Laugh track

In early television, most shows that were not broadcast live used the single-camera filmmaking technique, where a show was created by filming each scene several times from different camera angles.[3] Whereas the performances of the actors and crew could be controlled, live audiences could not be relied upon to laugh at the "correct" moments; other times, audiences were deemed to have laughed too loudly or for too long.[3]

CBS sound engineer Charley Douglass noticed these inconsistencies, and took it upon himself to remedy the situation.[4] If a joke did not get the desired chuckle, Douglass inserted additional laughter; if the live audience chuckled too long, Douglass gradually muted the guffaws. This editing technique became known as sweetening, in which recorded laughter is used to augment the response of the real studio audience if they did not react as strongly as desired.[4] Conversely, the process could be used to "desweeten" audience reactions, toning down unwanted loud laughter or removing inappropriate applause, thus making the laughter more in line with the producer's preferred method of telling the story.[5]

While still working for CBS, Douglass built a prototype laugh machine that consisted of a large, wooden wheel 28 inches in diameter with a reel of tape glued to the outer edge of it containing recordings of mild laughs. The machine was operated by a key that played until it hit another detent on the wheel, thus playing a complete laugh. Because it was constructed on company time, CBS demanded possession of the machine when Douglass decided to terminate his time with them. The prototype machine fell apart within months of use.[6] Douglass developed an expansion of his technique in 1953 when he began to extract laughter and applause from live soundtracks recorded (mainly from the pantomime segments of The Red Skelton Show), and then placed the recorded sounds into a huge tape machine.

These recorded laughs could be added to single-camera filmed programs. The first American television show to incorporate a laugh track was the sitcom The Hank McCune Show in 1950. Other single-camera filmed shows, like The Pride of the Family (ABC, 1953–54), soon followed suit,[7] though several, like The Trouble with Father (ABC, 1950–55), The Beulah Show (ABC, 1950–52) and The Goldbergs (several networks, 1949–56), did not feature an audience or a laugh-track. Four Star Playhouse, an anthology series, did not utilize a laugh-track or audience on its occasional comedy episodes, with co-producer David Niven calling the laugh track "wild indiscriminate mirth" and stating that "I shall blackball the notion if it ever comes up. Not that it will. We shall carry on without mechanical tricks".[8]

The test to see if a sitcom could survive without a laugh track was performed on the pilot episode of Hogan's Heroes.

Network research suggested that the laugh track was mandatory in order to brand a single-camera show as a comedy. The experiment to see if a comedy fared better with a laugh track was tested in 1965 when CBS showed its new single-camera sitcom Hogan's Heroes to test audiences in two versions: one with the laugh track, the other without. Partly due to the somewhat cerebral nature of the show's humor, the version without the laugh track failed while the version with laughter succeeded. The show was broadcast with the laugh track, and CBS used a laugh track for all comedies afterwards.[3]

Sitcom laugh tracks differed, depending on the style of the show. The more outlandish the show, the more invasive the laugh track. Shows like Bewitched, The Munsters, I Dream of Jeannie and The Beverly Hillbillies relied heavily on laugh tracks, while more subdued programs, like The Andy Griffith Show, The Brady Bunch and My Three Sons, had more modulated laughter. Certain shows, like Get Smart, featured a laugh track that became more invasive as the series progressed, while shows like M*A*S*H toned down the laughter as the series became more dramatic; it was entirely absent during operating room scenes.[10]

By the mid-1960s, nearly every U.S. sitcom was shot using the single camera and was fitted with a laughter track. Only a handful of programs, such as The Joey Bishop Show, The Dick Van Dyke Show and The Lucy Show used studio audiences but augmented the real laughter via "sweetening."[5]

From the late 1950s to the early 1970s, Charley Douglass had a monopoly on the expensive and painstaking laugh business.[12] By 1960, nearly every prime time show in the U.S. was sweetened by Douglass. When it came time to "lay in the laughs", the producer directed Douglass where and when to insert the type of laugh requested.[13] Inevitably, disagreements arose between Douglass and the producer, but the producer had final say.[13] After taking his directive, Douglass went to work at creating the audience, out of sight from the producer or anyone else present at the studio.[13]

Critic Dick Hobson commented in a July 1966 TV Guide article that the Douglass family were "the only laugh game in town."[13] Very few in the industry ever witnessed Douglass using his invention, as he was notoriously secretive about his work,[14] and was one of the most talked-about men in the television industry.[11]

Douglass formed Northridge Electronics in August 1960, named after the Los Angeles suburb in the San Fernando Valley where the Douglass family resided and operated their business in a padlocked garage.[13] When their services were needed, they wheeled the device into the editing room, plugged it in, and went to work.[13] Production studios became accustomed to seeing Douglass shuttling from studio to studio to mix in his manufactured laughs during post-production.[12]

The sophisticated one-of-a-kind device – affectionately known in the industry as the "laff box" – was tightly secured with padlocks, stood more than two feet tall, and operated like an organ. Only immediate members of the family knew what the inside actually looked like[13] (at one time, the "laff box" was called "the most sought after but well-concealed box in the world").[11] Since more than one member of the Douglass family was involved in the editing process, it was natural for one member to react to a joke differently from another. Charley Douglass was the most conservative of all, so producers often put in bids for Charley's son Bob, who was more liberal in his choice of laughter.[13] Subtle textural changes could have enormous consequences for the ethical situation suggested by a laugh track.[15]

