with the rare exception in cases where the inclusion of an effect is integral to communicating the use of a sound.
	Self-made samples
	Sample	Notes			Audio
	Guitar elements	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.			✖
	Synthesizer elements	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.			✖
	Drum, tom drum elements	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."			✖
	Melodic elements, sampled wine glass	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, choral elements	Carl Orff - Carmina Burana - I. Primo vere (In Springtime) - 5. Ecce gratum - Royal Philharmonic Orchestra, Southend Boys' Choir, Brighton Festival Chorus - 1 February, 1976	Official	"Never Let Me Down Again" utilizes two manipulated choral samples derived from a Royal Philharmonic Orchestra/Southend Boys' Choir/Brighton Festival Chorus performance of the fifth movement 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."	✖
	Drum elements, bass drum, snare drum	Led Zeppelin - Led Zeppelin IV - "When The Levee Breaks" - 1971	Official	In a 4 July 2019 interview with Super Deluxe Edition, Bascombe recalled how the sampled percussion came to be used in "Never Let Me Down Again": "We were round at [Alan Wilder’s] house – and I said 'Right, I want to use "When The Levee Breaks" [Led Zeppelin] drums on [Never Let Me Down Again].' [...] I suggested using them for the main kick and snare."	✖
	Drum elements, snare drum	New Order - Low-Life - "Love Vigilantes" - 13 May 1985	Confirmed	The second of four snare drum hits audible in the opening moments of "Love Vigilantes" by New Order is utilised throughout "Never Let Me Down Again". Similarly, this snare sound is used throughout "Stripped", "Breathing In Fumes", "Christmas Island", and "Nothing".	✖
	Brass elements	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".	✖
	Brass elements	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".	✖
	Orchestral elements	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".	✖
	Drum elements, tom drum	Roland Corporation - Roland TR-707 Rhythm Composer - "Low Tom", "Mid Tom", "Hi Tom" - 1985	Confirmed	A series of sequenced tom drum elements audible throughout "Never Let Me Down Again" are derived from the Roland TR-707 drum machine.	✖

6. "Behind The Wheel"

"Behind The Wheel" Depeche Mode 1987	Self-made samples
	Sample	Notes			Audio
	Melodic elements	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".	✖
	Drum elements, snare drum, 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".	✖
	Marimba elements	E-mu Systems - Emulator II factory library disk #34: Vibraphones & 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.	✖
	Sitar elements	E-mu Systems - Emulator II factory library disk #61: Sitar - Preset #3: "Sitar 2", SAMPLE 6	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. Notably, this sample is also used in "Strangelove" and "Master And Servant" as it was performed on the Music For The Masses and World Violation tours.	✖
	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".	✖

7. "Personal Jesus"

"Personal Jesus" Depeche Mode 1989	Self-made samples
	Sample	Notes			Audio
	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."			✖
	Guitar, vocal elements	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.			✖
	Vocal elements	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.			✖
	Drum elements, tom drum	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
	Drum elements, 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."	✖
	Orchestral elements	Barry Adamson - Moss Side Story - "The Swinging Detective" - 6 March 1989	Confirmed	A manipulated, processed section of audio derived from Barry Adamson's 1989 instrumental "The Swinging Detective" is utilised sporadically throughout "Personal Jesus".	✖
	Drum elements	E-mu Systems - 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".	✖
	Drum elements	Optical Media International (OMI) - Emulator III Universe of Sounds Master Studio Collection Volume 2 - Tough Tones - "NOISE BURST"	Confirmed	A treated copy of a clap-like percussive sound derived from the "Tough Tones" voice of Universe of Sounds Master Studio Collection Volume 2 by Optical Media International is utilised throughout "Personal Jesus" starting from the second chorus section.	✖
	Bass guitar elements	Optical Media International (OMI) - Emulator III Universe of Sounds Master Studio Collection Volume 1 - Machine Set - "Stein Bass A1", "Stein Bass D2"	Confirmed	A series of bass guitar samples derived from the "Machine Set" voice of Universe of Sounds Master Studio Collection Volume 1 by Optical Media International are utilised throughout "Personal Jesus".	✖
	Drum elements, snare drum	Akai - S1000 MIDI Stereo Digital Sampler - SL601 SAMBA SET - SN-HI3 and S1000 - SL602 AMBIENCE SET - SN HIGATE - June 1988	Confirmed	A manipulated, processed composite snare drum sound comprised of samples derived from the Akai S1000 diskettes SL601 "Samba Set" and SL602 "Ambience Set" is utilised throughout "Personal Jesus". Notably, this composite snare sound would also see use sporadically throughout "Sweetest Perfection" and "Policy Of Truth".	✖
	Drum elements, bass drum	Akai - S900 MIDI Stereo Digital Sampler - Akai S900 UK Sound Library - ACL9001 - 18. DRUMS WET - ?	Confirmed	A manipulated, processed bass drum sound audible throughout the outro section of "Personal Jesus" is partly derived from Akai S900 UK Sound Library diskette ACL9001 "DRUMS WET".	✖

