Sound Mixer

Carroll Pratt on the kind of equipment he used in sound mixing in the early years, and on the professionals he collaborated with

Carroll Pratt on the "laugh machine"

Carroll Pratt on the mechanics of the laugh track and how it worked

Carroll Pratt on tailoring a laugh track to a show, using M*A*S*H as an example

Carroll Pratt on recording audiences for laugh tracks in the early days, and on working with the audience to get reactions

Carroll Pratt on improving on the laugh track after leaving Charlie Douglas, and on starting his own company

Carroll Pratt on consulting with producers on shows he provided the laugh track for

Carroll Pratt on providing a laugh track for Hee Haw, on dealing with regional and ethnic audiences when creating a laugh track, and on creating a laugh track for American shows that have been dubbed into another language

Carroll Pratt on the challenge of providing laugh tracks for animated series

Carroll Pratt on the most important elements of sound design, and on his distaste for digital sound

Carroll Pratt on recording Automated Dialogue Replacement (ADR) at which Barbra Streisand is an expert, on what a re-recordist does, and on doing Foley

Carroll Pratt on providing sports sound effects

Carroll Pratt on dealing with the limitations of early television set speakers, and on modifying equipment once the technology improved

Carroll Pratt on providing audience reaction enhancement for live shows like The Emmy Awards

Carroll Pratt on advice to aspiring sound professionals

Carroll Pratt on how audience laughs have changed and evolved over the decades

Carroll Pratt on how audience reactions have evolved over the decades