Douglass used a keyboard to select the style, gender and age of the laugh as well as a pedal to time the length of the reaction. Inside the machine was a wide array of recorded chuckles, yocks and belly laughs; exactly 320 laughs on 32 tape loops, ten to a loop. Each loop contained up to ten individual audience laughs spliced end-to-end, whirling around simultaneously waiting to be cued up.[13] Since the tapes were looped, laughs were played in the same order repeatedly. Sound engineers could watch sitcoms and knew exactly which recurrent guffaws were next, even if they were viewing an episode for the first time. Douglass frequently combined different laughs, either long or short in length. Attentive viewers could spot when he decided to mix chuckles together to give the effect of a more diverse audience.[11] Rather than being simple recordings of a laughing audience, Douglass's laughs were carefully generated and mixed, giving some laughs detailed identities such as "the guy who gets the joke early" and "housewife giggles" and "the one who didn't get the joke but is laughing anyway" all blended and layered to create the illusion of a real audience responding to the show in question. A man's deep laugh would be switched for a new woman's laugh, or a high-pitched woman's giggle would be replaced with a man's snicker.[11] One producer noticed a recurrent laugh of a woman whom he called "the jungle lady" because of her high-pitched shriek. After regularly complaining to Douglass, the laugh was retired from the regular lineup.[13]

There was also a 30-second "titter" track in the loop, which consisted of individual people laughing quietly. This "titter" track was used to quiet down a laugh and was always playing in the background. When Douglass inserted a hearty laugh, he increased the volume of the titter track to smooth out the final mix. This titter track was expanded to 45 seconds in 1967, later to 60 seconds in 1970, and received overhauls in 1964, 1967, 1970, and 1976. Douglass kept recordings fresh, making minor changes every few months, believing that the viewing audience evolved over time.[13] Douglass also had an array of audience clapping, "oohs" and "ahhhs," as well as people moving in their seats (which many producers insisted be constantly audible).[13]

Douglass knew his material well, as he had compiled it himself. He had dozens of reactions, and he knew where to find each one. Douglass regularly slightly sped up the laughter to heighten the effect. His work was well appreciated by many in the television industry.[14] Over the years, Douglass added new recordings and revived old ones that had been retired and then retired the newer tracks. Laughter heard in sitcoms of the early 1960s resurfaced years later in the late 1970s. Especially starting in the 1970s, Douglass started alternating the updated laugh track with an older laugh track and even sometimes combined the two together.[14] Up to 40 different laugh clips could be combined and layered at one time, creating the effect of a larger, louder reaction when in fact the same laughs were later heard individually.[16] As the civil rights movement gained momentum, Douglass also started making his laugh track more diverse, including examples of laughter of people from other cultures, whose sounds were noticeably different from white Americans.[16]

Douglass's "laff box" was purchased, unseen, at auction in 2010 when its owner failed to pay rent on the storage locker where it was housed. It was later discussed, and demonstrated in a June 2010 episode of Antiques Roadshow from San Diego, California, where its value was appraised at $10,000.[17]

The laugh track was also used on some prime time animated television series, starting with The Rocky and Bullwinkle Show (ABC, 1959–61; NBC, 1961–64), but only used it for the first four episodes of the series (see its controversy below). Hanna-Barbera followed suit and utilized a full laugh track for its prime-time shows up to 1970, including The Flintstones (ABC, 1960–66), Top Cat (ABC, 1961–62), and The Jetsons (ABC, 1962–63). Hanna-Barbera's mid-summer sitcom, Where's Huddles? (CBS, 1970), as well as Krayo Creston and MCA's Calvin and the Colonel (ABC, 1961–62), also used a laugh track. Midday programming, like The Banana Splits Adventure Hour (NBC, 1968–70), gradually followed suit. From 1968 to 1983, most comedic cartoons produced for the Saturday morning genre were fitted with a laugh track, beginning with Filmation's The Archie Show in 1968. Rankin-Bass, DePatie–Freleng Enterprises (DFE) and Hanna-Barbera followed suit. As Douglass' laughter became redundant in the television industry, all of the animation studios eventually abandoned the laugh track by the early 1980s. Filmation's Gilligan's Planet (CBS, 1982–83) was the final animated Saturday-morning series to include a laugh track.

Because The Banana Splits was shown midday, Scooby-Doo, Where Are You! (CBS, 1969–70) became Hanna-Barbera's first Saturday morning show to use Douglass' laugh track in 1969. Following its success, Hanna-Barbera expanded the laugh track to virtually all of its shows for the 1970–71 season, including Harlem Globetrotters (CBS, 1970–71) and Josie and the Pussycats (CBS, 1970–71).

The Pink Panther Show (NBC, 1969–1978; ABC, 1978–1980) was an anomaly among its peers. The show consisted of previous theatrical entries compiled into a series of half-hour showcases, which included other DFE theatrical shorts including The Inspector, Roland and Ratfink, The Ant and the Aardvark and The Tijuana Toads (redubbed as The Texas Toads for television due to perceived Mexican racial stereotypes). The original theatrical versions did not contain laugh tracks, but NBC insisted on its inclusion for television broadcast. The soundtracks were restored to their original form in 1982 when the DFE theatrical package went into syndication. Repackaging over the years has resulted in both theatrical and television versions of the entries being available. The exceptions were Misterjaw and Crazylegs Crane, which were produced specifically for television and never re-released theatrically, resulting in laughter-only versions.[18]

