Fab Four

Virtual Instrument
Users’ Manual
 FAB FOUR VIRTUAL INSTRUMENT

The information in this document is subject to change without notice and does not
represent a commitment on the part of East West Productions, L.L.C. The software and
sounds described in this document are subject to License Agreements and may not be
copied to other media. No part of this publication may be copied, reproduced or other-
wise transmitted or recorded, for any purpose, without prior written permission by East
West Productions, LLC. All product and company names are ™ or ® trademarks of their
respective owners.

PLAY™ is a trademark of East West Sounds, Inc.

© East West Sounds, Inc., 2010. All rights reserved.

East West Sounds, Inc.

6000 Sunset Blvd.
Hollywood, CA 90028
USA

1-323-957-6969 voice

1-323-957-6966 fax

For questions about licensing of products: licensing@eastwestsounds.com

For more general information about products: info@eastwestsounds.com

http://support.soundsonline.com

Version of July 2010

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 FAB FOUR VIRTUAL INSTRUMENT

1. Welcome

2 Producer: Doug Rogers

4 Engineer: Ken Scott
6 Credits
8 How to Use This and the Other Manuals
9 Online Documentation and Other Resources

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Producer: Doug Rogers
Doug Rogers has over 30 years experience in the audio industry and is the recipient of
many recording industry awards including “Recording Engineer of the Year.” In 2005,
“The Art of Digital Music” named him one of “56 Visionary Artists & Insiders” in the book
of the same name.

In 1988, he founded EastWest, the most critically acclaimed sound developer in the
world, and recipient of over 50 industry awards, more than any other sound developer.
His uncompromising approach to quality, and innovative ideas have enabled EastWest
to lead the sound-ware business for 20 years. In the late eighties, he released the very
first commercial drum sample CD, and followed it with the multiple-award-winning “Bob
Clearmountain Drums” sample collection.

In the years that followed he practically reinvented the sound-ware industry. EastWest
introduced loop sample libraries to the market in the early nineties, followed closely
by the first midi-driven loops (Dance/Industrial). He released the first sample library to
include multiple dynamics, followed by the first sample library to stream from hard disk,
an innovation that led to the detailed collections available today. His recent productions
of Symphonic Orchestra (awarded a Keyboard Magazine “Key Buy Award,” EQ Maga-
zine “Exceptional Quality Award,” Computer Music Magazine “Performance Award,” and
G.A.N.G. [Game Audio Network Guild] “Best Sound Library Award”); and Symphonic
Choirs (awarded Electronic Musician “2006 Editor’s Choice Award,” G.A.N.G. “Best

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Sound Library Award,” and Keyboard Magazine “Key Buy Award”). He persuaded audio
legend Prof. Keith O. Johnson to record EWQLSO and EWQLSC, and came up with the
revolutionary idea of recording all instruments and voices with 3 simultaneous stereo
mic setups so users can control the tone of the performances and the acoustics of the
concert hall, as well as create surround sound mixes.

His latest productions include Quantum Leap Pianos, another 3 mic setup, and the most
detailed virtual piano collection ever produced; and Fab Four, inspired by the sounds
of the Beatles, featuring the same kind of vintage instruments and original EMI/Abbey
Road recording equipment as the Beatles used to create their music. He persuaded
audio legend Ken Scott, who was involved in the recording of five Beatles albums, and
engineer for “Magical Mystery Tour” and “The Beatles” (also known as the White Album)
to work with him on Fab Four.

He also acquired one of Hollywood’s most famous recording studio complexes in 2006,
formally United Western (now EastWest Studios), recipient of more engineering awards
and RIAA certified Gold and Platinum recordings than any other studios worldwide. He
persuaded top international design superstar Philippe Starck to redesign the non-techni-
cal areas of the studios. Over the last decade he has partnered with producer/composer
Nick Phoenix and set up the Quantum Leap imprint, a subsidiary of EastWest, to pro-
duce high-quality, no compromise sample libraries and virtual instruments. EastWest/
Quantum Leap virtual instruments are considered the best available and are in daily use
by the who’s who of the industry.

His latest technical achievement was unveiled at the 2007 NAMM convention - the
world’s first 64-bit audio engine named PLAY, which powers EastWest/Quantum Leap’s
latest suite of virtual (software) instruments.

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Engineer: Ken Scott
Throughout his forty years in the recording industry, Ken Scott has had a reputation as
being “one of the best.” His start, at the age of 16, came from the world renowned Ab-
bey Road studios where he initially worked in the tape library. Within a very short time he
had worked his way up to the position of recording engineer and found himself working
with the elite of the popular music world including The Beatles Jeff Beck, Pink Floyd,
the Hollies, Procol Harum and many more.

Ken’s desire to work with as many types of artists as possible, limited by EMI Records’
ownership of Abbey Road, led him to one of the fastest growing independent studios.
At Trident Studios he garnered two Grammy nominations, a Clio award and millions of
record sales with such artists as Elton John, George Harrison, Harry Nilsson, the Rolling
Stones, and America.

The need to grow led Ken to production and more artistic say in the way projects turned
out. It was through his knowledge and foresight that artists like David Bowie and Super-
tramp became superstars, once again leading to millions of sales and still more Grammy
nominations. When Frank Zappa brought a band to Ken’s attention, Missing Persons, the
decision was made to be their engineer, producer, and manager. Once again expanding
Ken’s area of expertise, this time looking after the band’s entire career. The success
continued, a first album with sales exceeding 800,000 units, sell out concerts at such

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places as Long Beach Arena and a performance in front of 190,000 people at the last
US Festival.

Over the last few years Ken has received still more gold and platinum awards from
around the world, with acts such as Level 42 and Duran Duran, as well as working with
George Harrison and the George Harrison Estate and broadening his scope with music
production for major motion pictures.

