Digital forms of sound manipulation are eroding traditional methods of sound development and transmission, causing a disjuncture in the ontology of music. Sound, the ambient phenomenon, is becoming disrupted and decentred by the struggles between long established controls, beliefs and desires as well as controls from within technologized contexts. I posit that music technologies are reshaping concepts of time and space, and digital mastery now appears to be the valued musical knowledge. It is necessary to consider a new paradigm for what it means to be musical-in-the-world. Virilio suggests that, rather than being democratic, technology "has hijacked democracy in a mediatized, claustrophobic world" (2005, 339), contributing to a posthuman condition through the destruction of embodied experience.