Following Filmation were producers Sid and Marty Krofft. When production began on H.R. Pufnstuf in 1969, executive producer Si Rose viewed any comedy without a laugh track as a handicap, and convinced the Kroffts to include one on Pufnstuf. After Pufnstuf, the Kroffts employed Douglass's services on all shows produced for Saturday morning television (except for Land of the Lost, which was more dramatic in nature), including The Bugaloos, Lidsville, Sigmund and the Sea Monsters, The Lost Saucer and Far Out Space Nuts. When transitioning from high concept children's programming to live variety shows, the Kroffts continued to employ Douglass for sweetening. Several shows included 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 use of laugh tracks for Saturday morning series became more common, Douglass eventually added several children's laughs to his library. "Kiddie laughs", as they are known, first saw use for sweetening for the 1973 syndicated television special, The World of Sid and Marty Krofft at the Hollywood Bowl, but were soon heard on most Saturday morning kids' shows by 1974, such as Uncle Croc's Block, Sigmund and the Sea Monsters, The Pink Panther Show, The Lost Saucer and Far Out Space Nuts.[3]

Current Disney Channel-produced sitcoms and studio-created laugh tracks are primarily recorded in front of live audiences.[19] 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.

Though the use of canned laughter reached its peak in the 1960s, a few shows still retained the multi-camera tradition. In 1967, Desi Arnaz produced The Mothers-in-Law (NBC, 1967–69), which was recorded in front of a live audience at Desilu Studios, with a sweetening performed in post-production.[25] A year later, The Good Guys (CBS, 1968–70) followed the same format. Production changes in location, however, caused the remainder of the first season to revert back to single-camera entirely, using only a laugh track. This continued through season two until low ratings led to its cancellation in 1970.[26]

The 1970s began with the decline of rural-based shows (such as The Beverly Hillbillies, Green Acres and Mayberry RFD) and the rise of socially conscious programming (such as All in the Family, M*A*S*H and Maude). The resulting change also spurred the return of live audiences, starting with Here's Lucy (CBS, 1968–1974), which starred Lucille Ball and served as a prototypal impetus to the new subject matter,[27] and ultimately The Mary Tyler Moore Show (CBS, 1970–77). The series' pilot episode, "Love is All Around", had been initially filmed using the single-camera method. The results were not satisfactory to Moore or the producers, who then decided to shift to multiple cameras. Since the first several episodes were taped in late summer, the pilot's first taping was not received well due to bad insulation and poor audio. The second taping, however, provided better air conditioning and a better quality sound system to the stage. Critical reception thus improved, and the show used the multi-camera format thereafter, and became a major success during its seven-year run.[28]

The resurgence of live audiences began to gradually take hold. More sitcoms began to veer away from the single-camera, movie-style format, reverting to the multi-camera format with a live studio audience providing real laughter, which producers found more pleasing because it had a better comic rhythm and helped them write better jokes. Creator Norman Lear's All in the Family (CBS, 1971–1979) followed suit in 1971. Videotaped live, Lear was more spontaneous; he wanted the studio audience to act like the performer, with hopes of the two developing a rapport with each other. Lear was not a fan of pretaped audiences, resulting in no laugh track being employed, not even during post-production when Lear could have had the luxury of sweetening any failed jokes (Lear relented somewhat in later seasons, and allowed Douglass to insert an occasional laugh).[11] Lear's decision resulted in the show being a huge success, and ushered in the return of live audiences to the U.S. sitcom mainstream. To make his point clear, an announcement proclaimed over the closing credits each week that "All in the Family was recorded on tape before a live audience" or during the show's final seasons where live audiences no longer attended tapings of the show, "All in the Family was played to a studio audience for live responses."[11]

Jack Klugman and Tony Randall expressed displeasure during the first season of The Odd Couple (ABC, 1970–75), which used a laugh track without a live audience. Co-creator/executive producer Garry Marshall also disliked utilizing a laugh track, and theatre veteran Randall, in particular, resented the process of having to wait several seconds between punchlines in order to allot enough space for the laugh track to be inserted. The production team experimented with omitting the laugh track altogether with the episode "Oscar's New Life"; the episode aired without a laugh track (laughter was subsequently added for syndication in order to maintain continuity). ABC relented by the second season, with The Odd Couple being filmed with three cameras (vs. a single camera the previous season) and performed like a stage play in front of a studio audience. The change also required a new, larger set to be constructed within a theatre.[29] With a live audience present, Randall and Klugman enjoyed the spontaneity that came with it; any missed or blown lines went by without stopping (they could always be re-filmed during post-production). In addition, it gave the show a certain edge that was seen as missing in the first season, although actors had to deliver lines louder, since they were on a larger sound stage as opposed to a quiet studio with only minimal crew present.[30] Klugman later commented, "We spent three days rehearsing the show. We sat around a table the first day. We tore the script apart. We took out all the jokes and put in character. The only reason we leave in any jokes is for the rotten canned laughter. I hated it. I watch the shows at home, I see Oscar come in and he says, 'Hi,' and there is the laughter. 'Hey,' I think, 'what the hell did I do?' I hate it; it insults the audience."[31]

The sitcom Happy Days (ABC, 1974–84) mirrored The Odd Couple scenario as well. Its first two seasons used only a laugh track, and by third season, shifted over to a live audience.[11]

The shows were not entirely live, however. With the exception of All in the Family, sweetening was still a necessity during post-production in order to bridge any gaps in audience reactions. Television/laugh track historian Ben Glenn II observed a taping of the sitcom Alice (CBS, 1976–85) and noted the need for sweetening: "The actors kept blowing their lines. Of course, by the third or fourth take, the joke was no longer funny. A Douglass laugh was inserted into the final broadcast version to compensate."[14]