8. "Enjoy The Silence"

"Enjoy The Silence" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	Synthesizer elements	The synthesized bassline audible throughout "Enjoy The Silence" is produced on the Roland System 700 modular analog synthesizer.			✖
	Vocal elements	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.			✖
	Vocal elements	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).			✖
	Synthesizer elements	A melancholic bell or "water droplet-like" sequence audible during the intro and middle eight sections of "Enjoy The Silence" is 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".			✖
	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.	✖
	Drum elements, snare drum, 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."	✖
	Harpsichord elements	Optical Media International (OMI) - Emulator III Universe of Sounds Master Studio Collection 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".	✖
	Brass elements	E-mu Systems - 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".	✖
	Choir, orchestral elements	E-mu Systems - 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".	✖

9. "Policy Of Truth"

"Policy Of Truth" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	Guitar elements	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 elements	"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.			✖
	Vocal elements	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".			✖
	Orchestral elements	A processed orchestral element originally recorded for use in the outro of "Stjärna" is utilised during the refrain sections of "Policy Of Truth".			✖
	Drum, bass drum elements	A bass drum element originally recorded for use throughout "Nothing" is re-purposed as a sequenced bass drum element audible sporadically throughout "Policy Of Truth".			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Guitar elements	Toni Halliday - Hearts And Handshakes - "Time Turns Around" - 1989	Confirmed	A series of guitar elements originally recorded for Toni Halliday's "Time Turns Around" are re-purposed for use within the chorus and outro sections of "Policy Of Truth".	✖
	Vocal elements	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".	✖
	Drum elements, snare drum	Tone Lōc - Lōc-ed After Dark - "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.	✖
	Organ elements	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".	✖
	Bass guitar, piano elements	Optical Media International (OMI) - Emulator III Universe of Sounds Master Studio Collection 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".	✖
	Ambient elements	Optical Media International (OMI) - Emulator III Universe of Sounds Master Studio Collection Volume 1 - Bowed Psaltery - "PSALTERY B3" and Emulator III OMI Universe of Sounds - Rebel Victory - "GIANT 5"	Confirmed	A series of samples derived from the "Bowed Psaltery" and "Rebel Victory" voices featured in Emulator III OMI Universe of Sounds are combined to form a processed pad audible throughout the chorus sections of "Policy Of Truth".	✖
	Drum elements, snare drum	Akai - S1000 MIDI Stereo Digital Sampler - SL601 SAMBA SET - SN-HI3 and S1000 - SL602 AMBIENCE SET - SN HIGATE - June 1988	Confirmed	A manipulated, processed composite snare drum sound comprised of samples derived from the Akai S1000 diskettes SL601 "Samba Set" and SL602 "Ambience Set" is utilised throughout "Policy Of Truth". Notably, this composite snare sound would also see use sporadically throughout "Personal Jesus".	✖
	Drum elements, tambourine	Akai - S1000 MIDI Stereo Digital Sampler - SL630 BRUSHES - TAMBO - ?	Confirmed	A manipulated tambourine drum sound derived from Akai S1000 diskette SL630 "Brushes" is utilised throughout "Policy Of Truth".	✖
	Melodic elements	Unknown Asian instrument sample library CD	Unknown	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.	✖

