In times of crisis, how is precarity made audible? And how does the amplification of precarious worlds and precarious bodies reinforce assumptions about our embodiments—their sonicities and their fallibilities? Taking these questions as its starting point, this paper investigates the relationship between technology, trauma, and (sonic) medicalization. It frames technological mediation during the ongoing endemic era as both creating medicalized sonic environments and transmitting these acoustemologies to a diverse—and globally dispersed—audience. It further characterizes these mediated acoustemologies as a sonic manifestation of catastrophilia (Svenvold 2005; Roelstraete 2007) and (re-)traumatization (Foster 1996; Seremetakis 2019; Bregman 2021). Weaving together audiovisual media, including news journalism and social media posts, and ethnographic interviews, I clarify how mediated praxes not only circulate specific sounds, but also strengthen particular listening habits that are inflected (or perhaps, infected) by medicalization. I focus on the myriad ways sound has been utilized in reporting during the endemic era to announce and authenticate the crisis at hand, while drawing us affectively into its orbit (Fink 2020; Kristof 2020). In analyzing these techniques of mediation, I also consider how they rely on pre-established assumptions about what affects medicalized sound incites. Thus, what happens when, as one disabled interlocutor asked me, the sounds of our disabled lives are shared via mediated representations, presumed to provoke fear and reveal inhospitable conditions? In reproducing and reinforcing negative interpretations of medicalized sound, what are the consequences for how a non-disabled majority evaluates the quality of a disabled life?