Some producers, like James Komack, however, followed Lear's approach. Komack, who was involved in the short-lived sitcom Hennesey starring Jackie Cooper, was a longtime critic of the Douglass laugh track, believing the laughs were too predictable and could hinder the effect of the sitcom's humor.[32] Komack instead employed music to counteract the sweetened laughs. He experimented with this technique in The Courtship of Eddie's Father (ABC, 1969–72), which featured a subdued laugh track. Multi-camera shows produced by Komack, such as Chico and the Man (NBC, 1974–78) and Welcome Back, Kotter (ABC, 1975–79), utilized background music cues during scene transitions (obvious locations for sweetening) and made sure that Douglass's laugh track was used infrequently during post-production. Komack later commented, "If you ever try to do a show without a laugh track, you'll see a huge difference...[I]t flattens. The only way to get away from a laugh track is to use music, which can indicate when something is funny." On sweetening, he continued, "Then it's determined by the taste of the producers – by the morality of the producers...[A]fter a while, you learn that it is valueless. In the extremes, people are going to hear it and say, 'Why are they laughing?' and they'll turn off your program."[32]

In addition to The Odd Couple, The Mary Tyler Moore Show and Happy Days, other live sitcoms that were sweetened by Douglass (many of which also sweetened by Pratt by the end of the 1970s) were The Paul Lynde Show (ABC, 1972–73), The Bob Newhart Show (CBS, 1972–78), Maude (CBS, 1972–78), Rhoda (CBS, 1974–78), Barney Miller (ABC, 1975–82), Laverne and Shirley (ABC, 1976–83), Soap (ABC, 1977–81), The Comedy Shop (Syndication, 1978–81), Mork & Mindy (ABC, 1978–82), Taxi (ABC, 1978–82; NBC, 1982–83), Cheers (NBC, 1982–93) and its spinoff Frasier (NBC, 1993–2004).[11]

Variety shows that became prominent during the 1970s, such as The Carol Burnett Show, The Flip Wilson Show and The Dean Martin Show (as well as The Dean Martin Celebrity Roast succeeding afterwards) also continued to use Douglass's sweetening for any less appealing jokes performed during sketches.[33]

Game shows were sweetened during the 1970s and early 1980s, often played when a contestant or the host says something considered to be funny and only a small reaction comes from the live audience. Douglass's laugh track was especially heard in Chuck Barris's game shows (i.e. The Gong Show and The Newlywed Game[34]), whose shows were designed mainly to entertain the audience; the "prizes" were often rudimentary or derisive.[35] Game shows that were produced at CBS Television City and NBC Studios Burbank were also sweetened, often to intensify audience reactions, including shows like Press Your Luck (used during "Whammy" segments). During a typical game show's closing credits, the show used canned cheers and applause noises to sweeten the live studio audience applause noises that viewers did not hear during the credits. This was common on daytime game shows on CBS and NBC and some syndicated game shows from the 1970s through the 1990s. Game shows taped at NBC Studios Burbank used three different applause tracks for sweetening: one with a smaller crowd, one with a medium crowd, and one with a large crowd with a cheerful male audience member in the background. However, many kids' game shows, most ABC game shows, and most Mark Goodson-Bill Todman productions, such as The Price Is Right, Match Game and Family Feud were taped with a live audience present, though sweetening was used on rare occasions.

There were still some producers who either still did not trust a live audience, produced a show that was too complex for an audience to be present, favored the single-camera method, or could not afford to screen it live to an audience for responses. In these cases, Douglass orchestrated the laugh track from scratch. Sitcoms like The Brady Bunch, The Partridge Family and M*A*S*H utilized the single-camera method for their entire run.[11] Several hour-long comedy dramas, like The Love Boat and Eight Is Enough, used only a laugh track.[11]

In the intervening years beginning with live film, progressing through videotape and onto studio-filmed productions with no live audience back to live-on-tape, Douglass had gone from merely enhancing or tweaking a soundtrack, to literally customizing entire audience reactions to each performance and back again to enhancing and tweaking performances recorded with live audiences.[11]

Although Douglass had a monopoly on the laugh track, he eventually faced competition by 1977 when other sound engineers began to offer laugh tracks that differed from Douglass's distinctive laughs. Most notably, engineer and Douglass protégé Carroll Pratt started his own company, Sound One.[36] Pratt and his brother had been working under Douglass since the early 1960s, but began to notice that Douglass's technique was falling behind as advances were made in production technology. Pratt commented that after years of constant use, an audible hiss could be heard when a laugh was being cued up due to Douglass's tapes wearing out.[6] Pratt also observed that as the 1970s progressed, audiences started maturing more with the sitcom's humor, that he felt Douglass should also tone down his invasive laughs while adding quieter and more subdued laughter to the mix. While not stubborn, Douglass was so fond of his machine and technique that he felt no urgency to advance his technology. Pratt parted ways with Douglass after the 1976–77 television season wrapped up, and created a new "laff box," one that was simpler to use and had greater capacity than Douglass's (Pratt's recordings were on cassette tape, Douglass's on an older reel-to-reel tape).[6] With the advent of stereo television, Pratt's stereo recordings matched the sound quality of television shows being filmed or videotaped in that audio format, whereas Douglass attempted to convert previous mono analog recordings to stereo.[14] Pratt introduced an innovative laugh track that contained more realistic (though less distinctive) reactions. While Pratt's laugh track had its share of recognizable chuckles as well, they are more quiet and subtle than Douglass's, which had become so familiar and ubiquitous that they sounded trite. Some sitcoms started switching to Pratt's laugh track in 1977, including M*A*S*H and The Love Boat (which were more dramatic in tone). By the end of the decade, many live and single-camera sitcoms, such as Laverne and Shirley, Happy Days, Eight Is Enough, and all post-1978 MTM productions like WKRP in Cincinnati (CBS, 1978–82) and Newhart (CBS, 1982–90), also chose Pratt over Douglass for the sweetening process.[6][14][36]