10. "World In My Eyes"

"World In My Eyes" Depeche Mode 1990	Self-made samples
	Sample	Notes			Audio
	Synthesizer elements	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 elements	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, snare drum elements	Fad Gadget - Fireside Favourites - "Newsreel" - 7 November 1980	Confirmed	A manipulated snare derived from the opening moments of "Newsreel" from the 1980 Fad Gadget album Fireside Favourites is utilised throughout "World In My Eyes". 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.	✖
	Drum elements	Bryan Ferry - Boys and Girls - "Don't Stop The Dance" - 1985	Confirmed	A drum element derived from the album version of Bryan Ferry's "Don't Stop The Dance" is utilised throughout "World In My Eyes" as a drum fill.	✖
	Synthesizer elements	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".	✖
	Drum elements	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".	✖
	Drum elements	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".	✖
	Bass elements	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.	✖
	Orchestral elements	E-mu Systems - Emulator III Factory Library Vol. 1 > Groupo Sinfonia > Monotto Strings - "Strings E2", "Strings A#2", "Strings E3", "Strings C4"	Confirmed	A series of orchestral string riffs audible during the verse, chorus, and outro sections of "World In My Eyes" are performed using Emulator III Factory Library Vol. 1 voice "Monotto Strings".	✖
	Ambient elements	E-mu Systems - 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.	✖
	Organ elements	E-mu Systems - 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".	✖
	Drum elements, rimshot, open hi-hat, closed hi-hat	Roland Corporation - Roland TR-808 Rhythm Composer - 1980	Confirmed	A series of processed drum elements audible throughout "World In My Eyes" are derived from the Roland TR-808 drum machine.	✖

Disc two

1. "I Feel You"

"I Feel You" - Depeche Mode 1993	Sample overview
	Click to display/hide audio Note: Audio overviews feature confirmed sample listings that have been manipulated and sequenced to approximately match the frequency response of the stated song. Aside from volume and panning automation, all audio overviews are free of any post-processing and effects with the rare exception in cases where the inclusion of an effect is integral to communicating the use of a sound.
	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 elements	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';-)"	✖
	Drum elements	Brian Eno - Nerve Net - "What Actually Happened?" - 1 September 1992	Confirmed	A manipulated, re-sequenced drum break derived from "What Actually Happened?" by Brian Eno featuring drum performance by Richard Bailey is utilised throughout "I Feel You".	✖

2. "Walking In My Shoes"

"Walking In My Shoes" Depeche Mode 1993	Self-made samples
	Sample	Notes			Audio
	Piano, harpsichord elements	Alan 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".			✖
	Orchestral elements, strings	A series of samples featuring sections of orchestral string performances arranged by English composer Andrew Poppy for Nitzer Ebb's 1991 single "I Give To You" (as produced by Wilder and Flood) are utilised in combination with other sampled orchestral string elements to form the sweeping string sections audible throughout "Walking In My Shoes" starting from the second verse section. Wilder recalls the recording process in an undated Q&A for Shunt, the official Recoil website: "The strings, brass and marimbas [for ""I Give To You"] were all recorded live – arranged and conducted by Andrew Poppy. Some of the performances (mainly the brass) were so sloppy that we had to put them into samplers afterwards in order to re-tune them and put them in time. You may be surprised to hear that this is not uncommon when hiring classical musicians."			✖
	Sample sources
	Sample	Source	Status	Notes	Audio
	Orchestral elements, 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".	✖
	Orchestral elements, 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 an orchestral pad during the latter half of the second verse and second chorus sections of "Walking In My Shoes".	✖
	Orchestral elements, 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".	✖
	Orchestral elements, 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".	✖
	Drum elements	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.	✖
	Drum elements	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'.	✖
	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".	✖
	Orchestral elements, 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".	✖
	Drum, tambourine elements	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".	✖
	Synthesizer, Solina elements	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.	✖
	Synthesizer, synth bass elements	Akai S1000/S1100 - Unidentified S-Series "Memorymoog" disk - "MOOGRESBASS1" & "MOOGUNIBASS1"	Unknown	Two Akai S1000/Akai S1100 Memorymoog synth bass samples of unknown origin are utilised together as a bass layer throughout "Walking In My Shoes" starting before the first verse.	✖

