What Makes This Mix Great? Britney Spears 'Toxic'

Justin Colletti analyzes the mix, production and arrangement for Britney Spears' smash hit "Toxic" to show what makes it work so brilliantly well.

Big thanks to Soundtoys, Lewitt Audio and Ultimate Support for making this episode possible.

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[SonicScoop]

Oops: I misspoke for a second in the beginning of the breakdown!

I said the strings play a 2-bar phrase in the intro. That was me having a brain spasm. The strings play a 1 bar phrase. (The whole call and response pair is a 2-bar phrase.)

After I get warmed up, the analysis gets better and better I think 🙂

-Justin

PS: If I look like I'm out of sync with the music when I'm gesturing on screen, you're not crazy. Apparently the Pro Tools feed and my camera feed have different amounts of latency. I'll look into how to fix that in future livestreams.

[jimbotski]

I always thought this mix was standout. Yay for validation! 😂

[ereiffman]

On the topic of how her voice gains more prominence in the pre-chorus, I think it also has a lot to do with her phrasing and where her vocals are falling onto the beat.

In the verse she comes in on a second eighth note, and proceeds to sing staccato eighth notes. In the pre-chorus she comes in on a quarter note and proceeds to sing quarter notes.

I think this has a massive effect on how we perceive her evolving attitude. In the beginning, she's merely reacting to something happening, whereas starting with the pre-chorus she's gaining more agency and starting to take control of the situation herself.

Great video as usual. Thank you!

[davidcaram]

Brilliant analysis. Thank you so much.

[marshallore]

Awesome, Justin. Great point about how dance songs give listeners cues.

[zivmakesbeats]

These video in podcast form rather then a tutorial that requires my undivided attention are pure gold. thanks !

[LEWITT-audio]

This song is a certified bop for sure 🔥

[shadowkyd]

I love these critical listening breakdowns.

[screendrem]

Such a well done track. Really odd for a pop song to be like this. Thank you!

[daneeehhhh]

Growing up as a kid in the 90s with MTV and growing up to be a complete music freak I can definitely concur Britney's, BSB's, Nsync's producers sold their souls to the depths of hell just to get us hooked on their stuff. I feel there's a dark place in my memory that can perfectly recall every single detail of these songs the millisecond they start playing. It's a master at its work and just like with the Pyramids, they didn't do it on their own, aliens came and gave them technology and wisdom we humans are not supposed to achieve.
Do Antichrist Superstar then

[BennyChaCha]

Thanks for posting this, Justin! A great way to spend an hour of studio maintenance time.

[morfiusuk]

The bollywood string sample plays a massive role

[luigicraveiro]

Thank you so much for this amazing analysis

[Hijazi-info]

I always imagine this track is theme song for a cold war movie or tv show or KGB spy type. Also it fits Tom Clancy plots :)

[Octwavian]

Hi, Justin!
Great video, as always!
I'm sure you must've seen Rick Beato's analysis on pop songs like "Into You"- Ariana Grande (Max Martin).
That's a really good format especially because we can see the intricate mixing and production details on each vocal and instrument track.
What I mean is that it would be amazing if you could get the whole project, the tracks, or even the stems for the song in the next episode.
I'm sure it's more work, but it bight be worth it?

Have a great week!

[xxczerxx]

I'm not surprised one of the producers was a metal guy...there is an intensity to this song that is absolutely rare for a pop hit.

[ajez]

I concider this to be one of the peaks of the "ultra-pop" era. Every instrument/synth/sample playing its own mini-story

[RossFeighery]

You should listen to her “Blackout” album from 2007…its mostly produced by the same Swedish duo. Im not a typical Britney fan either but the production on it is pretty epic!

[danielj_music]

The spaceyness makes me think of 70s classic rock like Free

[IAMTKNR]

Cathy Dennis…who also co-wrote (“I Kissed a Girl” and “Can’t Get You Outta My Head”) initially offered this record to Kylie Minogue for her album Body Language, but she turned it down.