The competition from Pratt caused Douglass to retool his library after the 1977–78 television season, retiring most of his distinctive laughs with new laughs and salvaging his more extreme reactions almost exclusively. The combination of classic loud guffaws, mixed with his own new, less invasive recordings, had middling results.[14]

Both viewers and television critics had become conditioned to hearing laughter as part of the television comedy viewing experience. Shows like The Days and Nights of Molly Dodd (NBC, 1987–88), Hooperman (ABC, 1987–89) and Doogie Howser, M.D. (ABC, 1989–93) were comedy dramas that abandoned the laughter altogether, earning laudatory media attention in the process.[37]

Single-camera comedy has made a comeback in the U.S. since the early 1990s, but networks have mostly abandoned the old tradition of laugh tracks for single-camera shows. A key player in this revolution was HBO, which allowed its single-camera comedies such as Dream On and The Larry Sanders Show to run without laugh tracks, and won critical praise for doing so.[38] Single-camera shows without an audience, live or laugh track, have become increasingly common on broadcast networks as well.

Animated shows have also gone silent, except on the rare occasion that canned laughter is used, usually as a parody of a sitcom. Animated shows that used to employ a laugh track, such as Scooby-Doo, had dismissed the laugh track altogether by the 1990s. However, sitcoms made by It's a Laugh Productions, such as That's So Raven, use laugh tracks.[39]

Sweetening is a common practice in live awards shows such as the Emmy Awards, the Academy Awards and the MTV Video Music Awards. The microphones onstage often do not fully pick up the audience's laughter and reaction to the monologues as audiences are not microphoned in live awards shows due to the amount of conversation that takes place during filming. Laughter and applause are often sweetened and edited prior to public viewing, or if aired live, are done on the spot via a seven-second delay (the same crew is also used to mute swear words and controversial statements from award winners).

Holliston, an independently produced multicamera sitcom on the defunct Fearnet, used laugh tracks to mimic the look and feel of popular sitcoms from the 1980s and 1990s. Creator Adam Green also expressed interest in using a live studio audience in the future.[40]

The practice of simulating an audience reaction was controversial from the beginning.[41] A silent minority of producers despised the idea of a prerecorded audience reaction.[11] Douglass was aware that his "laff box" was maligned by critics and actors, but also knew that the use of a laugh track became standard practice.[41] Leading industry experts reasoned that laugh tracks were a necessary evil in prime time television: without the canned laughter, a show was doomed to fail.[11] It was believed that in the absence of any sort of audience reaction, American viewers could not differentiate between a comedy or drama.[5] That did not stop several from forgoing the laugh track entirely:

