For me it depends on what kind of mood my pad is trying to help fill.
From there decides what the actual midi structure will look like and the tone of the harmonics.
On softer pads I like to use very dark sources w/ maybe +7 semi a little quieter than the root and then make it ring out with some reverb.
Harder pads tend to move a lot more than the dark ones and I will often balance the oscillators with ROOT about on a +7 and a quarter on a +14 semi. Usually the sound stays pretty close to the original oscillator (minimal filtering) but I do like to play with detune and voicing here. I often might add a plate reverb to brighten the sibilance area a smidge and almost certainly always layer pads together for large parts.
For me it isn't always about how incredibly unique a sound is, but rather how well it fits. Sometimes crazy pad design works well, but never doubt the minimalistic choices, too.
To build on this, here is an example of what you can do when layering pad sounds with other things such as chords / organs / foley:
https://instaud.io/fZH
Also this has an example of what paulstretch can do to an audio sample: https://instaud.io/dzj
happy padmaking!
Great sound design. What is a 'foley' though?
Alsom I've tried paulstretch and just feel it's a tough application to use.
Foley is a whole area of sound production, creating scenes with sound, or creating the sound of an object. It can be done with synthesis or (more commonly) by recording stuff with a microphone.
I love foley-age 
Have you watched some of Richard Devine's videos? The dude is an absolute madman
I'll have to check him out.
-Xan I understand that it can be hard to implement paulstretch in a lot of padwork. It may be useful to take a section you like, and resynth / sample it to make it easier to work with. That or you can cut a lot of low stuff and use it as treble / sibilance texture.
and as for foley in this case its using, as mat said, some recorded textures but I've specially processed them to be harmonically useful for the section.
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