Ken’s body of work since he started at Abbey Road at 16 speaks for itself:
Magical Mystery Tour, The Beatles; Honky Chateau, Elton John; Truth, Jeff Beck; Fog On
The Tyne, Lindisfarne; Apples And Oranges, Pink Floyd; The Man Who Sold The World,
David Bowie; Lord Sitar, Lord Sitar; Birds Of Fire, Mahavishnu Orchestra; All Things
Must Pass, George Harrison; Transformer, Lou Reed; New York City, Al Kooper; America,
America; The Beatles, The Beatles; Son Of Schmilsson, Harry Nilsson; Don’t Shoot Me
I’m Only The Piano Player, Elton John; Wonderwall, George Harrison; A Salty Dog, Procol
Harum; The Radha Krshna Temple, The Radha Krshna Temple; Madman Across The
Water, Elton John; Thankyou, Duran Duran; L the P, Scaffold; A Saucerful Of Secrets,
Pink Floyd; I’d Like To Teach The World To Sing, The New Seekers; Post Card, Mary
Hopkin; S.F.Sorrow, The Pretty Things; The Six Wives Of Henry VIII, Rick Wakeman;
Hunky Dory, David Bowie; Night Of The Living Dregs, Dixie Dregs; Young And Rich, The
Tubes; Spring Session M, Missing Persons; Crisis, What Crisis?, Supertramp; Schooldays,
Stanley Clarke; Crafty Hands, Happy The Man; True Colours, Level 42; The Lost Trident
Sessions, Mahavishnu Orchestra; The Rise And Fall Of Ziggy Stardust, David Bowie;
Spectrum, Billy Cobham; Inside, Whiteheart; The Witching Hour, Hellion; Crime Of The
Century, Supertramp; There And Back, Jeff Beck; What If, Dixie Dregs; Visions Of The
Emerald Beyond, Mahavishnu Orchestra; Gamma 1, Gamma; Duty Now For The Future,
Devo; Journey To Love, Stanley Clarke; Aladdin Sane, David Bowie; Crosswinds, Billy
Cobham; Vinyl Confessions, Kansas; Puzzle, Dada; Pinups, David Bowie; Happy The
Man, Happy The Man; Like Children, Jerry Goodman and Jan Hammer; Missing Persons,
Missing Persons.

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Credits

Producer
Doug Rogers

Engineer
Ken Scott

Assistant Engineer
Rhys Moody

Musicians
Drums: Denny Seiwell, Guitars: Laurence Juber, Keyboards: John Sawoski

Production Assistance
Nick Phoenix

Programming
Pacemaker

Sound Editing
Rhys Moody, Nick Pavey, Justin Harris

Art Direction
Doug Rogers, Shaun Ellwood

Software
Sam Fischmann, Klaus Voltmer, Patrick Stinson, Stefan Kersten,
Klaus Lebkücher, Toine Diepstraten, Stefan Podell, Albert Ortega,
Doug Rogers, Nick Phoenix, Rhys Moody, Stefan Leiste

Manual
John Philpit

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Special Thanks to
Stefan Leiste, Gary Meyerberg (Swarmandel and for keeping
all the old gear going), John Hinson, J.J. Blair, Mark Linett,
Jim Elyea, Lon Cohen, Michael Lloyd, Jim Wilson, Brian Kehew and
Kevin Ryan (Recording The Beatles), Brian Gibson

Strawberry Flutes licensed from Mellotron (www.mellotron.com);

Screaming Girls licensed from BBC; Harmonium sampled by Lars Weston;
Lowery Organ sampled by David Jacques;
Sitar, Hammond B3 sampled by Nick Phoenix
Enhanced with Transonics™

EAST WEST PRODUCTIONS, L.L.C.

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How to Use This and the Other Manuals
All documentation for the EastWest PLAY Advanced Sample System and its libraries is
provided as a collection of Adobe Acrobat files, also called PDFs. They can be viewed on
the computer screen or printed to paper.

Each time you install one of the PLAY System libraries, two manuals are copied to the
file system on your computer:
• The manual that describes the whole PLAY System. This, the largest of the manuals,
addresses how to install and use all aspects of the software that are common to all
libraries.
• The library-specific manual, such as the one you are currently reading. This smaller
document describes aspects that differ from one library to the next, such as the list
of included instruments and articulations.

Using the Adobe Acrobat Features

By opening the Bookmarks pane along the left edge of the Adobe Acrobat Reader, the
user can jump directly to a topic from the section names. Note that some older versions
of Acrobat Reader might not support all these features. The latest Acrobat Reader can
be downloaded and installed at no cost from the Adobe web site. (As an example of a
hyperlink, you can click on the last word of the previous sentence to be taken directly to
the Adobe site.)

When reading this and other manuals on the computer screen, you can zoom in to see
more detail in the images or zoom out to see more of the page at once. If an included
picture of the user interface, or a diagram, seems fuzzy or illegible, then zoom in using
one of several means provided in the Acrobat Reader software.

The Master Navigation Document

Because the EastWest PLAY System is a collection of components, each with its own
User’s Manual, a Master Navigation Document (MND) is provided to allow users to jump
quickly between these PDFs when being read on the computer screen. This MND is a
one-page file with hyperlinks to the PLAY System documentation and to all the library
manuals. Hyperlinks to this Master Navigation Document are found on the title page of
each chapter in each document. From there, you can open any other document in the
collection.

For example, if you’re reading something in this documentation for the EastWest Fab
Four library, and need to open the manual for the PLAY System as well, go to any chapter
title page and click on the link that says, “Click on this text to open the Master Naviga-
tion Document.” It will open in a new window on the screen. In that document, click on
the icon for the PLAY System and its manual will open in the same window (hiding the
MND). You now have both the Fab Four library manual and the PLAY System manual
open in separate windows so you can refer to them both.

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Online Documentation and Other Resources
For the most up to date information, visit the support pages at EastWest’s web site.
There you can find:
• information made available after these manuals were written
• FAQ pages that may already list answers to questions you have
• suggestions from EastWest and other users of the EastWest PLAY System
• news about upcoming releases

The address is:

http://support.soundsonline.com

You can also visit the EastWest online forums. There you can read comments and ques-
tions from others who use EastWest products and post your own. The many forum par-
ticipants are a good source of helpful information about both the technical and musical
aspects of this software.

The address of the forums is:

http://www.soundsonline-forums.com

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2. EastWest Fab Four, An Overview

11 The Design Point For the Fab Four Library

13 Project Background
16 What’s Included
16 Notes from the Producer
17 Hardware Requirements

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EastWest Fab Four, An Overview

The Design Point For the Fab Four Library
Fab Four Virtual Instruments is the result of more than a year of research, equipment
acquisition, and recording. It presents a faithfully executed, incredibly accurate, and
comprehensive collection featuring the same kind of instruments and recording equip-
ment used by the Beatles.

“The Beatles had a profound impact on me musically,” said Fab Four producer Doug
Rogers. “They were the influence for my fascination with sounds. They were musical
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 gathering a team that could pull off such a feat,” Rogers adds. “But it was a labor
of love for us all, and the result is truly worth it.”

The Fab Four Virtual Instruments project involved several people intimately involved
with the Beatles. Engineer Ken Scott, who worked on Beatles albums including A Hard
Days Night, Help, Rubber Soul, Magical Mystery Tour, and The Beatles, engineered the
recordings. Guitarist Laurence Juber and drummer Denny Seiwell, both of whom were
members of Paul McCartney and Wings, played the same kind of period instruments as
those used by the Beatles in the 60’s.

No expense was spared in acquiring the equipment used to produce this collection.
Much of that equipment, fittingly, is now housed in EASTWEST Studio 3, where the
Beach Boys’ legendary Pet Sounds—the inspiration for Sgt. Pepper’s Lonely Hearts Club
Band, according to Paul McCartney—was recorded.

