100 Production Challenges

By a ComposerDeck member · 100 cards (40 Malus, 37 Production, 23 Challenge) · updated 2026-10-05

One hundred production challenges from the deck: record your own sounds, flip samples, arrange, perform, mix, listen, and work with fewer tools. Draw one, set a timer, finish a sketch.

The 100 cards

• ChallengePhone Microphone Recording ElementRecord at least one audible element of your track using only your phone's microphone (e.g., a percussion sound, a vocal snippet, an ambient texture). Embrace lo-fi quality.
• ChallengeEnvironmental Sound RecordingRecord and integrate at least three distinct environmental sounds (e.g., nature, city, household) as musical elements. Focus on their natural acoustic properties rather than heavy processing.
• MalusField RecordingRecord a sound with your phone right now and use it as a key instrument.
• ProductionField Recording Integration (World/Soundscape)Incorporate field recordings (sounds from a specific natural or cultural environment) into your composition as a background texture or a prominent element. Connect musical and environmental sound worlds.
• ProductionSingle Found Sound as Central ElementRecord a single distinctive sound from your environment and make it the central rhythmic, melodic, or textural foundation of your track. Build the composition around this unique source element.
• ProductionFound Sounds CompositionCreate a composition incorporating at least three non-traditional sound sources (recorded environmental sounds, household objects) as primary musical elements. Focus on transforming ordinary sounds into musical material.
• ChallengeFound Object Percussion Track (Industrial)Create the entire percussion track for an Industrial piece using only samples of "found objects" (e.g., metal pipes, tools, machinery sounds) instead of traditional drum sounds.
• MalusNo DrumsCreate rhythm without using a drum kit. Use foley, synth plucks, or percussive playing.
• ChallengeVoice as Non-Lyrical InstrumentUse your voice to create instrumental-like lines, textures, or percussive sounds, without forming recognizable words or lyrics. Explore vocal timbre beyond language.
• ChallengePrepared InstrumentModify a traditional instrument (e.g., piano, guitar) by placing objects on or between strings/keys to create unique timbres. Explore sounds beyond conventional technique.
• ChallengeExtended Techniques for Traditional InstrumentsIncorporate extended techniques on traditional instruments (e.g., multiphonics for woodwinds, prepared piano, col legno for strings). Expand the timbral possibilities beyond conventional playing.
• ChallengeFeedback and Noise as Musical Element (Grunge)Intentionally incorporate guitar feedback, amp hum, and other noise elements as a textural and expressive component of a Grunge track, not just as an unwanted byproduct.
• ChallengeSound-Alike Instrument Emulation (Cartoon)Create a Cartoon Music cue where instruments are used to emulate non-musical sounds (e.g., a descending trombone for a fall, muted trumpet for tiptoeing) as a core comedic element.
• ProductionProminent Sound Effects Integration (Cartoon)Compose a short musical piece where specific non-musical sound effects (boings, crashes, honks - can be emulated with instruments) are integral to the rhythm and comedic timing.
• MalusSample FlipYou must use a random sample chosen by a friend or random generator as the core of your track.
• ProductionMPC/Sampler Chopping WorkflowCompose a significant part of your beat by chopping longer samples (melodic, vocal, or drum breaks) and resequencing them, emulating an MPC or similar sampler workflow. Focus on creative recontextualization.
• ProductionSample-Based Melodic Hook (Chopped & Pitched)Create a catchy melodic hook by chopping, pitching, and resequencing a vocal or instrumental sample. Transform existing material into something new and distinctive.
• ProductionSampled Pitched Stab/SoundFind a non-pitched or uniquely timbred sound, sample it, and use it as a pitched percussive note or short melodic stab in your beat. Focus on transforming sound through pitch manipulation.
• ProductionAbstract Vocal Chops as Rhythmic/Melodic ElementsUse short, processed vocal samples (chops, stutters, pitched phrases) as rhythmic or melodic elements, not necessarily forming coherent words. Transform the human voice into musical material.
• MalusReverse ThemeThe main theme/melody of the track must be reversed audio.
• ChallengeTransform a Single Sound Source (Sound Design)Take one short recorded sound (e.g., a door creak, a voice snippet) and create at least 5 distinctly different new sounds from it using various processing techniques (time-stretching, pitch-shifting, granulation, spectral processing).
