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, 10 to a loop. Each loop contained 10 individual audience laughs spliced end-to-end, whirling around simultaneously waiting to be cued up. 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. 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. 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.