Well over one million dollars’ worth of rare period instruments—including authentic gui-
tars, basses, drums, and keyboards—as well as amplifiers, microphones, recording con-
soles, outboard equipment, and tape recorders were used in this production. Neumann,
AKG, Cole, and STC microphones, as used at EMI/Abbey Road Studios were used to
capture the sounds, while identical amplifiers, including a 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, and EMI REDD47 preamps, were used to record all instru-
ments, through Fairchild limiters and rare EMI RS124 modified Altec compressors, used

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for dynamics control. As with many of the Beatles recording sessions, a Studer J-37
4-track tube tape machine was used to record everything.

Guitars (some costing over $200,000 each) were played by Juber include a Gretsch
Firebird (1959), Gretsch Tennessean (1963), Rickenbacker 360-12 (1965), Martin
D-28 (1966), Fender Stratocaster (1956), Epiphone Casino (1956), Fender Telecaster
(1951), Gibson SG (1960), Les Paul Goldtop (1957), Gibson J200 (1966), Hofner 500
Bass (1963) and Rickenbacker 4001S Bass (1964), the same kind as Paul McCartney
played on the Beatles’ recordings. Guitars were sampled with up and down strokes, mul-
tiple velocities, and picking styles, some with chords and effects.

Drums played by Seiwell include a rare 1960 Ludwig downbeat kit with Zildjian cym-
bals (snare 5” x 14”/toms 9” x 13” and 16” x 16”/kick 22” x 14”/Zildjian 20” crash
ride/18” crash medium/14” hi-hat). Additionally, 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”). Even some heavily
modulated cymbals, recorded through a Fairchild limiter for authenticity, were recorded
as an alternative cymbal sound.

Keyboards include Baldwin Electric Harpsichord (“Because I’m a Harpsichord”), Clavi-

oline (“Baby I’m a Clavioline”), Lowery Heritage Organ (“Lucy in the Lowery”), Mellotron
(“Strawberry Flutes”), Harmonium (“We Can Work a Harmonium”), as well as other
stringed instruments including Swarmandel (“Swarmandel Forever”) and Sitar (“Within
A Sitar”).

Even a “Screaming Girls” sound effect was licensed from the BBC to include in the col-
lection.

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 an Epiphone Casino
into one EMI REDD 47 preamp, and the output into a second EMI REDD 47 preamp,
exactly as originally created by the EMI/Abbey Road engineers.

Fab Four Virtual Instruments also includes a software version of ADT (artificial double
tracking) with built-in tape simulator, created and programmed specially for this project.
All instruments are newly recorded multi-samples for this collection; no sounds came
from any Beatles music or recordings.

Musicians, producers and film/TV/game composers looking for truly unique sounds with
loads of attitude to create with will find Fab Four Virtual Instruments an invaluable and
inspiring collection.

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Project Background
The idea of doing the Fab Four virtual in-
strument had been circling in my head for
many years, but the catalyst for the project
actually happening was buying the studio
last year. Cello Studios (on Sunset Boule-
vard, Hollywood, since renamed EastWest
Studios) was always seen as ‘America’s Ab-
bey Road’, so when we acquired that facil-
ity I kind of put two-and-two together and
things began to take shape. Being a huge
Beatles fan, I did not want to start this
project without having the right tools avail-
able. These sounds are so well known that we needed everything working for us to pull
off such a feat. So, in order to recreate the sounds as closely as possible, I knew I had
to start with getting the original recording equipment, instruments, and amps together.
How hard could that be? Well, much harder than you think.

For a start, the recording equipment was only ever

used in EMI studios, and mainly during the 60s,
plus EMI never made any for sale to outside facili-
ties, so even then, there were only a small number
produced, and I can tell you who owns every piece!
For example, I was only able to track down six
tube EMI REDD consoles after months of search-
ing. Needless to say, persuading these owners to
sell such rare equipment with such a famous heri-
tage was not easy, and it was expensive. Likewise I
only found a small number of EMI TG12345 desks
worldwide, but managed to persuade one owner to
sell it to me. The tube Studer J37 4-track recorder,
used to record “Sgt. Pepper”, proved to be elusive until a few weeks before the project
was scheduled to start. I found one in Paris eventually. It was a great day, I had the final
piece of the puzzle, until it arrived and it didn’t work! I was pretty devastated that day,
purchasing vintage equipment from around the globe, where you have to take the seller’s
word as to its condition, is pretty risky at the best of times, but occurring so close to the
start of the project, with everyone in place, created a real problem. Then, during another
desperate search, I got a lucky break and found another J37 in the UK. Unbelievably, the
seller turned out to be an old friend of mine from New Zealand, who had since decided
to keep it after restoring it. I literally begged him to sell it to me (you do a lot of begging
when there is only one option available) and he finally caved in. Fortunately, since I knew
the seller, I knew the condition would be good, and sure enough, when it arrived in L.A.
we only had to do an alignment before we could use it. However, all of this equipment is
very old, and the equipment with moving parts, like the Studer J37, breaks down periodi-
cally, so it actually worked out in the end that we had spare parts from the first Studer to

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keep the second one going. Our studio has a lot of the same mics Abbey Road had at the
time, so we only had to obtain a few, and they all came from Collectors. The instruments
and amplifiers were also mainly obtained from collectors.

A few months before the proj-

ect started I got another lucky
break. I was working on a piano
project and decided to purchase
a rather expensive Bechstein
piano. The Bechstein was the
piano used to record many of
my favorite rock piano sounds,
including Supertramp, and I
came up with the idea of ask-
ing Ken Scott, who recorded
“Crime Of The Century” and oth-
er Supertramp albums to try to
recreate that famous sound for
our virtual instrument. Fortunately, Ken lives in Los Angeles, and agreed to come to the
studio to check out the piano before committing to the project. He agreed the piano was
great and we recorded it for the “Quantum Leap Pianos” collection. Once Ken got an
eyeful of the gear I was assembling for Fab Four, he got interested in lending his experi-
ence as the engineer on The Beatles (White Album) and Magical Mystery Tour, and as the
assistant on earlier albums such as A Hard Day’s Night, Help, and Rubber Soul. I was
originally going to engineer the project myself, but having an engineer that was involved
in five Beatle’s albums was too tempting.

I was also extremely lucky to get Denny Seiwell and Laurence Juber, both former mem-
bers of Paul McCartney and Wings, to join the project as musicians. With this kind of
expertise on hand I felt I had a good chance of success.

