FAB FOUR is a virtual (software) instrument that includes 45 instruments inspired by the sounds of the Beatles.
"The quality is undeniable, I can't imagine what East West must have gone through to track down these sounds (and get Beatles engineer Ken Scott on board)." - EQ
2008 M.I.P.A Winner ; judged most innovative instrument by 100 music magazines
Check out the AUDIO DEMOS in the player at the top right. For those new to this technology we used some of the 45 instruments in the FAB FOUR collection to create these demos. To listen to .wav versions select the demo and click on the "?" at the bottom of the player, and download the .wav file. Everything you hear (except the foot taps at the end of "Something In the Sky") is in the box (even the screaming girls!). New video tutorials have been posted below, so if you want to get more familiar with the technology behind this award-winning collection, check these out.
NEW Video Tutorials!
See FAB FOUR in action. Click below for MP4 videos or full screen resolution Quicktime MOV files!
Producer DOUG ROGERS was awarded the 2008 M.I.P.A. Award for BEST SOUND LIBRARY for FAB FOUR at the Frankfurt Musikmesse. Over 100 international magazines selected the winner. The M.I.P.A. has become the "Grammy" of the Musical Instrument industry.
LATEST REVIEW QUOTES
As you play the instruments, you'll recognize many signature sounds-guitars, keyboard, drums, sitar-but that doesn't mean you have to play the licks they provided for the Beatles. In fact, using them in other contexts provides an intriguing combination of freshness and deja vu; these are highly playable, "organic" sounds that have intrinsic merit and coolness, regardless of their lineage. The quality is undeniable, I can't imagine what East West must have gone through to track down these sounds (and get engineer Ken Scott on board), tweak them to perfection, and adapt them to a virtual instrument format. Bottom line: There are many great sound libraries out there, but this is a tour de force. (EQ Magazine)
Standouts for uncanny realism include, well, pretty much the entire library — the guitar sounds are so authentic they could have been lifted directly off the original multitrack session tapes. Fab Four absolutely nails the iconic instrument sounds created at Abbey Road Studios by the Beatles, George Martin, Ken Scott (who worked on engineering Fab Four, in fact), Geoff Emerick, Alan Parsons, and other producers and engineers on the Beatles' many brilliant albums. It should also be said that if you're looking to recreate the Beatles sound with other libraries, you really have to know what you're looking for. In Fab Four, so much of the work has been done for you that, uh, all you need is love . . . of the Beatles! Bottom line: Fab Four is a major accomplishment, and entirely worth the money. (KEYBOARD)
I installed Fab Four in my Pro Tools rig and instantly fell in love with all the sounds--all 13GB of them. Check out: "With A Little Help From My Bass", "Bass Tripper", "Because I'm A Harpsichord", "Madonna Piano", "Baby I'm Clavioline", "Strawberry Flutes", "We Can Work A Harmonium", "I'm A Blackbird Guitar", "Revostortion Guitar", and Swarmandel Forever."
The drums and bass sounds are evocative of Ringo and Paul and the keyboards work excellently in any record production pastiche--just like the Beatles used them. The instrument's GUI includes many studio effects you can add to any sound such as convolution reverbs, delays, compressors and the Beatle's often-used ADT (artificial double tracking) tape recorder effect.
As a collection of authentic Beatle sounds, Fab Four Virtual Instruments turns out to be an excellent record production and songwriting tool. (MUSIC CONNECTION)
In all honesty, this was a library I didn't expect to be very interested in. I found it admirable from an artistic standpoint that EastWest would go to the trouble of putting out what I expected to be a very esoteric product, but would anyone really be interested enough to open up their wallets? Wow, was I wrong. This is a charming sample library that grows on you the more you play it. It's hard to imagine anyone not developing a severe crush on at least some of these instruments. (VIRTUAL INSTRUMENTS)
Given their beauty, and the ease with which they can be molded, the bulk of the Fab Four samples are both outstandingly accurate reproductions of sounds that helped create some of the most memorable music in the history of rock, and sample sets that can be turned into aural tapestries that evoke an earlier era without being tethered to it. It takes a bit of cheek and a lot of skill to attempt such a task, and the producer/engineer tandem of Doug Rogers and Ken Scott deserve high marks for their efforts. (MIX)
Fab Four is a true jewel for all fans of the classic Beatles sounds. Producer Doug Rogers and engineer Ken Scott, (who has worked for example with the Beatles, David Bowie and Elton John) have tried with almost boundless efforts to capture the sound spirit of legendary recordings. Not only instruments and amps of that time have been used, also the authentic recording equipment. Along with old Neuman tube mics, venerable Fairchild and Altec compressors, they have used the EMI tube mixer and TG12345 mixer as well as a Studer J37 4 track tube tape machine. In addition, they got competent help by two former Wings members, Denny Seiwell (drums) and Laurence Juber (guitar). Fab Four is an accurate collection of sounds that created pop history, and are a great starting point to create new songs, and create alternatives to modern sounds. (KEYS)
FAB FOUR is a virtual instrument inspired by the sounds of the Beatles, using the same kind of period instruments and authentic rare EMI recording equipment the Beatles used to create their music.
