This article explains SoundShirt (≈CuteCircuit)’s technology, which uses “around 30 (or 16-30 depending on the version) microactuators to transmit instrumental sounds to various parts of the body.”

The core pipeline is (1) sound collection → (2) signal analysis/mapping → (3) tactile signal generation/transmission → (4) actuator operation within the garment.

I’ll explain the steps, principles, design intent, and practical considerations for each item below. (Illustrated sources are provided at the end of each paragraph.)

1) Input: Real-time sound capture and channel separation
In a performance venue (or sound source), microphones and mixers capture the sound. Typically, orchestras, bands, and stages have separate microphones for each section (violin, wind instruments, percussion, etc.), and engineers mix each section into a separate channel. The SoundShirt system receives these discrete channels and uses them as input data to determine which instrument (or sound source) should correspond to which “body zone.”  [*Reference:Lyric Opera( https://www.lyricopera.org/) ]

2) Signal Processing: Translating Frequency, Intensity, and Timing into Tactile Language
The collected audio channels are fed into software and analyzed in real time. Typically, the following processing occurs:

• Frequency Analysis (e.g., FFT) — Identifying which frequency components are strongest and extracting “low/mid/high” characteristics.
• Energy (Level) Extraction — Determining the intensity (amplitude) of vibration based on the momentary intensity (volume).
• Rhythm and Onset Detection (Onset Detection) — Capturing transient events, such as percussion sounds (e.g., drum kicks), and converting them into pulse-like vibrations.
• Mapping Rule Application — For example, a violin might be assigned a “delicate treble” pattern to the arm actuators, while a percussion instrument might be assigned a “strong punch” pattern to the back.

This process converts the “timbre, rhythm, and dynamic changes of music” into tactile signals (pattern, location, intensity, and duration) that can be interpreted by the human skin. CuteCircuit’s descriptions and performance site accounts highlight this real-time conversion process as key.
[*Reference:CUTECIRCUIT( https://cutecircuit.com/) ]

3) Mapping Strategy: Instrument ↔ Body Area (Zone) Assignment
SoundShirt’s distinctive idea is to **assign instruments (or sound components) to specific areas of the body**. For example:

• String instrument (violin) → Arm (subtle vibration)
• Percussion instrument (drums) → Back/shoulders (strong pulse)
• Low-frequency instruments like contrabass/tuba → Chest/abdomen (heavy pressure)

This mapping allows the audience to intuitively distinguish “which instrument is currently being played” through their skin. The mapping rules (tactile dictionary/tactile language) can be changed for each performance or piece, creating a “tactile expression unique to that piece.” Lyric Opera and other venues have reported on how they mix sections for each performance and assign them to specific zones on the costume.
[*Reference:Lyric Opera( https://www.lyricopera.org/) ]

4) Actuators: What actually creates the vibrations?
Official materials typically use the term “micro-actuators” (often without disclosing the specific structure or model name). In practice, actuator types commonly used in haptic wearables include miniature vibration motors (ERMs), linear resonant actuators (LRAs), or miniature voice coil (VCMs). SoundShirt’s presentation emphasizes “delicate, position-specific vibration,” suggesting that actuators capable of rapid response (onset detection) and precise amplitude and frequency control (e.g., LRAs or miniature voice coils) are suitable. However, CuteCircuit does not disclose specific model names, making it difficult to verify the “exact internal components” from publicly available documentation.
[*Reference:CUTECIRCUIT( https://cutecircuit.com/) ]

5) Decentralized Embedded Systems: Electronic and Wireless Components in Fabric
Actuators are woven and attached within the garment (shirt/jacket) in a grid or “zone” configuration, and each actuator is electrically connected to a small control board (or hub). Real-time data is transmitted wirelessly (via a small local wireless protocol or Wi-Fi) or distributed from a short-range hub. During the performance, the wirelessly transmitted tactile data is mapped to the drivers of each actuator and driven. The performance application showcases a workflow that transmits real-time sensations via wireless broadcast.
[*Reference:Lyric Opera( https://www.lyricopera.org/) ]

6) Timing and Delay (Synchronization) Issues
Audio-tactile synchronization is crucial for true immersion. SoundShirt minimizes delay by receiving channels directly from the performance sound mixer, converting and transmitting in real time. However, small delays may occur depending on wireless transmission, actuator driver response speed, or network conditions. Operation teams typically use local networks and low-latency protocols, applying delay compensation (timestamp-based synchronization) when necessary. Performance reports also describe the flow as “on-site capture → wireless transmission → immediate skin output.”
[*Reference:Lyric Opera( https://www.lyricopera.org/) ]

7) User Customization and Expressiveness

• Sensitivity Control: Vibration intensity/sensitivity can be adjusted to account for individual differences in tactile sensitivity.
• Tactile Language Design: Even for the same piece, different “tactile synopses” can be created, allowing for different tactile experiences for each performance.
• Accessibility: Several performances have reported its effectiveness as a “tactile score” that helps hearing-impaired audiences understand the musical structure (melody, rhythm, dynamics).
  [*Reference:Lyric Opera( https://www.materially.eu/) ]

8) Technical and Design Challenges
Actuator Count vs. Resolution: More actuators increase haptic resolution, but also increase cost, weight, and power consumption. SoundShirt adopted a practical balance (16-30 actuators).
[*Reference:Lyric Opera( https://www.ijdesign.org/) ]

• Power and Heat Management: Power consumption and heat generation must be controlled during continuous operation, and battery/hub design is crucial for performance applications.
• Skin Contact and Comfort: The interface between fabric and actuators must be optimized to minimize discomfort during prolonged wear.
• Lack of a Standardized Tactile Language: Standards for defining “what tactile pattern represents what musical meaning” are still in the early stages of development (rules are developed for each research and performance).

9) Practical Applications (Summary of Evidence)

• CuteCircuit’s official description states that it receives sound in real time and instantly transmits vibrations to 28-30 actuators. [*Reference:CUTECIRCUIT( https://cutecircuit.com/) ]
• Opera and Performance Application Report: Separating performance sections and mapping them to specific “zones” and using live broadcasting methods. [*Reference:Lyric Opera( https://www.lyricopera.org/) ]
• News and Case Studies: Case studies reporting on “sound mapping” and delivering it to the skin at sports events and performances. [*Reference:CUTECIRCUIT( https://www.euronews.com/) ]

Summary (in one sentence)
SoundShirt is a complex software and hardware system that interprets real-time audio channels into frequency, intensity, and onset information, maps each instrument and sound to predefined body zones (translating them into an instantaneous tactile language), and transmits these directly to the skin via dozens of microactuators within the garment.