The recordings took months, even though I had the same type of recording equipment
and instruments the Beatles used to create their sounds. We faced many technical chal-
lenges, one of the biggest being the Beatle’s use of ADT (Automatic Double Tracking)
that was actually invented at Abbey Road for them and first used on Revolver. ADT works
well over a series of notes, but doesn’t work properly on the individual notes required to
create multi-sampled instruments, so I had our software team observe and recreate the
process in software, which wasn’t easy, as ADT relies on the speed fluctuations of two
tape machines to work properly, and digital does not have these fluctuations, so we had
to create a digital “tape simulator” in the software. Of course, the other benefit of having
the effect created in software is the ability to turn it off, to increase the variety of sounds
available, or turn it on, on sounds the Beatles never used ADT with.

We also recorded lots of articulations unless the instrument was heavily compressed.
For example, McCartney used mainly two bass guitars with the Beatles, a Hofner and a
Rickenbacker, so we provided many different articulations for these. For those unfamiliar

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 FAB FOUR VIRTUAL INSTRUMENT
with using articulations triggered by keyswitches, they are the blue notes on the virtual
keyboard that you use to change articulations on the fly. Experiment until you find one
that works with your track. It’s also a good idea to learn them. Expert composers some-
times use many articulations during the creation of a track.

I don’t imagine that people are going

to use this virtual instrument to make
Beatles music; that wasn’t my objec-
tive. I’m hoping they’re going to use
it to make new music. These are just
great sounds. The vintage tube equip-
ment, developed with the finest audio
components, provide a character to
these sounds that cannot be produced
with today’s digital equipment.

Recording for the project finished De-

cember 12, 2006 followed by five
months of post production to create the
virtual instrument, and although it was
never planned, the Fab Four virtual In-
strument was released June 1, 2007—the same day 40 years ago the Beatles released
Sgt. Pepper, probably the most innovative album of the century.

Enjoy!
Doug Rogers
Producer

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What’s Included
This EastWest Fab Four library you purchased includes all the following:
• a complete set of sample-based instruments, enumerated later in this manual
• approximately 13 Gigabytes of 24-bit, 88.2 kHz samples
• the EastWest PLAY Advanced Sample Engine
• the unique authorization code that identifies the license you bought
• manuals in Adobe Acrobat format for both the EastWest PLAY System and the East-
West Fab Four Virtual Instrument
• an installation program to set up the library, software, and documentation on your
computer
• an Authorization Wizard for registering your license in an online database

One required item not usually included is an iLok security key. If you already have one
from an earlier purchase of software, you can use it. Otherwise, you need to acquire one.
They are available from many retailers that sell EastWest and Quantum Leap products, or
you can buy one online at www.soundsonline.com.

Notes from the Producer

Please read the following programming information to get the most enjoyment and cre-
ative use out of your Fab Four Virtual Instrument.

Volume Automation: Throughout Fab Four, MIDI Control Code 11 can be used to automate
dynamics. You can read more about this and other control codes in Chapter 10 of the
PLAY System manual.

ADT: The Fab Four Virtual Instrument recreates a signature effect used in many Beatles
albums: Artificial Double Tracking, or ADT. It is a technique, invented at Abbey Road
when the Beatles were recording there, that approximates the effect of double tracking
(recording two nearly identical takes of a vocalist or instrument on the same part and
laying one on top of the other) without actually taking the time to record two takes. And
some would say ADT improves on actual double tracking even beyond the savings in
time.

EastWest programmers have built ADT into the effects available in Fab Four, and the
results are impressive enough that some other virtual instruments built on the EastWest
PLAY Engine also employ this effect. Read more about it in the next chapter.

Drums: All drum programs in Fab Four are constructed to the GM standard mapping for
drum kits.

Keyswitches: If you are not familiar with using keyswitches, go to Chapter 6 in the PLAY
System manual for a complete explanation. If you understand keyswitches, read on.

Master and Elements Patches: Master and Elements patches are both patches that contain
all the sampled articulations of an instrument (the different manners of playing the
instrument). An Articulations list in the Player View displays the names. As a general
rule, articulations range from general to specific ascending through the range of key-
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 FAB FOUR VIRTUAL INSTRUMENT
switch notes. For example, starting from fingered or sustained up to staccato, to slides,
to chords, to harmonics or FX. All begin at C0 (three octaves below Middle C), with the
exception of the Basses, which start at C5 (two octaves above Middle C).

A Master instrument opens with all articulations loaded and active, ready to play; a key-
switch allows the user to select one articulation at a time to sound. The corresponding
Elements instrument opens with only the articulation on the first (lowest) keyswitch note
loaded and active. Others must be loaded and activated manually in the Articulations
list. Elements patches have no keyswitch, so they are most useful when you only want
to load one articulation and use it exclusively. Or you can load two or more articulations
for a layered sound, but you cannot easily switch from one articulaion to another in the
middle of a performance.

Legato Mode: The “Leg” patches contain two articulations in one keyswitch. They com-
bine an articulation with the most basic playing style of each instrument (i.e., fingered,
sustained, open, etc.) with a “Hammer On” legato-style articulation. You can switch
between these by playing legato or detached on your MIDI keyboard or sequencer. When
you play legato, you trigger the “Hammer-On” articulation; when you play detached, you
trigger the basic articulation. The “Leg” patch allows you to play faster runs and maxi-
mize fluidity of performance at faster tempos.

The “Come To Guitar Rhythm – Master” patch demonstrates a special case of how “Leg”
mode is used in action in Fab Four. For each keyswitch you have one interval and two
articulations: Long and Mute. For the first four keyswitches, when you play detached you
trigger the Long articulation; when you play legato you trigger the Mute articulation. The
remaining four key-switches of this patch have the identical structure, except that they
use CC1 (the Mod Wheel) to toggle between Long and Mute articulations.

This same concept is applied in the “Revostortion Guitar,” but in reverse order. The third
through seventh keyswitches use CC1 to select Short and Long articulations, and the
eighth through twelfth keyswitches use legato detection to switch between Short and
Long.

Doug Rogers
Producer

Hardware Requirements
See the PLAY System manual for a complete list of the Hardware and Software Require-
ments for installing and running any PLAY System library. In addition, the available
space on the hard drive required for a full installation of the Fab Four Virtual Instrument
is approximately 13 GB (Gigabytes).

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3. The EastWest Fab Four User Interface

20 Stereo Spread Controls

20 ADT Controls
20 The Browser View

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Master Navigation Document
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The EastWest Fab Four User Interface

Each library presents its own interface when one of its instruments is the current one, as
specified in the Instruments drop-down in the upper right corner. The image at the bot-
tom of the page provides an overview of the entire window when in Player View.

Much of this interface is shared by all PLAY System libraries, and the common features
are described in the PLAY System manual. The controls described here are:
• Stereo Spread
• ADT

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 FAB FOUR VIRTUAL INSTRUMENT
Stereo Spread Controls
This knob, with its on/off button, allows the user to customize the stereo
spread of the sound. All the Fab Four instruments were recorded in mono
and this control creates a stereo image, if you want it.