FAB FOUR sound engineer KEN SCOTT worked on five Beatles albums, including "A Hard Days Night", "Help", "Rubber Soul", "Magical Mystery Tour" (engineer), and "The Beatles" (engineer) - also known as the "White Album". Drummer DENNY SEIWELL and Guitarist LAURENCE JUBER were both members of Paul McCartney and Wings.
"The Beatles had a profound impact on me, as they did for millions of others" said FAB FOUR producer DOUG ROGERS, "and they were the initial influence for my fascination with sounds. They were creative geniuses that never rested on their laurels, always producing exciting new music and sounds with each new record, much of it ground-breaking! Putting this project together took well over a year of research, equipment procurement (much of it from collectors), and putting together a team that could pull off such a feat; but it was a labor of love for us all, and we feel the result is truly worth it."
No expense was spared finding the same kind of period instruments and rare authentic EMI and other recording equipment the Beatles used to create their sounds to produce this collection, much of which, ironically, will end up in EASTWEST Studios, where the Beach Boys "Pet Sounds" was recorded, the inspiration for the Beatles "Sgt. Pepper's Lonely Hearts Club Band" album, according to Paul McCartney.
Well over a million dollars worth of instruments, amplifiers, microphones, recording desks (including very rare EMI REDD tube and TG12345 desks), outboard equipment (including Fairchild limiters and EMI RS124 modified Altec compressors), and Studer J-37 tube multi-tracks were used in this production. If you are a film/tv/game composer, or a musician/producer looking for sounds not found in other collections, this is it. Blending these unique and sometimes bizarre sounds with today's music should enable you to produce something truly fab!
Engineered by KEN SCOTT
(Beatles/David Bowie/Elton John/Supertramp etc.)
Includes authentic rare period guitars (acoustic and electric), basses, drums, keyboards, stringed and other misc instruments
The same kind of microphones were used to record all instruments (Neumann/AKG/Cole/STC)
The same kind of period amplifiers - Fender Tan Showman (1963), Fender Bassman (1963), Vox AC30 (1963), Vox AC50 (1965), Vox Defiant (1966), Vox 730 (1966), Vox 7120 (1966), Fender Showman (1967), Fender DeLuxe (1967) - were used with the electric guitars
The same kind of recording desks and preamps, including a very rare EMI REDD tube desk, EMI TG12345 desk (the same kind of desk used to record "Abbey Road" and Pink Floyd's "Dark Side of the Moon"), and EMI REDD47 preamps, were used to record all instruments
The same kind of limiters (Fairchild) and compressors (rare EMI RS124 modified Altec) were used for dynamics control
The same kind of Studer J-37 tube 4-track was used to record everything
Guitars (some costing over $200,000 each) played by LAURENCE JUBER (Paul McCartney and Wings) include Gretsch Firebird (1959), Gretsch Tennessean (1963), Rickenbacker 360-12 (1965), Martin D-28 (1966), Fender Stratocaster (1956), Epiphone Casino (1965), Fender Telecaster (1951), Gibson SG (1960), Les Paul Goldtop (1957), Gibson J200 (1966), Hofner 500 Bass (1963) and Rickenbacker 4001S Bass (1964).
