I've overwritten the presets on both pedals. To start, use one of the stock ADR III panning presets from 63 to 71. But most any random flanger, sequence, or even ping-pong echo will work as well. The key is to present the Pitchfactor's Input 1 and Input 2 with different signals; sync'ed together, and varied over time.
In the PitchFactor, use any stock QuadraVox or Diatonic preset that delays the voices with TEMPO: ON. If you don't mind dialing in the settings, here's one preset of mine that I use for this "voice-switching" technique. And I can use it as an example of how this works. If you don't use an expression pedal, change Delay B from [. A .B .C .D] to [. . . . ABCD] to hear the difference between arpeggio and chordal effects.
The ADR III is taking its mono input, and bouncing it between left & right outputs. The PitchFactor's Input A and Input B signals will alternate between Pitch A & Pitch B [Diatonic], or between Voices A+C, and Voices B+D [QuadraVox]. An auto-panner [Sine LFO modulation] will crossfade between PF voices. With square modulation, the voices will bounce hard between channels. Sawtooth modulation will fade the voices in (or out).
Random panning (or filtering) is particularly interesting. Different combinations of Voice A & Voice B constantly change, and move from center, both hard-panned extremes, and every point in-between. This process still works if you decide mix back to mono after the Pitchfactor outputs, because all the interaction is between the ADR III's outputs, and the PitchFactor's inputs.
The other thing to tweak [ad infinitum] is the relationship between the tempo divisions of each device. If a QuadaVox preset has a delay of 1/4, and the voice delays are spaced evenly [. A .B .C .D], each voice will be a 16th note apart. A panning rate of 16n in the ADR III will ping each PF voice rapidly from left to right. A change to 1m, 2n, 4n, 8n will give you a completely different effect.
The same applies to the PitchFactor. Changing its tempo division to 1/2, 1/8, or 1/16 will yield something different. There are dozens of variations on this combination, just by changing the PF's delay times in relation to the current ADR III panning rate. And when you have that mastered, we can talk about blending in the delay at the end of your chain. You can use simple guitar techniques to produce extremely complex effects, all harmonized to scale.