The knob lets the user determine the spread of the signals, how far apart the
ear perceives the stereo channels to be. A value of 0% brings the two channels together
at the center (unless the Pan knob positions the output differently), and is the equivalent
of turning off the controls with the button. A value of 100% call for the maximum spread
available.

ADT Controls
Artificial Double Tracking is a technique, invented at
Abbey Road when the Beatles were recording there,
that approximates the effect of double tracking (re-
cording two nearly identical takes of a vocalist or in-
strument on the same part and laying one on top of
the other) without actually taking the time to record two takes. And some would say ADT
improves on actual double tracking even beyond the savings in time. The original ADT
process was based on magnetic tape; in the PLAY Engine, the effect is created digitally.
The software programmers, however, added a tape simulator to mimic the slight speed
variations of the two analog tape machines that created the ADT effect.

The Delay knob specifies in milliseconds, the delay between the original signal and the
secondary signal. A delay of around 40 ms is typical, so is often a good starting point
when crafting a specific effect.

The Depth knob specifies the amount by which that delay is modulated. You don’t want
a exactly consistent delay; the delay of the secondary signal will vary forward and back-
ward in time by this much.

The Speed knob varies the speed at which that delay is modulated.

The Level knob specifies the relative loudness of the secondary signal. Set it to 0.0 dB to
hear the effect at its strongest, with the same level on both signals; higher or lower gives
preference to one of the signals. The overall effect depends on their combination.

The On/Off button allows you to kill the ADT effect instantly and then reinstate it with the
same settings, as needed.

The Browser View

The Browser behaves identically among all PLAY System libraries. Read the main PLAY
System manual for information about how to use that view.

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4. Instruments, Articulations, Keyswitches

22 Descriptions of the Fab Four Instruments

23 Explaining the Instrument Sub-types
24 A Table of the Instruments
39 Abbreviations Used in Articulation Names

Click on this text to open the

Master Navigation Document
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Instruments, Articulations, Keyswitches

This chapter provides specific information about each of the instruments in the Fab Four
library. First is a section that briefly describes which physical instrument was recorded
and sometimes with what amp, when appropriate. This is followed by a table that lists for
each instrument the available articulations together with the keyswitch note that initiates
each one. You might want to print out the pages containing this table as a reference.

Descriptions of the Fab Four Instruments

The collection includes the following sounds:
• 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 (1963 Hofner Bass)
• Come To Drums (1960 Ludwig Downbeat Kit)
• Come To Guitar Rhythm (1956 Epiphone Casino Electric Guitar/1967 Fender DeLuxe
Amp)
• Come To Guitar Solo (1957 Les Paul Goldtop Electric Guitar/1963 Fender Bassman
Amp)
• Day In The Drums (1960 Ludwig Downbeat Kit)
• Everybody’s Got Guitar (1956 Epiphone Casino Electric Guitar/1966 Vox Defiant Amp)
• Fairchild Modulated Cymbals (Zildjian Cymbals)
• Fixing A Guitar Solo (1956 Fender Stratocaster Electric Guitar/1966 Vox Defiant Amp)
• Getting A Better Guitar (1951 Fender Telecaster Electric Guitar/1966 Vox 730 Amp)
• Get Back My Guitar (1956 Epiphone Casino Electric Guitar/1967 Fender Showman
Amp)
• Help I’m A Snare (plus kit) (1960 Ludwig Downbeat Kit)
• Here Comes The Guitar (1966 Gibson J200 Acoustic picked)
• I’m Only A Backward Guitar (1956 Epiphone Casino Electric Guitar/1966 Vox 7120
Amp)
• I Want Guitar (Epiphone Casino/Fender DeLuxe and Fender Strat/Fender Tan Showman/
doubled)
• I Will Play A Guitar Solo (1966 Martin D28 with ADT)
• I’m A Blackbird (1966 Martin D28 Acoustic Guitar fingered and picked)
• In The End There Will Be Drums (1960 Ludwig Downbeat Kit)
• Let it Be Organ (Hammond B3 Organ)
• Lucy In The Lowery (Lowery Heritage Deluxe Organ)
• Lucy Lead Guitar (1956 Fender Stratocaster Electric Guitar with Leslie Speaker)

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• Michelle Is A Guitar Solo (1956 Epiphone Casino Electric Guitar/1963 Fender Bassman
Amp)
• Madonna Piano (Steinway B Piano)
• Miscellaneous (Claps, Tambourine, Cowbell, Screaming Girls)
• Nowhere Guitar (1956 Fender Stratocaster Electric Guitar/1963 Vox AC30 Amp)
• Party Guitar (Gretsch Tennessean Electric Guitar/1963 Vox AC50 Amp)
• Penny Snare (plus kit) (1960 Ludwig Downbeat Kit)
• Pepper Guitar (Gibson SG Guitar/1966 Vox Defiant 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)

Explaining the Instrument Sub-types

For some instruments in Fab Four, there may
be two or more .ewi files listed in the Browser
View. Examples are Get Guitar - Master.ewi and
Get Guitar - Elements.ewi, both listed under Get
Guitar. Here is an explanation of what the various
sub-types in the instrument name mean.

A Master patch includes a keyswitch containing all articulations of the instrument. Once
a Master patch is loaded, all articulations as well as the keyswitch notes that trigger
them can be found in the Articulations control near the bottom-right hand corner of the
Player View. In a Master patch, all the articulations are loaded and active when it is first
opened. Articulations can be freely loaded or unloaded as needed.

An Elements patch is the same as a Master patch except that only the default articula-
tion, usually the first one in the list, is loaded and active. You can manually load and
activate any other articulations, as needed. There’s no keyswitch, so it’s not easy to

Chapter 4: Instruments, Articulations, Keyswitches

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 FAB FOUR VIRTUAL INSTRUMENT
change articulations in the middle of a performance. An Elements patch opens faster,
and may be a better choice when only a single articulation—or the layering or two or
more articulations—will be used for an entire piece.

A Table of the Instruments

The following table lists all the articulations available in each instrument (.ewi file). As
is mentioned in the previous section on Instrument Sub-types, there may be more than
one instrument file for some physical instruments.

