In this paper, I discuss debates surrounding amplification of ritual dance musics, showing how amplification modifies sensibilities produced by dance. I focus on malikoda, a dance genre practiced by ‘amis / Pangcah, one of Taiwan’s 16 recognized Indigenous groups. During annual rituals, ‘amis communities organize the dance spiral along distinctions between hosts and guests, gender differences, and age grade precedence in ways that compel dancers to feel the endurance of ‘amis sovereignty as embedded in the age set system. Whether malikoda should be amplified is an open question. Debates about amplification often focus on ti’eciw, the call section of malikoda tunes. Generally, responsibility for ti’eciw mirrors age set precedence, with elders and other community leaders singing the call and passing this responsibility downward to younger groups. Amplification enables a single singer to lead incredibly large groups of dancers; combined with prerecorded tracks, it may even obviate human callers. In contrast, without amplification entire age sets may perform the call; and dancers must rely on kinaesthetic prompts to coordinate the dance, developing listening habits attuned to this kinaesthetic sense. Yet those on both sides of the amplification argument formed their arguments by linking aesthetic qualities of the dance to the dance’s social effects, including intra-age set rapport and inter-age set mobilization. Amplification restructures relationships among senses, attenuating some social effects while facilitating others. Moving beyond notions of technologies as offering specific affordances, I employ the metaphor of attenuation to consider relationships among technology, kinaesthetic sense, and sovereign sensibility.