Martin L. Gore

Martin Gore Uses a Fender Bronco Amp with his Gretsch guitar copy during this recorded session recording of HEAVEN, GOODBYE, BROKEN & SOFT TOUCH from the DELTA MACHINE Album.

Talking through some of the elements of Martin Gore’s live gear setup for Depeche Mode’s 2013 Delta Machine Tour, Jez Webb mentions Martin Gore’s use of the Kemper Profiling Amplifier (3:17 into the video):

“The new addition to the setup is the Kemper Profiling Amplifier. This is the first tour we’ve used that. Within a couple of days [of receiving it] we dialed in roughly six - eight songs. We found it very easy to use, the interface, the layout of it, particularly the way it’s split into three sections: your effects, the amp, and delays & reverbs, etc. So as I say we were pretty much out the box, plug it in, we were up and running and using that. From this, we take a stereo feed into the Rivera amps, the Venus 5…”

Sold on Reverb.com in 2019 for charity.

This Fender Sidekick Reverb 30 Amplifier is from the private collection of Martin Gore, founding member of Depeche Mode

SN: 3615. Funky little solid state 90's Fender amp. Works as it should. Scuffs and marks from being well loved. Couple scratchy pots. Signed by Martin Gore.

All items in The Official Martin Gore of Depeche Mode Reverb Shop ship fully insured with delivery confirmation and include a signed and embossed Certificate of Authenticity from Martin Gore.

Martin Gore’s guitar tech Jez Webb: “The G-system we also use for amp switching. We're running a stereo setup here using the Rivera Venus 5. We've used Rivera for about 10 years now and they have been a good amp to us. Very reliable, good sounds and we're touring those again. So that's stereo into two 2x12 cabinets.”

This is from the TC Electronic video “Gear Run: Martin Gore of Depeche Mode”, uploaded March 2010, 1:30 into the video. The upload date indicates this was Depeche Mode’s Tour of the Universe.

From Musician magazine, October 1993 issue:

"Depeche Mode keeps things simple onstage: no amplifiers. Every sound, from keyboards to guitar to drums, runs through the P.A. system: a Brittania Pow Flashlight System. Dave Gahan and the backup singers use Samson Synth radio microphones with EU 757 capsules. Martin Gore plays a Roland A-50 and Alan Wilder plays an Akai MX1000, each controlling two Emulator Emax II samplers: Andrew Fletcher has another pair of Emaxes. Each pair is hooked up in parallel, so that if one were to malfunction, the other is ready. But 'I don't remember an instance when we had to go to a spare,' says Wob Roberts, the keyboard technician. Samples come from strange and sundry sources, including old analog equipment. The piano onstage is a Korg 01/W Pro X transplanted into a grand-piano body. For down-stage keyboards, Fletcher and Wilder use Philip Reese MIDI line drivers. A MicroLynx sends SMPTE time code to the video and film setups. Away from the keyboards, Gore plays either a Gretsch Country Gentleman or a copy of a Gretsch Anniversary guitar, strung with Gibson strings, from .010 to .046 gauge. Dick Knight copied Gore's original Gretsch for stage use, using Gretsch parts but adding more wood in the body to cut down feedback. The guitars run through a MESA/Boogie Tri-Axis preamp and a Zoom 9002 effects processor, with a Sennheiser UHF transmitter. Wilder's drums are mostly Yamahas: a 22" bass drum and 12", 13", 14" and 16" tom-toms. He uses Noble and Cooley piccolo and 7" snare drums and Zildjian K cymbals: a 22" ride, an 18" China, 16" and 18" crashes, a 6" splash and 13" hi-hats. And don't forget the tapes: two Sony 3324s, one of them a spare. Of the 24 tracks, Depeche Mode uses only 14, because many of the songs were dubbed from a 16-track Tascam that used 12 tracks for sound and four for sync. 'As soon as anyone sees the size of the machines, they think the whole show is on tape,' says Roberts. 'But it's just bass and drum parts and a couple of sequences. This band does not mime.'"