Guitars were sampled with up and down strokes, multiple velocities and picking styles, some with chords and effects
Most of the sounds would be impossible to create without all of the above equipment. For example, the "revostortion" guitar sound was created by feeding a Epiphone Casino guitar into one EMI REDD 47 preamp, and the output into a second EMI REDD 47 preamp, which is exactly how it was created originally by the EMI/Abbey Road engineers
Drums played by DENNY SEIWELL (Paul McCartney and Wings) include a rare 1960 Ludwig downbeat kit with Zildjian cymbals (snare 5 x 14/toms 9 x 13/16 x 16/kick 22 x 14/zildjan 20" crash ride/18" crash medium/14" Hi-Hat)
Drums are all multi-sampled with up to 16 velocity layers, left and right hand. The sounds were all matched to a particular style (e.g. A Day in the Drums, Ticket to Drums, Yer Drums). We even recorded some heavily modulated cymbals through a Fairchild limiter for authenticity
Keyboards include Baldwin Electric Harpsichord (Because I'm a Harpsichord), Clavioline (Baby I'm a Clavioline), Lucy in the Lowery, Strawberry Flutes, We Can Work a Harmonium, and other stringed instruments including Swarmandel Forever
FAB FOUR includes a software version of ADT (artificial double tracking) with built-in tape simulator, created and programmed specially for this project. The software includes the smoothest filters you'll ever hear, delay, and multiple high quality reverb choices.
(PLEASE NOTE: THIS PRODUCT IS NOT AFFILIATED WITH, OR ENDORSED BY THE BEATLES OR APPLE CORPS, LTD.)
Baby I'm A Clavioline (Clavioline/Baldwin Amp)
Bass Tripper (1963 Hofner 500 Bass)
Because I'm A Harpsichord (Baldwin Electric Harpsichord/Baldwin Amp)
Come To Bass (1964 Rickenbacker 4001S Bass)
Come To Drums (1960 Ludwig Downbeat Kit)
Come To Guitar Rhythm (1965 Epiphone Casino Electric Guitar/1967 Fender DeLuxe Amp)
Come To Guitar Solo (1957 Les Paul Goldtop Electric Guitar/1963 Fender Bassman Amp)
Revostortion Guitar (1965 Epiphone Casino Electric Guitar/2 x REDD 47 Preamps)
Roll Over Guitar (1959 Gretsch Country Gentleman Electric Guitar/1964 Vox AC100 Amp)
Something Is A Guitar Solo (1957 Les Paul Goldtop Electric Guitar/1963 Fender Bassman Amp)
Something Is A Rhythm Guitar (1951 Fender Telecaster Electric Guitar with Leslie Speaker)
Strawberry Drums (1960 Ludwig Downbeat Kit)
Strawberry Flutes (original sound licensed from www.mellotron.com)
Swarmandel Forever (Swarmandel)
Ticket To Guitar (Rickenbacker 360-12 Electric Guitar/1965 Vox AC50 Amp)
Ticket To Drums (1960 Ludwig Downbeat Kit)
We Can Work A Harmonium (Harmonium)
With a Little Help From My Bass (1964 Rickenbacker 4001S Bass)
Within A Sitar / Love You Sitar (Sitar)
Within A Tabla (Tabla)
What You're Drumming (1960 Ludwig Downbeat Kit)
Yer Drums (1960 Ludwig Downbeat Kit in Small Room)
All instruments are newly recorded multi-samples for this collection and none of the sounds came from any Beatles music or records (Beatles is a registered trademark of Apple Corps, Ltd. All other product and company names are trademarks of their respective holders.)
(PLEASE NOTE: THIS PRODUCT IS NOT AFFILIATED WITH, OR ENDORSED BY THE BEATLES OR APPLE CORPS, LTD.)
User Interface and Software
Fab Four is powered by EASTWEST'S PLAY 64-bit (and 32-bit) Advanced Sample Engine
FAB FOUR: PLAY interface (click to magnify)
This VIRTUAL INSTRUMENT combines intuitive handling with excellent sound quality, and functions as a plug-in instrument, without the need for a sampler.
PLAY is a 64-bit (with 32-bit compatibility) Advanced Sample Engine. PLAY is Included with all new EASTWEST/QUANTUM LEAP Virtual (software) Instruments.
PLAY includes custom designed virtual instruments that look as beautiful as they sound
Interface designed to eliminate clutter, including only the controls needed for each individual virtual instrument
Load MORE thanks to 64-bit support
64-bit support allows you to load many more instruments and voices, limited only by your system RAM (32-bit support is included also)
While most high-end computers will support 16Gb, a very small set of high-performance enterprise computers (with Microsoft Vista Ultimate) can already use 128Gb of RAM. As hardware develops, the theoretical limit is 17,179,869,184 gigabytes = 16 exabytes, or 17 billion gigabytes!