Basses
FAB FOUR BASSES
Keyswitch Notes Articulations
Bass Tripper (1963 Hofner 500 Bass)
C5 Fingered + Leg
C#5 Fingered Staccato RRx4
D5 Neck RRx4
D#5 Mid RRx4
E5 Bridge RRx4
F5 Muted RRx4
F#5 Slide UP HS
G5 Slide DN HS
G#5 FX
Come To Bass (1963 Hofner 500 Bass)
C5 Fingered + Leg
C#5 Fingered Staccato RRx4
D5 Muted RRx4
D#5 Picked RRx4
E5 Slide Up HS
F5 FX
With A Little Help From My Bass (1964 Rickenbacker 4001S Bass)
C5 Sustained RRx8
C#5 Sustained RRx8 + Leg
D5 Staccato RRx8
D#5 Slide DN HS
E5 Slide UP HS
F5 Harmonics
F#5 FX

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Drums
COME TO DRUMS
Instruments Mics
1960 Ludwig downbeat kit
Bass Drum (22 x 14) D20
Snare (5 x 14) KM54 Top, KM56 bottom
Hi-Hat (14) Cole 4038 (2) overhead
Rack Tom (9 x 13) U67, Cole 4038 (2) overhead
Floor Tom (16 x 16) U67, Cole 4038 (2) overhead
Cymbals (Zildjian 20” crash ride/18” crash medium)
Tea towel on all drums
Notes Articulations
A0 Crash Fairchild R L T 2
B0 Snare Rimshot RR
C1 Bass Drum A
C#1 Snare Cross-Stick
D1 Snare LH
D#1 Snare Ghost Roll
E1 Snare RH
F1 Floor Tom LH
F#1 Hi-Hat Rim Closed RR
G1 Floor Tom RH
G#1 Hi-Hat Rim RH
A1 Tom 2 LH
A#1 Hi-Hat Open
B1 Tom 2 RH
C#2 Crash Fairchild R L T 1
D2 Tom 1 RH
D#2 Crash Left Side Bell
G2 Crash Left Side Choke
A2 Crash Right Side Choke
B2 Crash Left Side Roll
continued

Chapter 4: Instruments, Articulations, Keyswitches

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 FAB FOUR VIRTUAL INSTRUMENT
COME TO DRUMS
C3 Crash Right Side Roll
F#3 Hi-Hat Open-Close Fast
G#3 Hi-Hat Open Close
A#3 Hi-Hat Less Slow Close

DAY IN THE DRUMS

Instruments Mics
1960 Ludwig downbeat kit
Bass Drum (22 x 14) D20
Snare (5 x 14) KM56 Under
Hi-Hat (14) D19c overhead
Rack Tom (9 x 13) D19c overhead
Floor Tom (16 x 16) D19c overhead
Cymbals (Zildjian 20” crash ride/18” crash medium)
Detuned a whole tone
Notes Articulations
A0 Bass Drum Beater On Head
B0 Bass Drum Mallet
C1 Bass Drum Pedal
C#1 Snare Cross-Stick
D1 Snare LH
D#1 Snare Ghost Roll
E1 Snare RH
F1 Floor Tom LH
F#1 Hi-Hat Closed LH
G1 Floor Tom RH
G#1 Hi-Hat Closed RH
A1 Tom 1 LH
A#1 Hi-Hat Slightly Open LH
B1 Tom 1 RH
C#2 Crash Left Side
D#2 Ride
F2 Ride Bell
G2 Crash Bell

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FAIRCHILD MODULATED CYMBALS
Instruments Mic
Zildjian Cymbals D19c
Notes Articulations
C1 Crash 01
D1 Crash 02
E1 Crash 03
F1 Crash 04
G1 Crash 05
A1 Crash 06
B1 Crash 07

HELP I’M A SNARE (PLUS KIT)

Instruments Mics
1960 Ludwig downbeat kit
Bass Drum (22 x 14) D20
Snare (5 x 14) KM56 top and bottom
Hi-Hat (14) Cole 4038 (2) overhead
Rack Tom (9 x 13) D19c, Cole 4038 (2) overhead
Floor Tom (16 x 16) D19c, Cole 4038 (2) overhead
Cymbals (Zildjian 20” crash ride/18” crash medium)
Notes Articulations
F0 Bass Drum Mallet A
G0 Bass Drum Mallet B
A0 Bass Drum Beater On Head RR
B0 Bass Drum 2
C1 Bass Drum RR
C#1 Snare Cross-Stick
D1 Snare LH
D#1 Snare Ghost Roll
E1 Snare RH
F1 16” Tom LH
continued

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 FAB FOUR VIRTUAL INSTRUMENT
HELP I’M A SNARE (PLUS KIT)
Notes Articulations
F#1 Hi-Hat RR
G1 16” Tom RH
G#1 Hi-Hat Slightly Open
A1 13” Tom LH
A#1 Hi-Hat Open
B1 13” Tom RH
C#2 18” Zildjian A Crash
D#2 18” Ride
F2 18” Ride Bell
B2 18” Zildjian A Crash Roll

IN THE END THERE WILL BE DRUMS

Instruments Mics
1960 Ludwig downbeat kit
Bass Drum (22 x 14) D20
Snare (5 x 14) KM54 top, KM56 bottom
Hi-Hat (14) Cole 4038 (2) Overhead
Rack Tom (9 x 13) D19c top and bottom,
Cole 4038 (2) overhead
Floor Tom (16 x 16) D19c top and bottom,
Cole 4038 (2) overhead
Cymbals (Zildjian 20” crash ride/18” crash medium)
Notes Articulations
C1 Bass Drum A
C#1 Snare Cross-Stick
D1 Snare LH
D#1 Snare Ghost Roll
E1 Snare RH
F1 16” Tom LH
F#1 Hi-Hat LH
G1 16” Tom RH
continued

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IN THE END THERE WILL BE DRUMS
Notes Articulations
G#1 Hi-Hat Rim Closed
A1 13” Tom LH
A#1 Hi-Hat Open
B1 13” Tom RH
C#2 Crash Left Side
D#2 Ride
F2 Crash Bell
G2 Crash Right Side

PENNY SNARE (PLUS KIT)

Instruments Mics
1960 Ludwig downbeat kit
Bass Drum (22 x 14) D20 beater side,
STC 4033-A, front
Snare (5 x 14) KM56 top and bottom
Hi-Hat (14) Cole 4038 (2) overhead
Rack Tom (9 x 13) D19c,
Cole 4038 (2) overhead
Floor Tom (16 x 16) D19c,
Cole 4038 (2) overhead
Cymbals (Zildjian 20” crash ride/18” crash medium)
Notes Articulations
B0 Bass Drum Mallet
C1 Bass Drum Resting Beater
C#1 Snare Cross-Stick
D1 Snare LH
D#1 Snare Ghost Roll
E1 Snare RH
F1 Floor Tom LH
F#1 Hi-Hat RR
G1 Floor Tom RH
G#1 Hi-Hat Slightly Open LH
A1 Tom 1 LH
continued

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PENNY SNARE (PLUS KIT)
Notes Articulations
A#1 Hi-Hat Slight Open RH
B1 Tom 1 RH
C#2 Crash Left Side
D#2 Crash Bell
G2 Crash Right Side

