Editing Laugh track (section)

===Cartoons and children's shows===
The integration of laugh tracks extended beyond live-action programming to include select prime-time [[animated television series]] during the mid-20th century. This trend commenced notably with ''[[The Rocky and Bullwinkle Show]]'' (ABC, 1959–61; NBC, 1961–64), albeit restricted to the initial four episodes of the series. Subsequent to this pioneering endeavor, Hanna-Barbera adopted a similar approach, incorporating comprehensive laugh tracks into its prime-time animated productions until approximately 1970.

Noteworthy examples of Hanna-Barbera's utilization of laugh tracks encompassed acclaimed series such as ''[[The Flintstones]]'' (ABC, 1960–66), ''[[Top Cat]]'' (ABC, 1961–62), and ''[[The Jetsons]]'' (ABC, 1962–63). Additionally, supplementary productions including Hanna-Barbera's mid-summer sitcom, ''[[Where's Huddles?]]''  (CBS, 1970), and Krayo Creston and MCA's ''[[Calvin and the Colonel]]'' (ABC, 1961–62), featured analogous employment of laugh tracks. The incorporation of laugh tracks extended further into midday programming, exemplified by ''[[The Banana Splits|The Banana Splits Adventure Hour]]'' (NBC, 1968–70), gradually aligning with prevailing industry practices.

From the late 1960s through the early 1980s, a substantial proportion of comedic cartoons tailored for the Saturday morning genre embraced the inclusion of laugh tracks. This trend was inaugurated with the debut of [[Filmation]]'s ''[[The Archie Show]]'' in 1968, subsequently emulated by industry stalwarts such as Rankin-Bass, DePatie–Freleng Enterprises (DFE), and Hanna-Barbera. However, as the proliferation of laugh tracks grew pervasive, diminishing their novelty and efficacy, animation studios gradually relinquished their reliance on this auditory embellishment by the early 1980s. The denouement of this era was marked by the conclusion of Filmation's ''[[Gilligan's Planet]]'' (CBS, 1982–83), which stands as the culminating animated Saturday-morning series to feature the inclusion of a laugh track within its framework.

Given its midday time slot, ''[[The Banana Splits]]'' served as a precursor to Hanna-Barbera's utilization of Charles Douglass's laugh track technology in animated programming aired during Saturday morning hours. This transition commenced with the debut of ''[[Scooby-Doo, Where Are You!]]'' (CBS, 1969–70) in 1969, marking the inaugural incorporation of Douglass's laugh track within Hanna-Barbera's Saturday morning lineup. Encouraged by the favorable reception of this innovation, Hanna-Barbera proceeded to integrate the laugh track into the majority of its productions for the 1970–71 season. This expansion of the laugh track's usage encompassed a broad spectrum of Hanna-Barbera's animated offerings, including series such as ''[[Harlem Globetrotters (TV series)|Harlem Globetrotters]]'' (CBS, 1970–71) and ''[[Josie and the Pussycats (TV series)|Josie and the Pussycats]]'' (CBS, 1970–71). Such strategic deployment of Douglass's technology mirrored Hanna-Barbera's commitment to enhancing the comedic appeal and viewer engagement of its animated content during the pivotal Saturday morning programming block.

