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In audio engineering, joint refers to a joining of several channels of similar information in order to obtain higher quality or smaller file size.

Joint frequency encoding is an encoding technique used in audio data compression to reduce the data rate.

The idea is to merge a given frequency range of multiple sound channels together so that the resulting encoding will preserve the sound information of that range not as a bundle of separate channels but as one homogenous data stream. This process will greatly lessen the amount of required storage space, and is totally reversible, as it is used by Monkey's Audio and other lossless codecs.

The term joint stereo has become prominent as the Internet has allowed for the transfer of relatively low bit rate, acceptable-quality audio with modest Internet access speeds. It should be noted that there are many types of joint stereo encoding. Not all of them are forms of joint frequency encoding. Two types are described here, both of which are implemented in various ways with different codecs, such as MP3, AAC and Ogg Vorbis.

The intensity stereo coding form of joint stereo encoding functions on the principle of sound localization. Human hearing is predominantly less acute at perceiving the direction of certain audio frequencies. By exploiting this 'limitation', intensity stereo coding can reduce the data rate of an audio stream with little or no perceived change in apparent quality.

More specifically, the dominance of inter-aural time differences (ITD) for sound localization by humans is only given for lower frequencies. That leaves inter-aural amplitude differences (IAD) as the dominant location indicator for higher frequencies. The idea of intensity stereo coding is to merge the upper spectrum into just one channel (thus reducing overall differences between channels) and to transmit a little side information about how to pan certain frequency regions to recover the IAD cues.

This type of coding does not perfectly reconstruct the original audio because of the loss of information which results in the simplification of the stereo image. It can produce unwanted artifacts that affect this image to a perceivable extent. However, for very low bitrates this tool usually provides a gain of perceived quality.

It is supported by many audio compression formats (including MP3, AAC and Vorbis) but not always by every encoder.

M/S stereo coding transforms the left and right channels into a mid channel and a side channel, hence the name. The mid channel is the sum of the left and right channels, or L + R. The side channel is the difference of the left and right channels, i.e., L − R. Unlike intensity stereo coding, M/S coding is a special case of transform coding, and retains the audio perfectly without introducing artifacts. However, when used in conjunction with a lossy form of compression, artifacts can become apparent.

This kind of coding is also sometimes known as matrix stereo, and is utilized in many different forms of audio processing and recording equipment. It is therefore not limited to digital systems, and can even be created with passive audio transformers or analog amplifiers.

One example of the use of M/S stereo is in FM stereo broadcasting, where L + R modulates the carrier wave and L − R modulates a subcarrier.

• DAFx'04 7th International Conference of Digital Audio Effects Paper 157

• Joint Stereo: The Myths and The Realities