3. "Condemnation" (Paris Mix)

"Condemnation" (Paris Mix) is not yet known to contain samples from any identifiable sources.

4. "In Your Room" (Zephyr Mix)

"In Your Room" (Zephyr Mix) is not yet known to contain samples from any identifiable sources.

5. "Barrel Of A Gun"

"Barrel Of A Gun" Depeche Mode 1997
	Sample sources
	Sample	Source	Status	Notes	Audio
	Guitar elements	Mickey & the Soul Generation - Iron Leg - "Iron Leg" - 1969	Confirmed	A sample of audio derived from the intro of "Iron Leg" by Mickey & the Soul Generation is utilised during the bridge sections of "Barrel Of A Gun".	✖
	Ambient elements	Korg Inc. - Korg 01/W XSC-2S Orchestral Card Set - XSC-802 PCM: Multi-Sounds - C-19 "Harp Up" - 1991	Confirmed	A harp glissando derived from the Korg 01/W XSC-802 Orchestral expansion card is briefly utilised in the intro of "Barrel Of A Gun".	✖
	Synthesizer elements	Korg Inc. - Korg Trinity Plus > Programs > Bank A > A000 "Tsunami Warning" - 1995	Confirmed	An edit of a synthesized pad derived from "Tsunami Warning", a Korg Trinity factory voice, is layered with the 1995 Spectrasonics Distorted Reality 1 "Ravin' Basses" articulation "Mega-Core" playing an octave to form the bass synth pad that follows the first verse section of "Barrel Of A Gun".	✖
	Synthesizer elements	Spectrasonics - Distorted Reality 1 > SYNTH BASS > 90. "Ravin' Basses: Sweep Steak, Razzy, Mega-Core, Beef Stew, Tuff Guy, Ring-Mod Bass - Lo & Hi" - 1995	Confirmed	A sample of audio derived from the 1995 Spectrasonics Distorted Reality 1 "Ravin' Basses" articulation "Mega-Core" is layered with an edit of the Korg Trinity program "Tsunami Warning" to form the octave bass synth pad that follows the first verse section of "Barrel Of A Gun".	✖
	Drum elements	Fishguhlish - Drum Crazy - Fat Beats For DJs And Producers - Volume Two - 10. "89 BPM" - 1995	Confirmed	A manipulated, re-sequenced section of audio derived from "89 BPM", a sample featured on Fishguhlish's 1995 drum break sample CD Drum Crazy - Fat Beats For DJs And Producers - Volume Two, is utilised in the instrumental break following the second verse section of "Barrel Of A Gun". The drum break element is itself a second-hand sample derived from "Rainmaker" by Harry Nilsson.	✖
	Drum elements	Fishguhlish - Drum Crazy - Fat Beats For DJs And Producers - Volume Two - 9. "88 BPM" - 1995	Confirmed	A manipulated section of audio derived from "88 BPM", a sample featured on Fishguhlish's 1995 drum break sample CD Drum Crazy - Fat Beats For DJs And Producers - Volume Two, is utilised in the instrumental break following the second verse section of "Barrel Of A Gun". The drum break element is itself a second-hand sample derived from "Flowers of the Night" by Grace Slick with Paul Kantner and David Freiberg.	✖
	Synthesizer elements	Roland Corporation - Roland JV-1080 - PR-B (Preset B Bank) - 069 Paz <==> Zap - 1994	Confirmed	A synthesized arpeggio audible during the verse sections of "Barrel Of A Gun" is performed using an edit to the Roland JV-1080 factory patch "Paz <==> Zap".	✖