• Former child star Jackie Cooper believed that the laugh track was false. Cooper's comedy/drama Hennesey (CBS, 1959–62) was cancelled in 1962 after three seasons. For its first two seasons, the show used only a mild laugh track; by the third and final season, the chuckles were eliminated completely. Cooper later commented that "we're manufacturing a reaction to our own creation, yet we'll never know if people out there are really laughing." Cooper concluded by saying, "It's a put-on all the time."[5]
• In September 1964, the comedy/drama Kentucky Jones (NBC, 1964–65), starring Dennis Weaver, tried to eliminate laughs, simulated or live. After only five episodes and slumping ratings, Douglass was recruited to add the laugh track. Kentucky Jones was cancelled the following April.[42]
• Ross Bagdasarian Sr., creator of the Alvin and the Chipmunks franchise, outright refused to utilize a laugh track when production began on The Alvin Show (CBS, 1961–62) in 1961. Bagdasarian's reasoning was if the show was funny, the viewers would laugh without being prompted. The Alvin Show was cancelled after a single season.[43]
• Peanuts creator Charles M. Schulz refused to employ a laugh track during the production of the holiday favorite A Charlie Brown Christmas (CBS, 1965).[44] Like Bagdasarian, Schulz maintained that the audience should be able to enjoy the show at their own pace, without being cued when to laugh. When CBS executives saw the final product, they were horrified and believed the special would be a flop (CBS did create a version of the show with the laugh track added, just in case Schulz changed his mind; this version remains unavailable). When the special first aired on December 9, 1965, it was a surprise critical and commercial hit. As a result of this success, all subsequent Peanuts specials aired with no laugh track present.[45]
• Rocky and His Friends (ABC, 1959–61; NBC, 1961–64 as The Bullwinkle Show) was originally broadcast with a laugh track, against the wishes of creators Jay Ward and Bill Scott, who disputed the laugh track with ABC; given the rapid-fire pace of the show's humor, the laugh track slowed the timing and at times interrupted dialogue. After getting support from sponsor General Mills, Ward and Scott convinced ABC, and the laugh track ended after its fourth episode; while current syndicated prints of these episodes still retain the laugh track, it has been subsequently removed from the DVD release.
• The musical sitcom The Monkees (NBC, 1966–68) featured a laugh track throughout its first season and several episodes of the second. Midway through Season 2, the Monkees band members insisted the show eliminate the laugh track, believing their viewers were intelligent enough to know where the jokes were. NBC, already annoyed by the rock group wanting too much control over their show, cancelled The Monkees after the conclusion of its second season, citing the removal of the laugh track as a significant factor.[11] Peter Tork commented in 2013 that "we didn't want it from the beginning, but NBC insisted. I thought it was a stroke of genius when it was eliminated in the second season."[46]
• When discussing the making of the sitcom Get Smart (NBC, 1965–69, CBS, 1969–1970) in 2003, television producer and screenwriter Leonard B. Stern initially opposed to employing a laugh track for the sitcom, given its somewhat violent nature, calling it "offensive". Stern and Mel Brooks relented and the earlier seasons contained a more-or-less modulated track. The laugh track got steadily more invasive as the show increasingly got camper in the later seasons. Comedian Don Adams, who played Maxwell Smart on Get Smart, reportedly hated the laugh track, citing it for refusing to watch the show in reruns. At a reunion seminar honoring the show in 2003, Adams stated, "it offended me in the pilot the laugh track. I would come in a room and say 'Hello 99!' and the guy would push the goddamn button! What the hell is funny about 'Hello!'?"[47] In a 1995 Entertainment Weekly interview when discussing the legacy of the show, Adams firmly stated the laugh track was unnecessary. Conversely in the same interview, acress Barbara Feldon, who played Agent 99, was more lenient, saying "You need a laugh track. Laughter inspires laughter."[48]
• Bill Cosby's first sitcom, The Bill Cosby Show (NBC, 1969–71) was produced without a laugh track at the insistence of Cosby. He stated that his opposition to NBC's desire to add a laugh track led to the show's cancellation after two seasons.[11]
• Andy Griffith initially resisted the inclusion of a laugh track on The Andy Griffith Show. Co-star Don Knotts had previously been a member of the ensemble cast of The Steve Allen Show when it transitioned from a live audience to a laugh track in its fourth season. Knotts felt the artificial audience reaction contributed to the show's demise – a sentiment that influenced Griffith's opinion. Instead of a laugh track, Griffith insisted on screening completed episodes in front of an audience, recording their reaction, and inserting that into the show's soundtrack (a practice that became more commonplace for television comedies in years to come). The earliest episodes include these custom audience reactions; however, Griffith's experiment was too costly, and the network insisted on a Douglass laugh track. Griffith eventually compromised on the grounds that it be utilized sparingly.[49]
• Larry Gelbart, co-creator of M*A*S*H (CBS, 1972–83), initially wanted the show to air without a laugh track ("Just like the actual Korean War", he remarked dryly). Though CBS initially rejected the idea, a compromise was reached that allowed Gelbart and co-producer Gene Reynolds to omit the laugh track during operating room scenes if they wished. "We told the network that under no circumstances would we ever can laughter during an OR scene when the doctors were working," said Gelbart in 1998. "It's hard to imagine that 300 people were in there laughing at somebody's guts being sewn up."[50] Seasons 1–5 utilized Douglass's more invasive laugh track; Carroll Pratt's quieter laugh track was employed for Seasons 6–11 when the series shifted from sitcom to comedy drama with the departure of Gelbart and Reynolds. Several episodes ("O.R.", "The Bus", ""Quo Vadis, Captain Chandler?", "The Interview", "Point of View" and "Dreams" among them) omitted the laugh track; as did almost all of Season 11, including the 135-minute series finale, "Goodbye, Farewell and Amen".[11] The laugh track is also omitted from some international and syndicated airings of the show; on one occasion during an airing in the UK, the laugh track was accidentally left on, and viewers expressed their displeasure, an apology from the network for the "technical difficulty" was later released. The DVD releases, meanwhile, give the viewer a choice of watching every episode with or without the laugh tracks (though the French and Spanish track do not have this option). UK DVD critics speak poorly of the laugh track, stating "canned laughter is intrusive at the best of times, but with a programme like M*A*S*H, it's downright unbearable."[51] "They're a lie," said Gelbart in a 1992 interview. "You're telling an engineer when to push a button to produce a laugh from people who don't exist. It's just so dishonest. The biggest shows when we were on the air were All in the Family and The Mary Tyler Moore Show both of which were taped before a live studio audience where laughter made sense," continued Gelbart. "But our show was a film show – supposedly shot in the middle of Korea. So the question I always asked the network was, 'Who are these laughing people? Where did they come from?'" Gelbart persuaded CBS to test the show in private screenings with and without the laugh track. The results showed no measurable difference in the audience's enjoyment. "So you know what they said?" Gelbart said. "'Since there's no difference, let's leave it alone!' The people who defend laugh tracks have no sense of humor."[37] Gelbart summed up the situation by saying, "I always thought it cheapened the show. The network got their way. They were paying for dinner."[52]
• The sitcom Police Squad!, which was a parody of police procedurals, did not utilize a laugh track in any of its six episodes. The decision not to incorporate one was at the behest of its creators, the trio of Zucker-Abrahams-Zucker, since most of the humor of the program was derived from events that occurred either in the foreground or in the background of various scenes.[53][54]
• Another satirical police sitcom, Sledge Hammer! (ABC, 1986–88), utilized a laugh track for the first 13 episodes of its first season, of which creator Alan Spencer did not approve. After months of fighting with ABC, Spencer was able to cease adding laughter beginning with episode 14, "State of Sledge".[55]
• The sitcom Dinosaurs (ABC, 1991–94) initially featured a laugh track. At the insistence of co-producers Brian Henson and Michael Jacobs, it was eventually dropped as the show grew in popularity.
• Sports Night (ABC, 1998–2000) premiered with a laugh track, against the wishes of show creator Aaron Sorkin, but the laugh track became more subtle as the season progressed and was completely removed at the start of the second season. In some cases, a laugh track was needed to maintain continuity, as portions of each episode were filmed in front of a live audience, while the remainder were filmed without an audience present.
• The 2020 revival of Saved by the Bell is a single-camera sitcom that dropped the live audience and laugh track altogether, which is a major difference from the original series.

