Type of strings make a difference too.

Not that anybody will ever endorse it, if Abbey Road allowed engineers to measure and record impulses from their studio; then packaged it as a convolution like the UAD Ocean Way studio plug-in then it will sound closer. There is one by Waves which models the microphones used by the Royal family. Perhaps they could extend that to other microphones. 
 
In fact East West have a collection of Beatle-esque samples now that I come to think of it.
 
P.S. I have Abbey Road vinyl and apart from the turntable slowdown everything is not as gimmick as I thought it was going to be.

This
 
This:
https://www.premierguitar.com/articles/Interview_Ken_Scott_Part_1_Recording_with_The_Beatles_Inside_the_Studio
 
Here's a good thread on the subject:
http://forums.stevehoffman.tv/threads/beatles-recordings-of-acoustic-guitars.252463/
 

 

 

 

Just for the record (ba-doom-tish!)....
 
If you check the soundsonline  website and look at Fab Four, they have a list of instruments and corresponding like track names for the patches. That will give you a better idea what to do. That's a thing East West hasn't created yet. A virtual guitar.
 

Just to throw in another song..the best in my opinion: A day in the life
 https://youtu.be/usNsCeOV4GM

As I come up on my 54th anniversary as a pro guitarist, I'd add humidifying your guitar will change the tone a lot. I hadn't thought about it, but England must be "fairly humid" (LOL) and I suppose that affects their mics, too.
 
I don't believe that strings "stretch" at all. I find they SLIP and therefore I secure the ball ends right up against the bridge plate, before I tie them on to the tuner posts. I tug/pull them, till they stop slipping and enjoy my new fresh strings. This is bothersome in terms of time installing or removing them, but the benefits are pleasing to me.
 
Also, some guitars just sound way better with certain strings, so that'll be an area to explore, too. I use GHS, D'Addario, Elixir, Martin SP, Savarez Corum Cristal and hope to buy a set of LaBella flatwounds for my Schecter Hellcat VI! ($50?!?!)
Steve Tibbetts spoke of how folks assumed he had great mics because of his acoustic guitar tones (ca Safe Journey). He explained that he just kept moving his inexpensive mic till he found what he liked.
Michael

@ RimShot    Thanks for those links. I really enjoyed the Ken Scott article. I'd read it before but I still seem to get a buzz from any Beatles stuff! And I'd forgotten about the AKG d19c.
Michael

Thanks Michael. For the last month, I once again have been watching the old videos of the Beatles recording sessions and their live concerts. The documentary Ron Howard did about their touring "Eight Days A Week" is also highly recommended.
 

Cool, RimShot! I go there myself periodically.
   I haven't seen the Howard film yet, but am really looking forward to that. I had the Anthology DVDs and always found myself steering toward any of the studio bits vs live. I did go see them in Chicago August 1966, but can't really say I remember hearing or seeing much of anything, other than watching them drive up in a white Ford wagon after the kids all ran after the limousines! LOL
Michael

Rimshot
This
 
This:
https://www.premierguitar.com/articles/Interview_Ken_Scott_Part_1_Recording_with_The_Beatles_Inside_the_Studio
 
Here's a good thread on the subject:
http://forums.stevehoffman.tv/threads/beatles-recordings-of-acoustic-guitars.252463/
 

 

 

 

These pictures are an education in themselves.
In the first it looks like the guitar I being mic'ed by a U47(?) at the 12th fret.
In the second it looks like the guitar is being mic'ed by a small condenser aimed straight at, and right up on, the sound-hole.
In the third looks like the same setup as #1.
In the fourth it looks like a U47(?) aimed at the middle of the body about at the top of the sound-hole.  
 
Looks like there are a lot of ways to mic a guitar and get a great sound.