• ProductionGranular Synthesis Sound DesignCreate and incorporate a significant sound or texture using granular synthesis techniques (deconstructing sounds into tiny "grains"). Explore the timbral possibilities of this approach.
• ProductionExtreme Audio Processing / ManglingTake a conventional sound (e.g., vocal, piano) and process it with effects until it becomes almost unrecognizable and uniquely textured. Push processing to creative extremes.
• ProductionSingle Oscillating Pitch Drone (Electronic)Create a drone element using a single synth oscillator, focusing on its timbral evolution through LFO modulation, filter changes, or effects. Explore slow timbral development.
• ProductionLayered Textural SoundscapeCreate a rich soundscape using at least 3-4 distinct layered textural sounds (e.g., pads, drones, ambient noises, granular textures). Focus on depth, dimensionality, and timbral interaction.
• ProductionLayered Synth Pads for Rich TextureCreate a rich harmonic texture using at least three layered synthesizer pads with different timbres, possibly covering different frequency ranges or having varied envelopes. Focus on complementary timbral interaction.
• ProductionProminent 808 Bassline with Glide/Pitch BendsMake the main bass element a tuned 808 sound, focusing on its sub-bass frequencies, decay, and incorporating pitch glides/bends. Create an expressive bass voice.
• ProductionSignature Distorted Guitar Tone (Rock)Focus on crafting a powerful and characterful distorted guitar tone (e.g., crunchy, fuzzy, high-gain) as a central element of your sound. Make the guitar tone itself an expressive element.
• ChallengeBackwards Composition ProcessWrite the end of the piece first, then the section before that, working your way to the beginning. Let the conclusion determine what comes before.
• ChallengeStrategic Silent Breaks (Grand Pause)Incorporate at least two or three distinct moments of complete silence (at least 1-2 beats long) for dramatic or structural effect. Use silence as a compositional element.
• ChallengeBuild and Release with Filter Sweep (House)Create a classic House build-up section by gradually increasing layers and using a rising low-pass or high-pass filter sweep on a key element, leading to a "release" where the beat drops back in with full energy.
• ProductionProminent Filter SweepIncorporate a noticeable filter sweep (low-pass or high-pass) on at least one key instrument or the master bus for dynamic effect. Use filtering as an expressive tool.
• ProductionLayering for Dynamic Intensity (Video Game Music)Compose a Video Game Music piece where layers of instruments are added or removed to dynamically change the intensity for different game states (e.g., exploration vs. combat).
• ChallengeCall and Response: Wobble Bass vs. Lead Synth (Dubstep)Create a Dubstep section featuring a "call and response" dynamic between a rhythmic wobble bass pattern and a contrasting melodic lead synth phrase.
• ChallengeMinimalist Synth Arrangement (New Wave)Create a New Wave piece using a minimalist arrangement, focusing on a few key synthesizer parts (e.g., bass, lead, pad) and a drum machine beat, where each part is distinct and crucial to the overall sound.
• MalusMonophonicYou are only allowed to play one note at a time. No chords allowed for this section.
• ChallengeThree-Channel Polyphony Limit (Chiptune)Compose a Chiptune track strictly adhering to a three-channel polyphony limit (e.g., two pulse waves and one noise channel, three of the NES's five sound channels), forcing creative voice leading and texture.
• ProductionLimited Polyphony Emulation (Chiptune)Compose a Chiptune piece keeping in mind the limited polyphony of old sound chips (e.g., 3-4 simultaneous voices/notes).
• ProductionLayered Vocal Production (Pop)Focus on creating a full, modern pop vocal sound with a clear lead, tight doubles, background harmonies, and possibly ad-libs (even if using instruments to emulate). Create depth through vocal arranging.
• ProductionLayered Vocal Harmonies and Ad-libs (K-Pop)Focus on creating a dense and polished vocal arrangement (even if using instruments to emulate) with tight lead vocals, multiple harmony layers, and energetic ad-libs, characteristic of K-Pop.
• ProductionOrchestral Layering for Depth & ClarityIf using orchestral sounds, focus on creating a sense of depth and clarity by layering instruments from different sections (strings, woodwinds, brass, percussion) effectively, considering their ranges and timbres.
• MalusCopy Paste BanYou are not allowed to copy and paste anything. Every note must be played/drawn individually.
