Editing Laugh track (section)

====Rankin/Bass====
[[Rankin/Bass]], a notable animation studio renowned predominantly for their Christmas-themed specials, ventured into the realm of incorporating a laugh track into their Saturday morning animated series ''[[The Jackson 5ive (TV series)|The Jackson 5ive]]'' in 1971. Following a model akin to that of Hanna-Barbera, Rankin/Bass adopted a methodology involving the extraction of laughter samples from Charles Douglass's extensive library, integrating them seamlessly into the program's audio track.

Initially, the laughter segments featured unmodulated bursts of sound, rendering their application somewhat discordant; instances of subdued humor prompted disproportionately robust reactions, often disrupting the natural flow of the narrative. Additionally, there were instances where laughter would spontaneously erupt mid-dialogue, further undermining the comedic effect.

However, the studio exhibited a commitment to refining their approach, evident in their second season endeavors. Through meticulous curation from Douglass's updated 1971–72 library, Rankin/Bass introduced more nuanced and contextually appropriate laughter segments. Notably, the improved selection was characterized by a greater degree of modulation, ensuring a more harmonious integration with the program's comedic timing. Sound engineering enhancements undertaken by Rankin/Bass further contributed to the optimization of the laugh track's synchronization with the animated sequences.

This enhanced methodology was not confined solely to ''The Jackson 5ive''; concurrently, it was also applied to another Rankin/Bass production, ''[[The Osmonds (TV series)|The Osmonds]]'' (ABC, 1972). Diverging from the metallic tonality often associated with Hanna-Barbera's laugh track, Rankin/Bass endeavored to provide a more diverse array of laughter samples, thereby enriching the auditory experience for viewers.<ref name="Iverson"/>

Ultimately, the utilization of the laugh track by Rankin/Bass was temporally constrained, ceasing upon the conclusion of production for the aforementioned series. This decision marked the culmination of the studio's experimentation with this particular aspect of audio enhancement within the context of their television productions.<ref name="Iverson"/>