STRAWBERRY DRUMS
Instruments Mics
1960 Ludwig downbeat kit
Bass Drum (22 x 14) D20
Snare (5 x 14) KM56 under
Hi-Hat (14) D19c overhead
Rack Tom (9 x 13) D19c overhead
Floor Tom (16 x 16) D19c overhead
Cymbals (Zildjian 20” crash ride/18” crash medium)
Notes Articulations
B0 Bass Drum Mallet
C1 Bass Drum Resting Beater
C#1 Snare Cross-Stick
D1 Snare LH
D#1 Snare Ghost Roll
E1 Snare RH
F1 Floor Tom LH
F#1 Hi-Hat RR
G1 Floor Tom RH
G#1 Hi-Hat Slightly Open LH
A1 Tom 1 LH
A#1 Hi-Hat Slight Open RH
B1 Tom 1 RH
C#2 Crash Left Side
D#2 Crash Bell
G2 Crash Right Side

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TICKET TO DRUMS
Instruments Mics
1960 Ludwig downbeat kit
Bass Drum (22 x 14) D20
Snare (5 x 14) KM56 under
Hi-Hat (14) D19c overhead
Rack Tom (9 x 13) D19c overhead
Floor Tom (16 x 16) D19c overhead
Cymbals (Zildjian 20” crash ride/18” crash medium)
Notes Articulations
F0 Bass Drum Mallet A
F#0 Snare Alt. Rimshot
G0 Bass Drum Mallet B
G#0 Snare Alt. Rimshot 2
A0 Bass Drum Beater On Head RR
A#0 Snare Cross-Stick Rimshot
B0 Bass Drum 2
C1 Bass Drum A
C#1 Snare Cross-Stick
D1 Snare LH
D#1 Snare Drag + Ghosting
E1 Snare RH
F1 16” Tom LH
F#1 Hi-Hat RR
G1 16” Tom RH
G#1 Hi-Hat Slightly Open
A1 13” Tom LH
A#1 Hi-Hat Open
B1 13” Tom RH
C#2 18” Zildjian A Crash
D#2 18” Ride
F2 18” Ride Bell
B2 18” Zildjian A Crash Roll
C#3 Snare Rim
continued

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 FAB FOUR VIRTUAL INSTRUMENT
TICKET TO DRUMS
Notes Articulations
D3 Snare Double Shot
D#3 Snare Press Rolls
E3 Snare Double Rimshot
F3 Snare Rimshot Flam
F#3 Hi-Hat Bell
G#3 Hi-Hat Open & Closed 1
A#3 Hi-Hat Open & Closed 2
C4 5 Sec. Snare Rolls 1
D4 5 Sec. Snare Rolls 2
E4 7 Sec. Snare Rolls 1
F4 7 Sec. Snare Rolls 2
G4 9 Sec. Snare Rolls 1
A4 9 Sec. Snare Rolls 2

WHAT YOU’RE DRUMMING

Instruments Mics
1960 Ludwig downbeat kit
Bass Drum (22 x 14) D20, beater side;
STC 4033-A, front
Snare (5 x 14) KM56 under
Hi-Hat (14) D19c overhead
Rack Tom (9 x 13) D19c overhead
Floor Tom (16 x 16) D19c overhead
Cymbals (Zildjian 20” crash ride/18” crash medium)

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WHAT YOU’RE DRUMMING
Notes Articulations
F#0 Snare Alt. Rimshot
G#0 Snare Alt. RImshot 2
A#0 Snare Cross-Stick Rimshot
C1 Bass Drum 1
C#1 Snare Cross-Stick
D1 Snare LH
D#1 Snare Drag + Ghosting
E1 Snare RH
F1 16” Tom LH
F#1 Hi-Hat RR
G1 16” Tom RH
G#1 Hi-Hat Slightly Open
A1 13” Tom LH
A#1 Hi-Hat Open
B1 13” Tom RH
C#2 18” Zildjian A Crash
D#2 18” Ride
F2 18” Ride Bell
B2 18” Zildjian A Crash Roll

YER DRUMS
Instruments Mics
1960 Ludwig downbeat kit
Bass Drum (22 x 14) D20
Snare (5 x 14) KM54 top, KM56 under
Hi-Hat (14) D19c (2) overhead
Rack Tom (9 x 13) U67, D19c (2) overhead
Floor Tom (16 x 16) U67, D19c (2) overhead
Cymbals (Zildjian 20” crash ride/18” crash medium)

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YER DRUMS
Notes Articulations
A0 Bass Drum Beater On Head
A#0 Bass Drum Pedal
B0 Snare Rimshot
C1 Bass Drum Mallet
C#1 Snare Cross-Stick
D1 Snare LH
D#1 Snare Ghost Roll
E1 Snare RH
F1 Floor Tom LH
F#1 Hi-Hat RR
G1 Floor Tom RH
G#1 Hi-Hat Slightly Open RR
A1 Tom 1 LH
A#1 Hi-Hat Open RR
B1 Tom 1 RH
C#2 Crash Left Side
D#2 Ride
F2 Ride Bell

Guitars
FAB FOUR GUITARS
Keyswitch Notes Articulations
Come To Guitar Rhythm (1956 Epiphone Casino Electric Guitar/1967 Fender DeLuxe Amp)
(For this patch, you have the option to either use CC1 or Legato playing mode
to switch between ‘Long’ and ‘Mute’ articulations.)
C0 5ths (Long + Mute = Leg)
C#0 6ths (Long + Mute = Leg)
D0 7ths (Long + Mute = Leg)
D#0 8ths (Long + Mute = Leg)
continued

Chapter 4: Instruments, Articulations, Keyswitches

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FAB FOUR GUITARS
Keyswitch Notes Articulations
E0 5ths (Long + Mute = CC1)
F0 6ths (Long + Mute = CC1)
F#0 7ths (Long + Mute = CC1)
G0 8ths (Long + Mute = CC1)
Come To Guitar Solo (1957 Les Paul Goldtop Electric Guitar/1963 Fender Bassman Amp)
C0 Fingered Light Vibrato
C#0 Fingered Light Vibrato + Leg
D0 Staccato
D#0 Slide UP HS
Everybody’s Got Guitar (1956 Epiphone Casino Electric Guitar/1966 Vox Defiant Amp)
C0 Sustained RRx8
C#0 Sustained RRx8 + Leg
D0 Staccato
Fixing A Guitar Solo (1956 Fender Stratocaster Electric Guitar/1966 Vox Defiant Amp)
C0 Sustained RR
C#0 Heavy Vibrato F
Get Back My Guitar (1956 Epiphone Casino Electric Guitar/1967 Fender Showman Amp)
C0 Solo RRx4
C#0 Sustained Hard RRx4
D0 8va Staccato RRx4
D#0 Maj RRx4
E0 Min RRx4
Getting A Better Guitar (1951 Fender Telecaster Electric Guitar/1966 Vox 730 Amp)
C0 8va Staccato RRx4
C#0 Maj Staccato RRx4
D Min Staccato RRx4
Here Comes The Guitar (1966 Gibson J200 Acoustic picked)
Sustained RR
I Want Guitar (Epiphone Casino/Fender DeLuxe and Fender Strat/Fender Tan Showman/doubled)
Layered Casino Deluxe RR
continued

