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Creative

Sound Designer

Based on 38 assessments

32% Moderate risk

Average realistic automation risk across all Sound Designer profiles in the dataset.

Raw potential
62%
Realistic risk
32%
Research benchmark ?
28%

Raw potential = I/O automation ceiling. Realistic risk = adjusted for informal knowledge and social context. Research benchmark: Eloundou et al. (2023)

Distribution across 38 profiles. Middle half of Sound Designers score between 28% and 35%.

0% 50% 100%
p10 · 26%
39% · p90
On-screen work 44%

Done entirely on a computer. High AI exposure — these tasks are already in the automation zone.

In-person + screen 41%

Physical sensing, digital output — e.g. interviewing someone then writing a report. Partially protected.

Computer + action 0%

Computer input, real-world output — needs someone to act on it, not just software.

Fully in-person 15%

No computer required. Furthest from automation — the strongest human advantage.

3 synthetic profiles for a Sound Designer, ordered by automation exposure. Tab between them to see how task mix drives the score difference.

Task Time Type Exposure
Creating original sound effects (e.g., footsteps, ambient noise, sci-fi sounds) using synthesizers, field recordings, or digital audio workstations (DAWs) to match project requirements
deep expertise social element
21% AD 22%
Collaborating with directors, game designers, or producers to understand the creative vision and align sound design with the narrative or gameplay experience
deep expertise
18% AA 0%
Reviewing and revising sound design based on feedback from clients, test audiences, or quality assurance teams to refine the final output
deep expertise
16% AD 4%
Implementing and mixing sound elements into a project (e.g., syncing audio with visuals in film, integrating sounds into game engines like Unity or Unreal)
13% DD 47%
Recording custom sounds in the field (e.g., capturing unique environmental noises, Foley effects, or voiceovers) using specialized microphones and equipment
10% AD 31%
Designing and testing interactive audio systems (e.g., dynamic soundscapes for games that respond to player actions or adaptive music for films)
deep expertise social element
10% DD 32%
Editing and processing recorded audio (e.g., cleaning up dialogue, adjusting pitch/tempo, removing background noise) to ensure clarity and consistency in the final product
9% DD 59%

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