If you still need more power, our built-in NETWORK CONTROL allows you to load instruments on other machines controlled from your host computer
No more trips back and forth between computers, no more KVM switching when loading projects
No need to buy additional software
The PLAY system is a professional fully integrated solution for those with the most demanding production requirements
All instruments are listed in one browser
Easy to use browser displays all of your instruments
Favorites section to group the instruments you use most
Preview your instrument of choice in an easy-to-use column viewer
Load instruments into one instance to take advantage of your sequencer's "instrument tracks", or many if you so desire.
Interface automatically changes to display current instrument
Forget browsing through complicated patch names: pick the instrument and play
Turn on/off articulations as you wish
Articulations list also serves as reference for all expressions within the instrument (no need to look up key-switches in charts)
Save your favorite configuration for quick retrieval
PLAY senses legato and repetitive playing and responds accordingly
PLAY allows the user to manipulate stereo samples in very useful ways
Stereo Swap allows the user to instantly swap the left and right channels
Mono from left , Mono from right, or Mono Sum allow for instant conversion from stereo to mono
The best sounding and most powerful effects engine out there, built from the ground up for the highest possible quality
Reverb section includes multiple impulse responses from halls, and the famous EASTWEST Studios and live chambers (more RIAA certified Platinum and Gold records awarded than any other studio)
The smoothest filters you'll ever hear
Specialized effects including the first Artificial Double Tracking (ADT) software available
Highest quality resampling engine
Built from the ground up to create the most intuitive instruments possible. Allowed us to design instruments every step of the way without compromise
Authorize purchased instruments easily using the industry standard iLok security system
Offers complete portability, take your plugin anywhere you want, use it on any computer
Easy to authorize and manage (up to 100 authorizations on one key)
AU, VST, Standalone, Intel Mac, Windows XP, Vista, Windows 7, Windows 8, 64-bit, 32-bit
Natively supported in all major hosts on all major operating systems - PLAY no matter what your platform
More native support than any other plug-in
Standalone: PLAY as many instruments as your computer can handle in one application
PLAY isn't just a sampler, the PLAY SYSTEM is a professional fully integrated sample playback software solution for those with the most demanding production requirements
Offers native support for more platforms than any other software engine
Network support* for large, expandable systems
The latest in technology (64-bit, supports next generation operating systems)
The highest sound quality (ground-up effects, highest quality interpolation)
The best virtual instruments from the multiple award-winning EASTWEST/QUANTUM LEAP producers
The most intuitive controls, custom designed for each library
*This feature will be available after release as a free download for all registered users.
13 GB Free Hard Disc Space
iLok Security Key, not inlcuded (a free soundsonline.com account is required for retrieving and managing iLok licenses)
If you do not own an iLok Security Key you can purchase at your local authorized EASTWEST retailers, or here. One iLok key will hold 100 registrations for all future releases.
More details about the new iLok copy protection for our PLAY SYSTEM powered products is available here
Minimum Requirements for Mac
G5 1.6GHz, 2GB of free RAM, Mac OS 10.4 or newer
Recommended Mac System
Mac Pro Quad-Core Xeon 2.5GHz, 4GB RAM
Minimum Requirements for PC
Pentium 4 3.0GHz, 2GB of free RAM, Windows XP SP2, Vista, Windows 7, or Windows 8 sound card with ASIO drivers
Recommended PC System
Intel or AMD Quad Core 2.0GHz, 8GB RAM, 64-bit OS and host
iLok required (not included), internet connection required for one-time product activation
Included for both PC and Mac:
32-bit standalone and plug-in versions included.
64-bit PC VST (host must support 64-bit VST plugins) and standalone versions included.
Check the following compatibility chart for availability of other 64-bit versions and updates.
PC: VST™, ASIO™, RTAS™
Mac: VST™, Audio Units™, Core Audio™, RTAS™
EASTWEST PLAY Host/Sequencer Compatibility Matrix
8, 7, Vista
8, 7, Vista
6.07 or higher
7 or higher
7 or higher
3 or higher
7.2 or higher
6.02 or higher
7.4 to 10
Pro Tools 113
6.0 or higher
6.2 or higher
4.0.54 or higher
2.0 or higher
3.0 or higher
1: Cubase/Nuendo 4.1 or later are required as 64-bit hosts. Cubase 6 and lower users will have to use PLAY 3.0.47. Steinberg fixed the issue in Cubase 7 if you wish to use PLAY 4.
