My settings are specific to the Pro Tools EQ3 7-band parametric equalizer plugin, and different equalizers each seem to measure their adjustments somewhat differently, so I'm not sure how well it would translate, particularly since a parametric works in quite a different way than a graphic equalizer. Much is dependent on the 'Q' setting, which is the width of the frequency range being affected, and how the bands may overlap and interact with each other. I'm sure it's possible to come fairly close to what I did, though, so I'll look into that. But it might turn out to be easier just to put out a 44.1 khz version in addition to the isolated score.

Last night I found that my EQ didn't quite work for the sunset cue as well as it does for other tracks, for in comparison to the film version the strings seem a bit too muted and not sweet enough, while the bass (which unlike the higher frequencies has been left untouched) takes on a bit too much prominence. So I'm going to come up with another setting specifically to match that cue to the movie, and then I'll have both to choose from for the rest, depending which sounds best on each track. The main title was so shrill on the CD that I had to use fairly extreme settings for it to sound right, but other cues may benefit from a more balanced approach.

For the distortion that sometimes shows up, I don't think this is caused by clipping. The dynamic compression they used is a form of peak-limiting which ensures that the waveform rarely if ever reaches digital maximum, usually stopping a few tenths of a dB under that. Also, the distortion can sometimes be heard even when the level is somewhat lower, so I suspect that it either has to do with flaws of the source tape or the process used to transfer it. The EQ change seems to make it slightly less noticeable, but it's definitely still there. I may investigate possible methods of reducing it further, but I doubt it can really be fixed completely.