Laughing Sound Download In Mp3
Loyce Calk
Me and my friend were going in a forest to this cabin. While I was in the nearby farmhouse looking for a pen to mark our car on the map, my friend was out in the woods trying to find the cabin. While he was walking in there he heard a weird laughing sound straight out of a horror movie. Sounded like a little girl.
A laugh track (or laughter track) is an audio recording consisting of laughter (and other audience reactions) usually used as a separate soundtrack for comedy productions. The laugh track may contain live audience reactions or artificial laughter (canned laughter or fake laughter) made to be inserted into the show, or a combination of the two. The use of canned laughter to "sweeten" the laugh track was pioneered by American sound engineer Charles "Charley" Douglass.
Before radio and television, audiences experienced live comedy performances in the presence of other audience members. Radio and early television producers used recordings of live shows and later studio-only shows attempted to recreate this atmosphere by introducing the sound of laughter or other crowd reactions into the soundtrack.
In 1946, Jack Mullin brought a Magnetophon magnetic tape recorder back from Radio Frankfurt, along with 50 reels of tape; the recorder was one of the magnetic tape recorders that BASF and AEG had built in Germany starting in 1935. The 6.5 mm tape could record 20 minutes per reel of high-quality analog audio sound; Alexander M. Poniatoff then ordered his Ampex company to manufacture an improved version of the Magnetophon for use in radio production.[2] Bing Crosby eventually adopted the technology to pre-record his radio show, which was scheduled for a certain time every week, to avoid having to perform the show live, as well as having to perform it a second time for West Coast audiences.
With the introduction of this recording method, it became possible to add sounds during post-production. Longtime engineer and recording pioneer Jack Mullin explained how the laugh track was invented on Crosby's show:
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.
Soon after the rise of the laugh track, Lucille Ball and Desi Arnaz devised a method of filming with a live audience using a setup of multiple film cameras. This process was originally employed for their sitcom I Love Lucy, which used a live studio audience and no laugh track.[4] Multi-camera shows with live audiences sometimes used recorded laughs to supplement responses. Sketch comedy and variety shows eventually migrated from live broadcasting to videotape, which allowed for editing before a show was aired. Physically editing a taped audience show (then using quadruplex videotape) before electronic dubbing arrived caused bumps and gaps on the soundtrack;[9] Douglass was then called upon to bridge these gaps.
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]
Only immediate members of the family knew what the inside of the device 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.[16]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.[17] 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.[17]
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]
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."[61]
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."[65] 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."[66]
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.[68]
They say the long, loud pant is the sound of a dog laughing, and it has a direct impact on the behavior of other dogs.\"What we found is that it had a calming or soothing effect on the dogs,\" said Patricia Simonet, an animal behaviorist in Spokane who has studied everything from hamster culture to elephant self-recognition. \"Now, we actually really weren't expecting that.\"Nancy Hill, director of Spokane County Animal Protection, admits she was skeptical at first that this noise would affect the other dogs.\"I thought: Laughing dogs?\" Hill said. \"A sound that we're gonna isolate and play in the shelter? I was a real skeptic until we played the recording here at the shelter.\"When they played the sound of a dog panting over the loudspeaker, the gaggle of dogs at the shelter kept right on barking. But when they played the dog version of laughing, all 15 barking dogs went quiet within about a minute.\"It was a night-and-day difference,\" Hill said. \"It was absolutely phenomenal.\"Officials say it works every time, and researchers across the country are taking note.\"The laughing sound that they make is something that was not even considered a vocalization until this study was done,\" Simonet said.Those who study dog behavior have varying opinions about exactly what Patricia Simonet's \"dog laughing\" sound really is. What they do agree on, however, is that to other dogs, it is at least a sound worth keeping quiet to listen to.
df19127ead