''[[The Pink Panther Show]]'' (NBC, 1969–1978; ABC, 1978–1980) was something of an anomaly among its peers. Comprising a compilation of previous theatrical releases, the show adopted a format featuring half-hour showcases, amalgamating various DFE theatrical shorts such as ''[[The Inspector]]'', ''[[The Ant and the Aardvark]]'' and ''[[The Tijuana Toads]]''  (rebranded as ''The Texas Toads'' for television broadcasts due to perceived cultural sensitivities). Notably, the original theatrical versions of these shorts did not incorporate laugh tracks. However, NBC mandated the inclusion of such audio elements for television airing. Consequently, laugh tracks were added to adapt the content for broadcast, a decision driven by network preferences and perceived audience expectations. Subsequently, in 1982, when the DFE theatrical package entered syndication, efforts were undertaken to restore the soundtracks to their original state, aligning with the artistic integrity of the source material. Over time, the repackaging of these shorts has led to the availability of both theatrical and television versions, preserving the diverse auditory experiences associated with each iteration. Exceptions to this trend include ''[[Misterjaw]]'' and ''[[Crazylegs Crane]]'', which were exclusively produced for television and never subjected to theatrical releases, resulting in versions characterized solely by the presence of laughter tracks.<ref name=beck>{{cite book| last = Beck| first = Jerry| author-link = Jerry Beck | title = Pink Panther: The Ultimate Guide to the Coolest Cat in Town | publisher = Dorling Kindersley, Ltd.| year = 2006| location = New York| pages = 38–39, 44–45, 135 | isbn = 0756610338}}</ref>

Following the precedent set by Filmation, producers [[Sid and Marty Krofft]] adopted Douglass's laugh track technology for their television productions. The pivotal moment occurred with the commencement of production on ''[[H.R. Pufnstuf]]'' in 1969, when executive producer Si Rose advocated for the inclusion of a laugh track, considering any comedy devoid of such augmentation as inherently disadvantaged. This persuasion led to the incorporation of Douglass's laugh track into ''H.R. Pufnstuf,'' setting the stage for its integration into subsequent Krofft productions tailored for Saturday morning television.

Subsequently, the Kroffts enlisted Douglass's services for all their Saturday morning television ventures, excluding the more dramatically oriented ''[[Land of the Lost (1974)|Land of the Lost]]'' series. This collaborative endeavor extended to a range of productions, including ''[[The Bugaloos]]'', ''[[Lidsville]]'', ''[[Sigmund and the Sea Monsters]]'', ''[[The Lost Saucer]]'' and ''[[Far Out Space Nuts]]''. Transitioning from high-concept children's programming to live variety shows, the Kroffts continued their collaboration with Douglass for audio sweetening purposes. Notable variety shows benefiting from Douglass's expertise include ''[[Donny & Marie (1976 TV series)|Donny and Marie]]'', ''[[The Brady Bunch Variety Hour]]'', ''[[The Krofft Supershow]]'', ''[[The Krofft Superstar Hour]]'', ''[[Pink Lady and Jeff]]'', ''[[Barbara Mandrell and the Mandrell Sisters]]'', ''[[Pryor's Place]]'', as well as their 1987 syndicated sitcom ''[[D.C. Follies]]''.

As the practice of incorporating laugh tracks into Saturday morning television programming gained traction, Douglass expanded his repertoire to include a variety of children's laughter. Referred to as "kiddie laughs," these additions to his sound library were first utilized for audio enhancement in the 1973 syndicated television special, ''[[The World of Sid and Marty Krofft at the Hollywood Bowl]]'', but by 1974, were heard on most Saturday morning kids' shows such as ''[[Uncle Croc's Block]]'', ''Sigmund and the Sea Monsters'', ''The Pink Panther Show'', ''The Lost Saucer'' and ''Far Out Space Nuts''.<ref name="Kitman"/>

Current [[Disney Channel]]-produced sitcoms and studio-created laugh tracks are primarily recorded in front of live audiences.<ref>{{cite web|url=http://www.tvtickets.com |title=Audiences Unlimited, Inc. &#124; Free TV Studio Audience Tickets |website=Tvtickets.com |access-date=2016-01-13}}</ref> [[Nickelodeon]] – Disney's top competitor – utilizes a laugh track for shows such as ''[[iCarly]]'' and ''[[Victorious]]'' since closing the original studio facilities fitted for live audience seating.

====Making their own====
By the onset of 1970, Charles Douglass's enterprise in laugh production had become increasingly profitable, prompting a decision to adjust the pricing structure for his services. However, the economic landscape of animated television programming differed significantly from that of sitcoms, characterized by tighter budgetary constraints.<ref>Iverson. See [[Limited animation]]</ref> In response to the imperative of cost reduction, animation studios, notably Hanna-Barbera and Rankin-Bass, commenced a gradual disengagement from Douglass's services beginning in 1971.

