I've played around with both methods, my more complicated "voice balancing" expression and SSC's simpler method.
SSC's method puts all the Sounds that are detuned below !KeyPitch on the left and those above on the right, which for a detuned oscillator like you've asked about is great.
Then I started using this on a long samples of musical pieces (from 30 seconds to a few minutes), and setting the detuning to octaves (in the Sample's Frequency parameter):
default * (2 ** (?VoiceNumber - ((?NumberVoices / 2) rounded)))
I thought it sounds better when the voices alternate left and right to avoid having all the low detuned Sounds on the left and all the high ones on the right. Instead they're intermingled. I either had to do the alternating behaviour in the Frequency field or in the panning expression (I did it in the pan using the voice balancing expression in my other answer).
Here's some examples of what it sounds like:
original wavetable doodle (2 mins 44 secs)
wavetable doodle with 9 replications at different octaves and panned
I then tried attenuating the higher octaves and using a lot of repeatingTriangle expressions in the Pan's Level parameter to turn the different octave voices on and off:
original ponumi test (26 secs)
ponumi test with 9 octave panned replications (1 mins 44 secs)
I took that last recording and used it as the sample and did it again:
ponumi test 2nd order octave panned (1 min 41 secs)
And then did it a third time, but this time used harmonics instead of octaves with this Frequency expression:
| voiceIndex |
voiceIndex := ?VoiceNumber - ((?NumberVoices / 2) rounded).
default * ( (voiceIndex < 0)
varIfTrue: [voiceIndex - 1 ** -1]
ifFalse: [voiceIndex + 1] )
ponumi test 3rd order mangling (1 min 39 secs)
(The "ponumi test" is an early test recording for Banrei's AMNMA piece we performed at KISS2016 in Leicester. The clipped vocal samples are all his. Domo arigatou gozaimasu, Banrei!)