Thanks Tommo, and I will try to share as always.
As for your question, I just realize it’s something I never really addressed and you had asked me this before, so apologies!
The descending part has really one skeleton (the down down up atom), but my variations employ skipping two strings, repeating 3s & 4s, and sometimes veering into other boxes up or down. The important thing is the mechanical skeleton stays the same so most of the variation is in the note choice actually (and really heavily relies on what rhythm part or phrase I am going to play next- since the pentatonic run itself isn’t the song).
The ascending part is more varied in the sense that I don’t stick to a strict mechanic like I do descending, so sometimes I do consecutive upstrokes with ring finger hammer ons to quickly sweep up the scale (or line), or even employ the same technical tools as I did in descending (but in reverse). I feel more free to experiment with mechanics and more importantly, note choice and rhythm when I do ascending stuff compared to descending. However I feel more technically solid with the latter.
None of these distinctions were planned in advance, but it is perhaps a result of unbalanced technique, my stubbornness (to a large extent), and just happenstance. I also feel that I make less of a distinction between the two than I used to, but go more on feel and the mood of the song.