6. "It's No Good"

"It's No Good" Depeche Mode 1997
	Sample sources
	Sample	Source	Status	Notes	Audio
	Choir elements	E-mu Systems - EIIIX Sound Library Vol. 7 – E-mu Classics > Mellotron Choir > "TRON Males" - 1994	Confirmed	A brief, sweeping choir audible during the intro section of "It's No Good" is performed using "TRON Males", a patch featured on the 1994 E-mu Systems sample CD EIIIX Sound Library Vol. 7 – E-mu Classics.	✖
	Ambient elements	Sony Media Software - Methods Of Mayhem: Industrial Toolkit (CD/AKAI) - Loops > FX > "Ancient Noise FX 01 78-01" - 1995	Confirmed	An ambient sound effect derived from the "Ancient Noise FX 01 78-01" sample present in Sony Media Software's 1995 Methods Of Mayhem: Industrial Toolkit is utilised during the middle eight section of "It's No Good" in the moments prior to the third verse.	✖

7. "Home"

"Home" Depeche Mode 1997
	Sample sources
	Sample	Source	Status	Notes	Audio
	Ambient elements	Spectrasonics - Distorted Reality 1 > FUZZ > 34. "Dark Buzzord, Electro-Mulch, Phlangia" - 1995	Confirmed	A manipulated sample of audio derived from "Dark Buzzord", an ambient sound effect featured on Spectrasonics's 1995 sample library Distorted Reality 1 is utilised in the opening moments of "Home".	✖
	Ambient elements	Spectrasonics - Distorted Reality 1 > METALS > 61. "Bowed Oil Cans" (sample one) - 1995	Confirmed	A manipulated sample of audio derived from the first of two samples titled "Bowed Oil Cans" as featured on Spectrasonics's 1995 sample library Distorted Reality 1 is utilised in the third verse section of "Home".	✖
	Synthesizer elements	Spectrasonics - Distorted Reality 1 > SYNTHS > 95. Raveroids - "Zapamento, Tuff Mini, Holloraver - Low & Hi, Over-reso vibrato, Cheep Squares, 2 Ring Modulators, System 100m LFO FX, Wavey Drone" - 1995	Confirmed	A manipulated sample of audio derived from "Wavey Drone", an ambient sound effect featured on Spectrasonics's 1995 sample library Distorted Reality 1 is utilised in the third verse section of "Home".	✖
	Synthesizer elements	Spectrasonics - Distorted Reality 1 > SYNTHS > 95. "Fuzz Rez Zweep - G1, C2, G2, C3, G3, C4, G4, C5, G5, C6" - 1995	Confirmed	A manipulated sample of audio derived from the "G2" articulation of "Fuzz Rez Zweep", an ambient sound effect featured on Spectrasonics's 1995 sample library Distorted Reality 1 is utilised sporadically throughout "Home".	✖
	Ambient elements	Spectrasonics - Distorted Reality 1 > SYNTH BASS > 90. "Ravin' Basses: Sweep Steak, Razzy, Mega-Core, Beef Stew, Tuff Guy, Ring-Mod Bass - Lo & Hi" - 1995	Confirmed	A sample of audio derived from the "Mega-Core" articulation of "Ravin' Basses" as featured on Spectrasonics's 1995 sample library Distorted Reality 1 is utilised during the chorus and outro sections of "Home".	✖
	Synthesizer elements	Spectrasonics - Distorted Reality 1 > SWEEPERS > 84. "Bottomless, Pete's Piccolo Sweep, Sea Whistle, Swan Dive, Hard Ringz" - 1995	Confirmed	A manipulated sample of audio derived from "Hard Ringz", an ambient sound effect featured on Spectrasonics's 1995 sample library Distorted Reality 1 is utilised sporadically throughout "Home".	✖
	Ambient elements	Spectrasonics - Distorted Reality 1 > SWEEPERS > 85. "Light Shafts, Vanish, Glass Bender, Angel Dust, Astrap Zip, Coasters, Cyclodrone" - 1995	Confirmed	A manipulated sample of audio derived from "Vanish", an ambient sound effect featured on Spectrasonics's 1995 sample library Distorted Reality 1 is utilised mid-way through "Home".	✖