In order to gauge the continued relevance of Douglass's laugh track, a study was published in 1974 in the Journal of Personality and Social Psychology that concluded people were still more likely to laugh at jokes that were followed by canned laughter.[60] That Girl co-creator Sam Denoff commented in 1978 that "laughter is social. It's easier to laugh when you're with people." Denoff added "in a movie theatre, you don't need a laugh track, but at home, watching TV, you're probably alone or with just a few others."[4]

Dartmouth College psychology professor Bill Kelley gauged the necessity of the laugh track, particularly on U.S. sitcoms. He stated "we're much more likely to laugh at something funny in the presence of other people." Kelley's research compared students' reactions to an episode of Seinfeld, which utilizes a laugh track, to those watching The Simpsons, which does not. Brain scans suggested that viewers found the same things funny and the same regions of their brain lit up whether or not they heard others laughing. Despite this, Kelley still found value in the laugh track. "When done well," Kelley commented, "they can give people pointers about what's funny and help them along. But when done poorly, you notice a laugh track and it seems unnatural and out of place."[60]

Since its inception, the idea of prerecorded laughter has had its share of supporters as well as detractors.

Si Rose, executive producer for Sid and Marty Krofft, convinced the Kroffts to use a laugh track on their puppet shows, such as H.R. Pufnstuf, The Bugaloos and Sigmund and the Sea Monsters. Rose stated:

The laugh track was a big debate, they [the Kroffts] said they didn't want to do it, but with my experience with night-timers, night-time started using laugh tracks, and it becomes a staple, because the viewer watches the program and there's a big laugh every time because of the laugh track, and then when you see a show that's funny and there's no laugh because of no laugh track, it becomes a handicap, so I convinced them of that. Good or bad.[61]

In 2000, Sid Krofft commented, "We were sort of against that [the laugh track], but Si Rose – being in sitcoms – he felt that when the show was put together that the children would not know when to laugh."[62] Marty Krofft added:

the bottom line – it's sad – you gotta tell them when it's funny. And the laugh track, [Rose] was right. It was necessary, as much as we were always looking to have a real laugh track, a real audience. In comedies, if you don't have them, you're in big trouble, because if you don't hear a laugh track, it's not funny. And that's the way the audience [at home] was programmed to view these shows.[63]

When discussing the show's production techniques for The Bugaloos DVD commentary track in 2006, British series stars Caroline Ellis and John Philpott addressed the laugh track, which at that time was uncharacteristic and often scorned in the United Kingdom. "I was never one for the American canned laughter, because sometimes it's too much," said Ellis. She added, however, that it does help in creating "the atmosphere for the reaction." Philpott added that, unlike their UK counterparts, US viewing audiences at the time had become accustomed to hearing laughter, saying, "I think you find yourself genuinely laughing more if you are prompted to laugh along with the canned laughter."[64] When viewing the Kroffts' H.R. Pufnstuf for the first time, Brady Bunch star Susan Olsen described the laugh track as "overbearing," saying, "I remember being eight years old...and just thinking, 'Will they get rid of that awful canned laughter?!'" Olsen added that recreational drug use was necessary to enjoy the silliness of the program, saying, "I never tried combining mind-altering substances and Krofft entertainment; I'm afraid the laugh track would send me on a bad trip."[65]

In a 2007 interview, Filmation producer/founder Lou Scheimer praised the laugh track for its usage on The Archie Show. "Why did we use a laugh track?" Scheimer asked. "Because it makes the audience want to laugh with all the other people who are watching [at home]. And you felt like [you were] part of the show than just [being] an observer." Scheimer confirmed that The Archie Show was the first Saturday morning cartoon to utilize a laugh track.[66]

Television and laugh track historian Ben Glenn, II, commented that the laugh tracks currently used are radically different from the "carefree" quality of the laughter of past:

Today's sitcoms are based mostly on witty reparté and no longer rely on outlandish situations or sight gags, such as you would see in an episode of Mister Ed, The Munsters or Bewitched, and today's muted laughs reflect that. Generally, laughs are now much less aggressive and more subdued; you no longer hear unbridled belly laughs or guffaws. It's 'intelligent' laughter – more genteel, more sophisticated. But definitely not as much fun. There was an optimism and carefree quality in those old laugh tracks. Today, the reactions are largely "droll" just the way in which they sound. In the past, if the audience was really having a good time, it shone through. Audience members seemed less self-conscious and they felt free to laugh as loudly as they wanted. Maybe that's a reflection of contemporary culture. In the 1950s, the laughs were generally buoyant and uproarious, although somewhat generic, because Douglass hadn’t yet refined his structured laugh technique. In the 60s, however, you could hear more individual responses – chortles, cackles from both men and women. The reactions were much more orderly and organized. I can actually tell you the exact year that a show was produced, just by listening to its laugh track."[14]