While acknowledging the necessity of incorporating laughter tracks into their productions, these studios sought alternative methods to procure chuckles, employing diverse strategies to compile custom laugh tracks independently. The adoption of such proprietary laugh tracks elicited considerable controversy within contemporary discourse and among historical commentators, who raised questions regarding their authenticity and aesthetic congruence.<ref name=Iverson />

Nevertheless, amidst this shifting landscape, entities such as Filmation, DePatie-Freleng Enterprises, and [[Sid and Marty Krofft|Sid & Marty Krofft Television Productions]] maintained their collaborative alliances with Douglass, continuing to enlist his expertise for the augmentation of laughter in their Saturday-morning animated content.<ref name=Iverson />

====Hanna-Barbera====
Hanna-Barbera, a pioneering force in American cartoon production, marked a significant departure from its utilization of Douglass's services. The studio embraced the laugh track phenomenon, initially integrating it into their prime-time lineup comprising acclaimed shows such as ''The Flintstones'', ''Top Cat'', and ''The Jetsons''. Subsequently, this practice extended to their daytime programming, notably with the introduction of ''The Banana Splits'' in 1968, drawing inspiration from Filmation's ''The Archies''. Prior to 1971, successful series such as ''Scooby-Doo, Where Are You!'', ''Harlem Globetrotters'', and ''Josie and the Pussycats'' were characterized by the pervasive presence of a comprehensive laugh track.

A pivotal shift occurred at the outset of the 1971–72 season when Hanna-Barbera adopted a nuanced approach by implementing a limited laugh track mechanism employing the MacKenzie [[Repeater (horology)|Repeater]] machine. This device, capable of cyclically playing up to five sound effects, facilitated the repetition of Douglass's distinctive laughs. The auditory composition featured a blend of mild chuckles and hearty belly-laughs, occasionally accentuated by a prominent female laugh, all augmented by a metallic resonance.<ref>{{cite news |title=He Cans Cackles: How Louis G. MacKenzie's infernal laugh machine works |work=TV Guide |date=October 8, 1960| pages = 24–25}}</ref><ref>{{cite web |author=Gary Avey |url=http://www.modestoradiomuseum.org/avey%20mackenzie%20carts.html |title=modestoradiomuseum.org |publisher=modestoradiomuseum.org |access-date=2013-07-09 |archive-date=2013-04-12 |archive-url=https://web.archive.org/web/20130412033714/http://www.modestoradiomuseum.org/avey%20mackenzie%20carts.html |url-status=dead }}</ref> With the exception of their eclectic variety shows, exemplified by ''The Hanna-Barbera Happy Hour'', which briefly reverted to Douglass for additional enhancements, Hanna-Barbera standardized the use of this modified laugh track across the majority of their Saturday morning programming throughout the ensuing decade.<ref name=benglenn/>

The impact of the Hanna-Barbera laugh track extended beyond episodic content to various television specials, notably those featured within ''[[The ABC Saturday Superstar Movie]]'' (ABC, 1972–74), functioning as a platform for the introduction of prospective comedic cartoon series. Occasionally, the studio employed techniques such as deceleration of the laugh track to heighten its comedic effect, as exemplified by the second season of ''The New Scooby-Doo Movies''.<ref name="Iverson"/>

In 1972, Hanna-Barbera continued its experimentation with laugh track dynamics with the production of ''Wait Till Your Father Gets Home''. Notably, this endeavor featured a modified laugh track distinguished by the inclusion of an additional belly laugh, a distinctive departure from their standard practice. Moreover, the laugh track in this instance underwent a deliberate reduction in speed during the production process, marking a singular occurrence within Hanna-Barbera's television repertoire.<ref name="Iverson"/>