8. "Useless"

"Useless" Depeche Mode 1997
	Sample sources
	Sample	Source	Status	Notes	Audio
	Drum elements	PJ Harvey - To Bring You My Love - "Working for the Man" - 27 February 1995	Confirmed	A section of audio derived from "Working for the Man" by PJ Harvey is utilised throughout the Alan Moulder/Daniel Miller remix of "Useless".	✖

9. "Only When I Lose Myself"

"Only When I Lose Myself" Depeche Mode 1998
	Sample sources
	Sample	Source	Status	Notes	Audio
	Synthesizer elements	Roland Corporation - Roland JV-1080 - PR-A (Preset A Bank) - 023 Psycho EP - 1994	Confirmed	A synthesized electric piano sound derived from the Roland JV-1080 factory patch "Psycho EP" is utilised throughout "Only When I Lose Myself".	✖

10. "Little 15"

"Little 15" - Depeche Mode 1987
	Sample sources
	Sample	Source	Status	Notes	Audio
	Orchestral, bass guitar elements	Michael Nyman - Music For Peter Greenaway's Film A Zed & Two Noughts - "Time Lapse" - 1985	Confirmed	A manipulated section of audio derived from "Time Lapse" as composed by Michael Nyman for the 1985 A Zed & Two Noughts film soundtrack is sequenced to form a repeating melodic riff audible throughout "Little 15".	✖
	Brass elements	Carl Orff - Carmina Burana - Fortuna Imperatrix Mundi (Fortune, Empress of the World) - O Fortuna - Royal Philharmonic Orchestra, Southend Boys' Choir, Brighton Festival Chorus - 1 February 1976	Confirmed	A manipulated section of audio derived from a 1976 performance of the first movement of Carl Orff's Carmina Burana by the Royal Philharmonic Orchestra with the Brighton Festival Chorus and Southend Boys' Choir is utilised sporadically throughout "Little 15".	✖
	Orchestral, percussive elements	Carl Orff - Carmina Burana - I. Primo vere (In Springtime) - Uf dem anger (On the Lawn) - 6. Tanz - Royal Philharmonic Orchestra, Southend Boys' Choir, Brighton Festival Chorus - 1 February 1976	Confirmed	A manipulated section of audio derived from a 1976 performance of the sixth movement of Carl Orff's Carmina Burana by the Royal Philharmonic Orchestra with the Brighton Festival Chorus and Southend Boys' Choir is utilised sporadically throughout "Little 15".	✖
	Bassoon elements	E-mu Systems - Emulator II factory library disk #16: Bassoon & Flute - Preset #1: "Bassoon Flt1"	Confirmed	A melodic riff audible throughout "Little 15" is performed using Emulator II factory library disk #16 "Bassoon & Flute".	✖

11. "Everything Counts" (Live)

"Everything Counts" (Live) is not yet known to contain samples from any identifiable sources.

