 The game 's sound team was composed of Kemal <unk> , <unk> Djawadi and audio director Eric Brosius . According to Brosius , each member of the audio department did " everything " , without clear <unk> between roles . Like Thief , Thief II features a sound engine that simulates propagation in real @-@ time . To achieve this effect , each level 's geometry was input both to the level editor and to a " separate [ sound ] database " , which mapped how sound would realistically propagate based on " the physical room characteristics [ ... and ] how all the different rooms and areas are connected together " . For example , noise travels freely through an open door but is blocked when the door is closed . The team used the new " occlusion " feature in EAX 2 @.@ 0 to make Thief II 's sound environment more realistic and to allow the player to listen through doors . The game features more sound effects , music and speech than the original Thief . Thief II 's score , as with that of its predecessor , was designed to " blur ambient [ sound ] and music " together . However , Brosius later stated that , while Thief 's soundtrack is composed of " simple and hypnotic " loops only a few seconds in length , Thief II features longer and " more thoughtfully " constructed pieces . He believed that this method had positive aspects , but that it resulted in a less immersive audio environment . 
