Clipping takes disturbance or interference of everyday moments of tranquillity as its starting point. The field recording was made without foam windscreens on the microphones, and the recorder’s input level was set high enough to enable any significant gust of wind to cause the recording to distort digitally (a sound almost exclusively associated with ugliness or poor audio practice). This results in harsh interruptions to the ambient environmental sounds. The performer has to react to and mimic the contours of these interruptions, using a small variety of prescribed playing methods and largely relying on their improvisatory intuition. The extracted ten minutes of audio are unedited and provide the fixed temporal framework for the timpanist’s actions.