B-sides, bonus tracks and remixes

"Surrender"

"Surrender" Depeche Mode 1998
	Sample sources
	Sample	Source	Status	Notes	Audio
	Ambient elements	DJ Shadow - Endtroducing..... - "Stem/Long Stem" - 16 September 1996	Confirmed	A manipulated section of audio derived from "Stem/Long Stem" by DJ Shadow is performed across two octaves to form an ambient pad utilised throughout the chorus sections of "Surrender". The sound as it is heard on "Stem/Long Stem" is itself a sample originally derived from "Variation III" by Osanna as featured on the 1972 soundtrack album Milano Calibro 9 for the 1973 film of the same name.	Click to display/hide audio example
	Ambient elements	Nuyorican Soul - Runaway - "Runaway (Mongoloids In Space)" - 1997	Confirmed	A manipulated section of audio derived from the intro of the Armand Van Helden "Mongoloids In Space" remix of "Runaway" by Nuyorican Soul featuring India is utilised sporadically throughout "Surrender".	Click to display/hide audio example
	Ambient elements	Warp 9 - It's a Beat Wave - "Light Years Away" - 1983	Confirmed	A series of manipulated sections of audio derived from the intro of "Light Years Away" by Warp 9 are utilised sporadically throughout "Surrender".	Click to display/hide audio example
	Drum, bass drum, snare drum elements	A Tribe Called Quest - Beats, Rhymes and Life - "Stressed Out" (featuring Faith Evans) - 30 July 1996	Confirmed	A series of manipulated, processed sections of audio derived from "Stressed Out" (featuring Faith Evans) by A Tribe Called Quest are utilised sporadically throughout the bridge section of "Surrender".	Click to display/hide audio example
	Synthesizer elements	Roland Corporation - Roland JV-1080 - PR-C (Preset C Bank) - 060 ORBit Pad - 1994	Confirmed	A synthesized warm pad sound derived from an edit to the Roland JV-1080 factory patch "ORBit Pad" is utilised during the intro and chorus sections of "Surrender".	Click to display/hide audio example
	Synthesizer elements	Roland Corporation - Roland JV-1080 - PR-C (Preset C Bank) - 060 ORBit Pad - 1994	Confirmed	A synthesized organ-like sound derived from an edit to the Roland JV-1080 factory patch "ORBit Pad" is utilised during the latter half of each verse section throughout "Surrender".	✖
	Drum elements, bass drum	Roland Corporation - Roland TR-808 Rhythm Composer - 1980	Confirmed	An 808 bass drum audible throughout "Surrender" is derived from the Roland TR-808 drum machine.	✖

"Headstar"

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

"Only When I Lose Myself (Dan The Automator Mix)"

"Only When I Lose Myself (Dan The Automator Mix)" Depeche Mode 1998
	Sample sources
	Sample	Source	Status	Notes	Audio
	Orchestral elements	Giuseppe Verdi, Orchestra Del Teatro Alla Scala Milano, Maria Chiara, Lorin Maazel - Aida - Aida / Act 1: Ritorna vincitor! - 1989	Confirmed	A manipulated section of audio derived from a performance of a scene from Giuseppe Verdi's 1871 opera Aida by L'Orchestra del Teatro alla Scala with lyric soprano Maria Chiara and Lorin Maazel is utilised sporadically throughout "Only When I Lose Myself (Dan The Automator Mix)".	✖
	Synthesizer elements	Roland Corporation - Roland JV-1080 - PR-A (Preset A Bank) - 023 Psycho EP - 1994	Confirmed	A synthesized electric piano sound derived from the Roland JV-1080 factory patch "Psycho EP" is utilised throughout "Only When I Lose Myself (Dan The Automator Mix)".	✖

"Only When I Lose Myself (Subsonic Legacy Mix)"

"Only When I Lose Myself (Subsonic Legacy Mix)" Depeche Mode 1998
	Sample sources
	Sample	Source	Status	Notes	Audio
	Drum elements	The Winstons - Color Him Father / Amen, Brother - "Amen, Brother" - 1969	Confirmed	A manipulated drum break derived from "Amen, Brother" by The Winstons is utilised throughout the "Subsonic Legacy" remix of "Only When I Lose Myself".	✖