Saturday morning shows featuring the Hanna-Barbera laugh track:
{{div col|colwidth=30em}}
* ''[[Harlem Globetrotters (TV series)|Harlem Globetrotters]]'' (CBS, 1970–71; second season only)
* ''[[Help!... It's the Hair Bear Bunch!]]'' (CBS, 1971–72)
* ''[[The Pebbles and Bamm-Bamm Show]]'' (CBS, 1971–72)
* ''[[The Funky Phantom]]'' (ABC, 1971–72)
* ''[[The Roman Holidays]]'' (NBC, 1972)
* ''[[The Amazing Chan and the Chan Clan]]'' (CBS, 1972)
* ''[[The Flintstone Comedy Hour]]'' (CBS, 1972–73)
* ''[[Josie and the Pussycats in Outer Space]]'' (CBS, 1972–74)
* ''[[The New Scooby-Doo Movies]]'' (CBS, 1972–74)
* ''[[Yogi's Gang]]'' (ABC, 1973)
* ''[[The Addams Family (1973 animated series)|The Addams Family]]'' (CBS, 1973–74)
* ''[[Inch High, Private Eye]]'' (NBC, 1973–74)
* ''[[Jeannie (TV series)|Jeannie]]'' (CBS, 1973–75)
* ''[[Speed Buggy]]'' (CBS, 1973–75)
* ''[[Goober and the Ghost Chasers]]'' (ABC, 1973–75)
* ''[[Hong Kong Phooey]]'' (ABC, 1974)
* ''[[Partridge Family 2200 A.D.]]'' (CBS, 1974–75)
* ''[[Wheelie and the Chopper Bunch]]'' (NBC, 1974)
* ''[[The Great Grape Ape Show]]'' (ABC, 1975–78)
* ''[[Jabberjaw]]'' (ABC, 1976–78)
* ''[[The Scooby-Doo Show]]'' (ABC, 1976–78)
* ''[[Dynomutt, Dog Wonder]]'' (ABC, 1976–77)
* ''[[Captain Caveman and the Teen Angels]]'' (ABC, 1977–80)
* ''[[The Super Globetrotters]]'' (NBC, 1979–80)
* ''[[Scooby-Doo and Scrappy-Doo (1979 TV series)|Scooby-Doo and Scrappy-Doo]]'' (ABC, 1979–80; first installment)
* ''[[Fred and Barney Meet the Shmoo]]'' (NBC, 1979–80)
* ''[[Fred and Barney Meet the Thing]]'' (NBC, 1979)
* ''[[The New Fred and Barney Show]]'' (NBC, 1979)
* ''[[Casper and the Angels]]'' (NBC, 1979)
{{div col end}}

Prime time specials/TV movies:
{{div col|colwidth=30em}}
* ''[[Wait Till Your Father Gets Home]]'' (Syndicated, 1972–74)
* ''[[The Banana Splits in Hocus Pocus Park]]'' (ABC, 1972)
*   [[The Adventures of Robin Hoodnik]].        (ABC, 1972)
* ''[[A Flintstone Christmas]]'' (NBC, 1977)
* ''[[The Flintstones: Little Big League]]'' (NBC, 1978)
* ''[[The Flintstones Meet Rockula and Frankenstone]]'' (NBC, 1979)
* ''[[Scooby Goes Hollywood|Scooby-Doo Goes Hollywood]]'' (ABC, 1979)
* ''[[Casper's Halloween Special|Casper the Friendly Ghost: He Ain't Scary, He's Our Brother]]'' (NBC, 1979)
* ''[[Casper's First Christmas]]'' (NBC, 1979)
* ''[[The Flintstone Primetime Specials]]'':
** ''[[The Flintstones' New Neighbors]]'' (NBC, 1980)
** ''[[The Flintstones: Fred's Final Fling]]'' (NBC, 1980)
** ''[[The Flintstones: Wind-Up Wilma]]'' (NBC, 1981)
** ''[[The Flintstones: Jogging Fever]]'' (NBC, 1981)
{{div col end}}
The Hanna-Barbera laugh track was discontinued after the 1981–82 television season.

