This paper situates the work of installation artist Bartholomäus Traubeck at the crossroads of sonic materialism (Cox 2011) and recent debates among new media theorists concerned with the nature of mediation (Kember and Zylinska 2012; Grusin 2015). Picking up on what Richard Grusin has called “radical mediation," I examine how expanded theories of mediation jeopardize medium specificity, and I do so within an exhibition of Traubeck's works. The latter carefully constructs assemblages out of easily identifiable objects. But once turned on, these installations produce ambient soundscapes that quickly blur the borders between their constituent elements. Their processes slip by auditory perception, generating slippages between media devices along the way. However, these instances of ambience do not elide the necessity for returning to the devices undergirding them, a move Traubeck's pieces constantly encourage. Insisting on the importance this return, and in a corrective to radical mediation, I look simultaneously to neurophysical accounts of auditory perception and Félix Guattari's Chaosmosis (1995) to place sonic media alongside the latter's axiological appraisals.