Skratt i Komedi TV-program

Den heter " skratt spår ". De har funnits sedan radioprogram och de används ofta för att uppmana publiken att hitta skämtna roliga.

Before radio and television, audiences experienced live comedy performances in the presence of other audience members. Radio and early television producers attempted to recreate this atmosphere by introducing the sound of laughter or other crowd reactions into the soundtrack.

Jack Dadswell (also known as the "Traveling Reporter" by Time Magazine), former owner of WWJB in Florida, created the first "laughing record".

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. 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:

"The hillbilly comic Bob Burns was on the show one time, and threw a few of his then-extremely racy and off-color folksy farm stories into the show. We recorded it live, and they all got enormous laughs, which just went on and on, but we couldn't use the jokes. Today those stories would seem tame by comparison, but things were different in radio then, so scriptwriter Bill Morrow asked us to save the laughs. A couple of weeks later he had a show that wasn't very funny, and he insisted that we put in the salvaged laughs. Thus the laugh-track was born."

Nöjesfullt, för vissa visar kan du hitta versioner utan skrattspåret och jag, åtminstone, tycker regelbundet att de är mindre roliga utan. Här är en artikel om deras effekt på publikreaktioner.

De flesta moderna sitcoms skottas på slutna set, utan en levande publik, så skrattspåret läggs till i posten. Men många visningar brukade skjutas på öppna uppsättningar och mycket av skrattet var från faktiska publikreaktioner, fast det blev ofta förstärkt / kompletterat med inspelade spår.

Soon after the advent of the laugh track, Lucille Ball and Desi Arnaz devised a method of filming with a live audience using a multi-camera setup. This process was originally employed for their sitcom I Love Lucy, which used a live studio audience and no laugh track. Multi-camera shows with live audiences sometimes used recorded laughs to supplement responses. Sketch comedy and variety shows began to migrate from live broadcasting to videotape, which allowed for greater ease in editing during post-production. Editing a prerecorded live show with quadruplex videotape caused bumps and gaps on the soundtrack, Douglass was then called upon to bridge these gaps.

Medan Charley Douglass var upphovsman och hade ett monopol av sorter på grund av sitt ägande av den enda maskinen som kunde lägga till skrattspåret på tejpen, förlorade han så småningom sin kontroll som tekniken förbättrats och studiorna kunde replikera sin process:

The Douglass laugh track became a standard in mainstream television in the U.S., dominating most prime-time sitcoms from the late 1950s to the late 1970s. By the 1980s, the Douglass family was eventually outrivalled by other sound engineers who created stereophonic laugh tracks different from the original analog track. Also, many single-camera sitcoms by this time started diverting from a laugh track altogether to create a more dramatic environment.

Oavsett det finns massor mer historisk information om skrattspåret och användningen av live publik i Wikipedia-artikeln, men det borde komma igång.