• ChallengeNo Computer Editing of PerformanceRecord all instrumental and vocal parts live with no digital editing of the performance (e.g., no quantization, pitch correction, copy-pasting of performed sections). Embrace human performance.
• MalusOne TakeRecord your next part in a single take. No editing, no punching in. Keep the mistakes.
• MalusNo QuantizationDisable quantization. Play everything live and keep the human groove (and errors).
• ChallengeIncorporate "Ghost Notes" in Drum Groove (Neo-Soul)Program or perform a Neo-Soul drum groove that features prominent "ghost notes" on the snare drum, creating a complex, subtle rhythmic texture and a laid-back feel.
• MalusBlind StartClose your eyes, place your hands on your instrument, and record the first thing you play.
• MalusBlindfolded Melody CreationCreate a core melody by playing notes on an instrument while blindfolded or not looking. Use this spontaneous material as your foundation.
• MalusSing It FirstYou must sing/hum the melody or rhythm before playing it on any instrument.
• ChallengeNon-Dominant Hand TechniqueIf you play an instrument, try playing a simple part or melody with your non-dominant hand. Explore the creative potential of technical limitation.
• MalusLeft Hand OnlyCompose or perform your main parts using only your left hand.
• MalusRight Hand OnlyCompose or perform using only your right hand. No left hand allowed.
• MalusOne Hand Only (Piano/Keyboard)If using a keyboard, compose a piece or section using only your left hand or only your right hand. Embrace the constraints to find creative solutions.
• MalusTwo Finger LimitYou can only use two fingers maximum on your keyboard/controller at any given time.
• MalusOne Hand, One InstrumentYour left hand can only play one instrument, your right hand can only play another. No switching.
• MalusSingle String Composition (Guitar/Bass/Strings)If using a string instrument, compose a piece or significant melody using only one string. Explore the timbral and melodic possibilities of a single string.
• MalusStanding OnlyYou must compose this entire section while standing up. No sitting allowed.
• ProductionMinimalist Processing (Max 2 Effects per Track)Limit yourself to using no more than 2 effects plugins (e.g., EQ, reverb, delay) on any single track in your mix. Focus on careful selection rather than complex processing chains.
• ProductionSpecific Reverb Type FocusUse only one specific type of reverb (e.g., plate, spring, hall, room) for all spatial effects in your mix. Explore the character of a single reverb type as a unifying element.
• MalusNo FXZero FX allowed on any track. Keep it super raw and dry!
• MalusDistortion on MasterAdd a distortion plugin to your master bus (mildly) and mix into it.
• ProductionSidechain Compression for Rhythmic PumpingUse sidechain compression (e.g., kick triggering compressor on bass/pads) to create a rhythmic pumping or "breathing" effect. Make this technique an integral part of the groove.
• ProductionSidechain Compression from Kick (House)Apply sidechain compression to pads, basslines, or other sustained elements, triggered by the kick drum, to create the characteristic "pumping" effect of House music.
• ProductionCreative Panning & Stereo WidthUse panning automation and stereo placement creatively to give instruments distinct locations and create a sense of space or movement. Design the spatial field as a compositional element.
• ProductionMix Depth & Spatial DesignFocus on creating a mix with clear front-to-back depth using reverb, delay, EQ, and volume to place elements in 3D space. Design the spatial relationships between elements.
• ChallengeSpatial/3D Audio CompositionCompose with explicit consideration of spatial positioning of sounds. Create a piece that utilizes the placement of sounds in a three-dimensional audio field as a compositional element.
• ProductionHeavy Sub Bass Focus (Dubstep)Ensure your Dubstep track has a powerful and clearly defined sub-bass layer (typically below 60-80Hz) that complements the mid-bass sounds.
• ProductionPolished Low End: Kick and Bass Balance (R&B)Focus on achieving a polished and balanced low end in an R&B mix, ensuring the kick drum and bassline are distinct yet complementary, providing a solid foundation without muddiness.
• MalusNo Solo ButtonYou cannot solo any track. Mix and compose everything while hearing all tracks at once.
• MalusHeadphones ForbiddenCreate this section using only your device/computer speakers. No headphones or studio monitors.
• MalusNo SoundCompose the next section without listening to it. Turn off your speakers/headphones.
• MalusBlind ScreenTurn off your screen for 5 minutes and compose/tweak sound by ear only.
