The MKS-50 can store up to 128 "tones", which in turn can combined with performance control functions into "patches".  There's also a useful "chord" function (when you press one key, a whole chord will sound) that techno/house artists of all kinds used and abused during the early 90s: there are 16 programmable spots for these chords although the factory-programmed ones are some of the most used.

The sound character of this series of synths is a cross between the Juno and MKS synthesizers - although I think it tends to sound more like a JX-8P, JX-10 or MKS-70 than a Juno-106, for example.  The tone is silky and lush, but with some programming it can definitely sound huge and nasty, as the most famous sound in these synth, the "What The" preset that was tweaked and used for the famous "Hoover" sound, demonstrates well.
 

I am rather amazed at how powerful and - most of all - versatile these synths are - even if this is in essence a single-oscilllator synth.  The on-board PWM and chorus definitely add a lot to the overall sound, but the waveforms are plentiful, and modulation, envelopes, velocity/aftertouch settings, and even portamento, make the MKS-50 a little gem to program.

Today, the factory presets sound a bit dated and remind us that in 1986, unless one had enough funds for a "serious" sampler, they had to make do with analog or FM synthesizers to emulate the sound of real instruments.  But with simple edits, this can be made into a techno/trance monster.