Which kind of qualitative differences emerge when we attune our listening to the vibrations of ayahuasca and related plants, as a locus of growth and interaction? How can we transduce the embrace of the vine and the entangled (in)organisms and diverse entities that inhabit its world into a bio-acoustic realm of experience? Understanding sound fundamentally as a relation (Helmreich 2016) and the ayahuasca universe as a hyperbolic space, one unraveling or ‘spiking itself toward infinity’ (Doyle 2012), this ethnographic research into a hyperbolic locus of growth, expansion and embrace aims to mimetize itself into a soundboard for those sonic entangled becomings. The reception modality becomes one of amplification and modulation (Simondon 1962) in an ecologic soundscape of interactions, following the ontogenetic possibilities of vibrational creative forces. The jungle auditorium as a ‘superorganism’ (Raffles 2010) or as a sense of integrated wholeness emerging from symbiogenetic vibrations or ‘emergent mind’ (Dunn 1992) is an instance of ‘sonic immersion’ (Helmreich 2016) in which the particular bio-acoustic ‘healing’ or transforming creative event unfolds. The listening aims to be not only attuned to the phytomorphic open-ended becomings of the plant, its growth, ecology and environment, but also to its encounter with the human and the non-human, its hybridity, its mutability into textures and substances and its blossoming into sung or played ícaros and (en)sounded patterns. The idea of guiding, modeling and patterning vibrations through vibrations is at the core of this inquiry, as well as the potential timings, cadences and noises of anthropological and technological mediation immersed into this specific resonant sensorium in a process of becoming ‘sensor’ (Myers 2017).