• ChallengeSingle Mic Recording Emulation (Bluegrass)Arrange and mix a Bluegrass piece as if it were recorded with a single microphone, focusing on instrumental balance achieved through player positioning and dynamics, rather than individual track mixing.
• ProductionLive Jazz Trio Recording VibeMix your piece to emulate the sound of a live jazz trio recording: clear instrument separation, natural room sound/ambience, and dynamic interplay. Focus on acoustic intimacy and space.
• ProductionNatural Acoustic Recording Space (Folk)Aim for a natural, acoustic sound, perhaps with minimal effects and capturing some room ambience, as if recorded in a live, resonant space. Focus on authentic acoustic character.
• ProductionDry, Natural Acoustic Sound (Bluegrass)Mix your Bluegrass track with a focus on a dry, natural acoustic sound, emphasizing clarity and minimal use of reverb or effects, as if recorded in a small room.
• ProductionBig Band Section Blending (Swing)Mix a piece emulating a Swing big band, focusing on achieving a good blend and balance between the brass, saxophone, and rhythm sections, so they sound cohesive yet distinct.
• ProductionSpacious Reverb for Operatic Vocals (Emulated)When mixing an instrumental piece emulating an operatic vocal lead, use a spacious hall reverb to simulate the acoustic environment of an opera house, giving the "voice" grandeur and depth.
• ProductionHeavy Reverb and Delay on Synths (Retrowave)Apply generous amounts of reverb (hall, plate) and delay (ping-pong, stereo) to synth leads and pads to create the spacious sound of Retrowave.
• ProductionChorus Effect on Guitar/Synth (New Wave)Apply a prominent chorus effect to a clean electric guitar line or a synthesizer pad/lead, a hallmark of the New Wave sound, to create a shimmering, detuned texture.
• ProductionLo-fi Aesthetics: Vinyl Crackle & Warm SaturationIncorporate lo-fi production elements like vinyl crackle, tape hiss, wow/flutter, and aim for a warm, analog-like saturation in your mix. Create nostalgic imperfection as a stylistic choice.
• MalusOne Synth OnlyUse only one synthesizer instance for all melodic and harmonic elements (drums excluded).
• MalusPreset BanYou cannot use any presets. Create all sounds from scratch with init patches only.
• MalusRandom Plugin RouletteUse a random number generator to choose which plugin to use. No switching allowed.
• ChallengeAleatoric/Chance Music ElementsIncorporate elements of chance or indeterminacy into your composition. This could involve performer choices, randomized processes, or variable structures.
• MalusMobile ComposerCreate a musical idea or beat using only a mobile phone or tablet app.
• MalusMouse FreeComplete this section using only keyboard shortcuts. Disconnect or don't touch your mouse.
• MalusNo UndoYou are not allowed to use the Undo function (Ctrl/Cmd+Z) for the next 10 minutes.
• MalusBackwards WorkflowStart with mastering/mixing effects, THEN add the musical content to fit that sound.
• Malus120 BPM LockYou must produce this track at exactly 120 BPM, regardless of the genre.
• MalusSlow MotionSet your DAW to 50% tempo and compose at that speed, then set it back before you export. MIDI parts follow the tempo; recorded audio only does if it is warped or time-stretched.
• MalusMinor Scale OnlyStrictly stick to the Natural Minor scale. No harmonic/melodic minor or borrowed chords.
• MalusAlphabet LimitYou can only use notes that correspond to letters A through G. No sharps or flats.
• MalusBlack Keys Only (Piano/Keyboard)If using a keyboard, restrict your composition to using only the black keys (G♭/F♯ pentatonic major). Find creative possibilities within constraints.
• Malus80s Vibe OnlyEvery element you add must sound like it came from the 1980s.
• ChallengeTime Limit: 30 Minute Composition & RecordingAttempt to compose and record the entire core idea of the piece within a strict 30-minute time limit. Embrace spontaneity and first instincts.
• MalusSpeed RunYou have exactly 5 minutes to lay down the entire structure of the track.
• MalusDouble Time RushYou have exactly 2 minutes to create a complete 8-bar loop.
• Malus30 Second DecisionsYou have max 30 seconds to make each creative decision. Use a timer and move on no matter what.
• ChallengeCreate a "Victory Fanfare" (VGM)Compose a short (5-15 seconds) and memorable "Victory Fanfare" suitable for signaling success or achievement in a video game, using uplifting melodies and strong harmonic resolution.

Keep reading

• 25 production constraints to finish a track
• How producers turn constraints into finished tracks

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