There’s no reason why two or more instruments (<pad-blam> elements here) can’t feed from the same sample bank. It’s just that each instrument will need to take an explicit bank prop, pointing to the <bank-blam>’s id.
This example uses 3 tiers of chaining. Some chains connect direct with the bus chain and some go via a plate chain, for adding plate reverb. This saves loading the plate impulse response twice.
Here, one instrument plays the sample samples an ocatve down (detune="-1200") with the attack softened using an <envelope-blam>. The gain starts at 0 and is ramped to 1 0.5 beats in.
<envelope-blam prop="gain" curve="0 0, 1 0.5" beats></envelope-blam>
Another <envelope-blam> is used to bend the pitch at the tail of the accompanying (higher tuned) instrument. It makes the sound extra unsettling.
<envelope-blam prop="detune" curve="0 0, 0 0.25, -300 1"></envelope-blam>
Finally, a third <pads-blam> plays each of its plucks in reverse, with a rapid vibrato applied using an <lfo-blam>. The <envelope-blam> tames the sharpness of the reversed sound by dipping the gain at the tail.
<pads-blam bank="plucks" id="pluckRev" gain="0.8" reverse>
<chain-blam out="plate">
<echo-blam beats="0.25" feedback="0.666" cutoff="1000"></echo-blam>
</chain-blam>
<lfo-blam prop="detune" beats="0.25" gain="100"></lfo-blam>
<envelope-blam prop="gain" curve="1 0, 1 0.8, 0 1"></envelope-blam>
</pads-blam>
Since this composition generates indefinitely, you can put it on at bedtime and enjoy a whole night of vividly unpleasant dreams.