2: DAE (RTAS in Digital Performer and Logic) is not supported at this time.
3: Ethernet control surfaces are not officially supported (ex: C24)
4: Sibelius 6.0.3 or higher is required to run in Snow Leopard.
5: FL Studio is only supported while in 32-bit operation currently
6: Windows 7 or 8 Home Premium Supported. Pro Tools HD 11 does not support Windows 8
7: Ableton Live 7 and 8 are only 32bit, so users will have to set their VST folder to the 32bit version of the installed Play VST (even on a 64bit operating system)
Other hosts may be compatible, but are untested and unsupported at this time.
There are a number of sizes in each .zip file for both standard and widescreen monitors including (800x600, 1024x768, 1280x960, 1600x1200, 1280x800, 1440x900, 1680x1050, 1920x1200).
"Having new sounds at my fingertips is always an inspiration and these new PLAY plug-ins have plenty of great sounds to choose from."
- The Dark Knight, King Kong, Michael Clayton
"Quantum Leap instruments have become an important part of my sonic template. I am really looking forward to using EW/QL Pianos and Silk in my future scores and I am using STORMDRUM 2 right now on Terminator 4."
- Spiderman, Nightmare Before Christmas, Terminator 4
"I am a big fan of the EastWest / Quantum Leap libraries. Their collections contain generous sound palettes with great attention to detail. I am also very impressed by the power of the PLAY engine."
- Hancock, Kung Fu Panda, The Bourne Trilogy
Mark "Spike" Stent
"Quantum Leap SPACES from EastWest is my new go to reverb, it's absolutely the best reverb plug-in on the market."
- Coldplay, Lady Gaga, Bruce Springsteen, Muse
"These are real acoustic piano sounds. I'm absolutley amazed. EastWest/Quantum Leap has gone the extra mile to provide stunning quality acoustic pianocharacter - the whole collection is superb!"
- 12 time Grammy Winning Pianist & Composer
"Pianos is the best software available today. The recording quality and playability are fantastic. These are the only digital piano sounds that faithfully reproduce the resonances of a well tuned piano."
- The Spirit, Cat in the Hat, Ice Age
"If you're lucky, the tools themselves will inspire you. It looks- and sounds- like EastWest/Quantum Leap does just that with every new product they release."
- Director/Creator: Star Trek, Lost, The Fringe
"I rely on EastWest/Quantum Leap virtual instruments for my work, they are the most natural sounding and best programmed virtual instruments out there."
- KÀ, Mystère, Alegria - Cirque du Soleil
"The entire line of EastWest instruments are an essential part of my composing rig. The sounds are impeccable and naturalistically captured while the ease of use and the power of the PLAY engine makes the instruments top of their field."
- Dragonalball, Eagle Eye, Fast and the Furious
"Quantum Leap sound libraries have enjoyed an invaluable place in my palette for many years both in the mock up and final phase, these sounds offer absolute stunning quality, fidelity, and musicality."
- Rome, Appaloosa, He Was A Quiet Man
"The EastWest / Quantum Leap PLAY virtual instruments jump into my tracks, finding places for themselves. Their richness and variety make combinations of style and sound so engaging to work with in our increasingly recombinant musical world."
- Producer: Paul McCartney, Bangles, Regina Spektor
"EASTWEST's The Dark Side is exactly what I've been looking for in a moody, expertly distorted virtual instrument ... I'm using it everyday now in my video games music scores."
- Composer Rage, Dead Space, The Hobbit
"EastWest / Quantum Leap Virtual Instruments offer an amazing palette of colors and flavors, plusthe sonic quality is just beyond belief."
- Luis Miguel's keyboardist, composer, programmer
"This is not just a Virtual Piano collection, it's a
masterpiece ... it's love at first touch. When I first heard it, I had to play it, and I fell in love - WOW!!"
- Producer Michael Jackson "Dangerous" and "Invincible"
Paul "Wix" Wickens
"As musical director/keyboard player for PAUL McCARTNEY, I need the best sounds available, EASTWEST / QUANTUM LEAP Virtual Instruments give me that and are an essential part of my set-up."
- Musical Director / Keyboards - PAUL McCARTNEY
"The Quantum Leap samples have that rare ability to inspire creative thinking. Always something I want out of sounds to lead me somewhere, to let myself go."
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