Loop pedals are traditionally used to loop small sections of music that can be layered over and over. “Rustling” employs the pedal only two times to record and play back a large swath of the piece rather than small sections. This use of the pedal allows the listener to have an expectation that the final texture will not be revealed until all three flutes are played. This expectation creates a sense of intrigue and delayed gratification built up over nine minutes. The novel use of the loop pedal coupled with the syllabic air articulations, sung pitches, and audible breaths in “Rustling” create a sensation of augmented reality, which is a space I like to explore with my compositions.