Several months after Douglass's death in 2003, his son Bob commented on the pros and cons of his father's invention:

On some of the shows it was abused. They wanted to keep adding more and more laughs, and it would go way overboard. They thought it was going to be funnier, and it wasn't. A lot of producers would have the laughter almost louder than the dialogue, and that ruins it. It's a tool. Like music is, like sound effects, like dialogue. It's everything combined together to make a show flow along and have a nice pace to it. It's all timing. With skill, and a little luck, a well-executed laugh track can be a work of art contributing to a larger work of art. We've been around a long time, and it fills a need in the industry. We don't expect to be the main ingredient in a show. It's just part of the puzzle that puts together the shows that make for great television.[67]

Carroll Pratt confirmed Douglass's comments in a June 2002 interview with the Archive of American Television, saying that producers regularly wanted louder, longer laughs:

In the beginning, it was terrible! It got to be a point where the more you laugh, the louder you laugh, the funnier the joke was. And that wasn't so. And that's why the press, the media, the public in general came down on laughs at all: it was just too much. And there are still shows that are required to do that, but now less is better. I think less in enthusiasm, perhaps, but not less in volume. It's been tried by some producers and some shows to lessen the volume until it was a whisper and that becomes a bigger irritation than having it too loud. A joke is a joke, but I've noticed that the public is more sophisticated now. They don't seem to be hand-fed as they were in the early days. Now, we take the light approach as far as trying to drive home a joke with audience reaction. I think that it's okay to back off a little bit especially on a live-audience show. Go with the show and let them tell you.[6]

Few re-recording mixers have carried on the "laff box" tradition. In addition to Bob Douglass, Los Angeles-based mixers Bob La Masney, and Sound One's Jack Donato and John Bickelhaupt currently specialize in audience sweetening. While modern digital machines are not as cumbersome as Douglass's original machinery, Bickelhaupt confirmed they "are pretty anonymous, with [unlabeled] knobs and buttons. We like to remain kind of mysterious – the man-behind-the-curtain thing. We don't really like to talk about it too much."[68] Bickelhaupt added that "most of the time, what we're doing isn't re-creating a studio audience; the audience laughter is already there. But in editing, when sections of the show are taken out, when they take out lines to make the show fit a time slot – we have to cover the bridge between one laugh and another by using the laugh machine."[37] In reference to the quiet laugh track employed on How I Met Your Mother, Bickelhaupt commented that producers are increasingly "shying away from that big, full audience – the raucous sound that was more commonplace in the 70s, 80s, and 90s. They want a more subtle track."[68] Bickelhaupt concluded, "I have a great job. When you sit and work on comedy all day, you can't possibly get depressed. When people ask me what I do for a living, I tell them, 'I laugh.'"[37]

Steven Levitan, creator of Just Shoot Me! (a multi-camera series that used live and taped audience reactions) and co-creator of Modern Family (which does not utilize live or recorded audience laughter as a single-camera series), commented, "When used properly, the laugh guy's job is to smooth out the soundtrack – nothing more." Phil Rosenthal confirmed that he "rarely manipulated the laughs" on Everybody Loves Raymond. "I worked on shows in the past where the 'sweetener' was ladled on with a heavy hand, mainly because there were hardly any laughs from the living. The executive producers would say, 'Don't worry – you know who will love that joke? Mr. Sweet man.'" Bickelhaupt confirmed this observation, admitting there are many occasions he has created all audience responses.[68] Conversely, Lloyd J. Schwartz, son of Brady Bunch creator Sherwood Schwartz, admitted in his book, Brady, Brady, Brady, that the laugh track in his directorial debut of The Brady Bunch (S4E23 "Room at the Top") was "significantly louder than any of the other [Brady Bunch] episodes." Schwartz added, "I'm a little embarrassed about it now, but I wanted to make sure that the manufactured audience got all the jokes I directed."[69]

Karal Ann Marling, professor of American studies and art history at the University of Minnesota, voiced concerns about Douglass's invention:

Most critics think that the laugh track is the worst thing that ever happened to the medium, because it treats the audience as though they were sheep who need to be told when something is funny – even if, in fact, it's not very funny. It's probably changed comedy, particularly situation comedy. I mean, anything can be passed off as hilariously funny, at least for the first two or three go-rounds, if you've got people laughing like maniacs in the background. It's as though during a drama show, suddenly a voice in the background goes, "Ooohh, this is scary!" or "Oh, he looks guilty!" It seems like the next logical step if you're going to have laugh tracks. For proof of the intelligent power of a non-laugh track show, look no further than The Simpsons. It's wonderfully written. They work for their laughs. And audiences sit there and wet their pants. That's a great example of why not to have a laugh track. Let me be the laugh track."[67]

Marling added she was concerned more about canned laughter as a symptom of a larger social willingness to accept things uncritically, which included political messages as well as commercial messages. "It's a kind of decline in American feistiness and an ability to think for yourself," she said. "It certainly is embedded, but that doesn't make it a good thing. There are a lot of things that we do every day of the week that aren't good things. And this is one of them."[67]

• Artificial crowd noise
• Claque
• Noddies
• Studio audience

• "Artificially Sweetened: The Story of Canned Laughter" at neatorama.com
• TVParty.com – The Laugh Track
• Newyorktimes.com – Charles Douglass
• Canned Laughter: A History Reconstructed – An Interview with Ben Glenn II, television historian
• Laugh Tracks are No Replacement for the Real Thing
• Charley Douglass Laugh Track Appreciation page