Chapter 4: Instruments, Articulations, Keyswitches

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FAB FOUR GUITARS
Keyswitch Notes Articulations
Layered Stratocaster Showman RR
I Will Play A Guitar Solo (1966 Martin D28 with ADT)
Solo RR
I’m A Blackbird (1966 Martin D28 Acoustic Guitar fingered and picked)
C0 Fingered
C#0 Sustained Pick RR
D0 Fingered + Leg
D#0 Sustained Pick RR + Leg
E0 Slide UP WS Vibrato
F0 Slide UP HS Vibrato
F#0 4ths RR
G0 7ths RR
G#0 9ths RR
A0 Maj RR
A#0 Min RR
B0 Sus4 RR
C1 Short Scrapes
C#1 FX
I’m Only A Backward Guitar (1956 Epiphone Casino Electric Guitar/1966 Vox 7120 Amp)
C0 Reverse Sustained
C#0 Reverse Sustained Slide
D0 Sustained Quick
D#0 Sustained Slie Quick
Lucy Lead Guitar (1956 Fender Stratocaster Electric Guitar with Leslie Speaker)
Leslie
Michelle Is A Guitar Solo (1956 Epiphone Casino Electric Guitar/1963 Fender Bassman Amp)
C0 Sustained
C#0 Staccato
Nowhere Guitar (1956 Fender Stratocaster Electric Guitar/1963 Vox AC30 Amp)
Sustained RRx4
Party Guitar (Gretsch Tennessean Electric Guitar/1963 AC50 Amp)
continued

Chapter 4: Instruments, Articulations, Keyswitches

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 FAB FOUR VIRTUAL INSTRUMENT
FAB FOUR GUITARS
Keyswitch Notes Articulations
C0 Sustained RRx4
C#0 Sustained RRx4 + Leg
Pepper Guitar (Gibson SG Guitar/1966 Vox Defiant Amp)
C0 Sustained RRx4
C#0 Sustained RRx4 + Leg
D0 Staccato RRx4
D#0 1.5 Sec Falloff
E0 3 Sec Falloff
F0 Power Chords RRx4
F#0 Power Chords Staccato RRx4
Revostortion Guitar (1965 Epiphone Casino Electric Guitar/2 x REDD 47 Preamps)
(For this patch, you have the option to either use CC1 or Legato playing mode
to switch between ‘Short’ & ‘Long’ Staccato, Chords and Riff articulations.)
C0 Sustained
C#0 Sustained + Leg
D0 Staccato RRx4 (Short + Long = CC1)
D#0 5ths RRx4 (Short + Long = CC1)
E0 6ths RRx4 (Short + Long = CC1)
F0 7ths RRx4 (Short + Long = CC1)
F#0 Riff (Fast + Slow = CC1)
G0 Staccato RRx4 (Short + Long = Leg)
G#0 5ths RRx4 (Short + Long = Leg)
A0 6ths RRx4 (Short + Long = Leg)
A#0 7ths RRx4 (Short + Long = Leg)
B0 Riff (Fast + Slow = Leg)
Roll Over Guitar (1959 Gretsch Country Gentleman Electric Guitar/1964 Vox AC100 Amp)
C0 Sustained Non Vibrato
C#0 Slide DN HS (Slow + Fast = CC1)
D0 Slide UP HS (Slow + Fast = CC1)
D#0 4ths
E0 Sliding Maj
F0 Sliding Min
Something Is A Guitar Solo (1957 Les Paul Goldtop Electric Guitar/1963 Fender Bassman Amp)
continued

Chapter 4: Instruments, Articulations, Keyswitches

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 FAB FOUR VIRTUAL INSTRUMENT
FAB FOUR GUITARS
Keyswitch Notes Articulations
C0 Sustained RR
C#0 Sustained RR + Leg
D0 Staccato RR
D#0 Bend Light Vibrato
Something Is A Rhythm Guitar (1951 Fender Telecaster Electric Guitar with Leslie Speaker)
C0 Sustained RR
C#0 Maj RR
D0 Min RR
D#0 Sus2 RR
E0 Sus4 RR
F0 7ths RR
F#0 9ths RR
Ticket To Guitar (Rickenbacker 360-12 Electric Guitar/1965 Vox AC50 Amp)
Sustained RR

Keyboards
FAB FOUR KEYBOARDS
Baby I’m A Clavioline (Clavioline/Baldwin Amp)
Long
Short Blip
Short
Because I’m A Harpsichord (Baldwin Electric Harpsichord/Baldwin Amp)
Full Sus
continued
Let It Be Organ (Hammond B3 Organ)
Sus
Lucy In The Lowery (Lowery Heritage Deluxe Organ)
Sus W/Reverb
Madonna Piano (Steinway B Piano)
Sus
Strawberry Flutes (Mellotron Flutes)
Sus Vib

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FAB FOUR KEYBOARDS
We Can Work A Harmonium (Harmonium)
Full
Solo

Miscellaneous
FAB FOUR MISCELLANEOUS
Percussion
Claps
Cowbell
Tambourine
Screaming Girls
> Screaming Girls
Swarmandel Forever (Swarmandel)
> Swarmandel Master
> Swarmandel Elements
> Sus
Tabla (Tabla)
> Within A Tabla - Funky
> Within A Tabla – Tabla and Baya
Sitar (Sitar)
> Love You Sitar
> Within A Sitar

Abbreviations Used in Articulation Names

The names of articulations are often shortened to fit in the Articulations list in the Player
View. The following table provides a way to look up any unfamiliar abbreviations until you
become familiar with the shortcuts. You will find that there is a lot of overlap among the
libraries, because most of these are standard musical terms.

ABBREVIATIONS IN ARTICULATION NAMES

Abbreviations Full Words
CC1 MIDI Control Code 1 (Mod Wheel)
Dim Diminished
continued

Chapter 4: Instruments, Articulations, Keyswitches

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 FAB FOUR VIRTUAL INSTRUMENT
ABBREVIATIONS IN ARTICULATION NAMES
Abbreviations Full Words
Dn Down
Leg Legato
LH Left hand
Maj Major
Marc Marcato
Min Minor
MOD Controlled by Mod Wheel
NV Non-vibrato
Perf Perfect
Pizz Pizzicato
RH Right hand
RR Round robin of 2 samples
RRx# Round robin of # samples
Stac Staccato
Sus Sustain
Trem Tremolo
Vib Vibrato

Chapter 4: Instruments, Articulations, Keyswitches

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 FAB FOUR VIRTUAL INSTRUMENT

EASTWEST FAB FOUR LICENSE AGREEMENT

EASTWEST END USER LICENSE AGREEMENT: Please read the terms of the following
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License Agreement
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