In 1994, laugh track historian and [[re-recording mixer]] Paul Iverson commented on the legacy of the Hanna-Barbera track:
{{blockquote|The Hanna Barbera laugh track did more to give laugh tracks a bad name than Douglass's work could ever have done. Using the same five or so laughs repeatedly for a decade does not go by unnoticed, no matter how young the viewer is.}} Iverson added:
{{blockquote|All it takes is watching an episode of ''Josie and the Pussycats'' alongside of ''Josie and the Pussycats in Outer Space'' and it is painfully obvious. It is a shame that a company as powerful as Hanna-Barbera&nbsp;– who, at its peak, practically owned Saturday mornings&nbsp;– thought so little of their audience by dubbing such an inferior laugh track for so long a period.<ref name="Iverson"/>}}

====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"/>

====Jim Henson & Associates: ''The Muppet Show''====
The transition from the preliminary "silent" pilots to the official series of ''[[The Muppet Show ]]'' marked a departure in comedic presentation. Incorporating a laugh track into the show's framework, albeit in a unique manner, distinguished it from its predecessors. Embracing the vaudevillian essence inherent in the variety program, viewers were not only treated to the antics of The Muppets but also to glimpses of the theater audience and their reactions.<ref name=muppetcentral>{{cite web|url=http://www.muppetcentral.com/articles/interviews/jim3.shtml |title=Muppet Central Articles – Interviews: Jim Henson |website=Muppetcentral.com |access-date=2016-01-13}}</ref>

Situated at the [[ATV Elstree Studios]] in England, the production team, under the guidance of Jim Henson, took measures to ensure a distinct auditory experience. Departing from the pre-recorded laughs of previous ventures, fresh chuckles and applause were meticulously curated for initial episodes, often sourced from the authentic reactions of cast and crew members to dailies. This novel approach not only lent an aura of authenticity but also cultivated a perception among viewers that the show was performed before a live audience. Despite this illusion, Henson acknowledged the impracticality of a live audience given the complexities of production, drawing parallels to similar challenges faced by other television productions. Henson noted that because of the series' vaudeville inspiration, having sounds of laughter was a necessity, but admits that it was not an easy task – "I look at some of the early shows, I'm really embarrassed by them. The sweetening got better later on, but it's always a difficult thing to do well, and to create the reality of the audience laughing."<ref name=muppetcentral/>

The incorporation of a laugh track was not devoid of skepticism. Henson initially harbored reservations about its compatibility with the Muppet series, experimenting with both dry and laughter-enhanced versions of the pilot episode before conceding to its efficacy in amplifying comedic impact. The utilization of the laugh track became a distinctive feature of ''The Muppet Show'', occasionally acknowledged within the narrative by characters breaking the fourth wall. In the fourth episode of the series, [[Kermit the Frog]] was asked by guest [[Ruth Buzzi]] if he felt a gag or routine was funny enough for the show, to which he turned to the camera and replied, "That's up to the laugh track." A season two episode featuring guest [[Steve Martin]] eschewed a laugh track altogether to support the concept that the show had been canceled that night in favor of auditioning new acts; the only audible laughs were those of the Muppet performers themselves.<ref>{{Cite episode|title = Episode 208: Steve Martin|series= The Muppet Show|season = 2|number= 208}}</ref>

Following the conclusion of ''The Muppet Show'' in 1981, subsequent Muppet projects saw a shift in production locales to the United States. This relocation was prompted by the cessation of the commercial [[Associated Television|ATV]] franchise in the UK and the disassociation of [[Lew Grade|Lord Lew Grade]], the show's financier, from television ventures. In the absence of Henson's original laugh track, subsequent projects turned to the expertise of Douglass for audience reactions, a tradition continued by his son Robert in subsequent Muppet endeavors, including special one-shot productions like ''[[The Fantastic Miss Piggy Show]]'' and ''[[The Muppets: A Celebration of 30 Years]]'', and ''[[Muppets Tonight]]'' under Disney's auspices.{{citation needed|date=November 2024}}