I don't have the Fab Four software. But I enjoy these kinds of sounds a lot and usually find myself incorporating them into what I produce, usually by fabricating them from close enough.
The sounds on the Quick Time demo of the Fab Four module are very evocative and instantly bring to mind what they're supposed to. But it also has to be said that the chords and lines being played in the demo barely avoid directly quoting Beatle songs, and that adds to the capacity of the sounds to evoke. I think "evoke" is the key word here. (Listen to the three song demos; the sounds are accurate, but so are the playing and the parts. Without those, the sounds would not *mean* the same thing, or even sound the same.)
More important than whether or not these sounds sound good is that they are evocative of goodness, which is what makes them sound good. Many of the sounds don't sound like what would be objectively considered "good" apart from their ability to evoke. In many cases, that was also true at the time the Beatles were first using these sounds.
For example, the strings during the intro to I Am The Walrus, and that reappear throughout the record, aren’t really the kind of strings you expect to hear in orchestral or chamber music; rather, they sound "like strings" in the sense that they were already *in quotes* at the time they were recorded; their function in the production was not *as* strings per se, but rather to evoke a sense of strings, and to invoke the meanings associated with strings. This was a basic method of mid/late Beatles; sound as spice; real beyond fake.
More or less the same goes for the strings in Strawberry Fields Forever, which is Walrus's year-older sister and conceptual blueprint. The strings in Glass Onion take this even further by paraphrasing and evoking the strings from I Am The Walrus. Instant Ruttles.
In contrast, the function of the strings in Yesterday, whatever their quality as an arrangement, are a conventional "string accompaniment" and as such sampling or recreating them wouldn't provide anything like the wow recognition factor that you'd get from employing strings as in IATW or SFF, whose role is based on their intrusion as incongruous elements ("classical sounding strings") in an already off-kilter soundscape. In fact, the strings at the top of IATW help establish that very off-kilter-ness, while the strings in Yesterday fully center the song in a more conventional and sentimental context of "pretty" and "beautiful" and "oh isn't that just exquisite." (John Lennon and Phil Spector pulled a similarly sappy trick on Imagine; compare that with the authentically inauthentic strings in John's Number 9 Dream, or even at the end of Cty Baby Cry.)
The strings in Eleanor Rigby are a slightly different case because they are the only instruments heard. The production was more chamber-like to begin with, though the instruments were probably more closely micced (and probably also more casually recorded; and maybe doubled?) than they'd be for a proper chamber session.
But unlike the strings in Yesterday, whose strings don't have the same evocative power today, or the strings in IATW/SFF, whose powerful impact was premised on their intrusion into those particular records/songs/productions, the evocative power of Eleanor Rigby is based (aside from the fab arrangement itself) on the song's position on Revolver, abruptly starting with its chamber music urgency right after the urgently brittle guitars of Taxman. Great sequencing.
Today, it would be much easier to produce something like an "Eleanor Rigby effect" than a "Yesterday effect", because the latter wasn't really an "effect" even at the time; it was merely a production "move" to make a romantic song more romantic.
Do any of these strings actually *sound* good from a modern day recording pov, without respect to their presence on these landmark recordings? And do you really need the Fab Four sample set to get them? (Not that I would mind having the FF module.)
I wanted some string lines on a song I'm producing whose basic backdrop consists of bright-sounding rhythm guitars playing suspensions and 7ths The strings were to double some relatively clean and simple guitar lines. At first I thought I'd try to find some good string samples. I think I might've briefly tried the Garritan stuff that came with Dimension LE, just because I had it. But I realized that I wasn't really looking for a "good string sound." What I wanted was not "strings" so much as something that evoked strings, or that said "strings," or -- to be really honest -- that said "fake strings like in I Am The Walrus or Strawberry Fields and that will help me add some Beatle-interest and conjure all that voodoo....."
I ended up inserting the TTS-1 and using a patch (under Preset, Ensemble) called 60's Strings, I played the parts with the right articulation, adding octaves and harmony as needed, and processing it so that it sounded bad enough to sound good in the mix and function as I wanted. Totally fake. When it goes by, I think it sounds about right and does what I want. But there are two isolated measures where I think, "oh come on, ****ypoo, that really sounds way too much like I Am The Walrus... you should be ashamed of yourself." But then I think "well, if Jeff Lynn could get away with it and make a career out of it and not be ashamed of himself, why should I worry" and I move on to something else.
"There's nothing you can make that can't be made."