Chris Tabron shows a simple fix for a saw synth layer that sounds fine but flat: duplicate the track instead of bussing it, then treat each copy as its own instrument.
High-pass the duplicate and add a widening delay to push it out and brighten the top end.
That thins out the low end, so he squashes the original layer hard with compression to restore the body and weight underneath.
The result is one synth sound split into two complementary layers, brightness and width on top, full low-end punch below, without routing sends or managing phase relationships.
