BTW, wanted to clarify from earlier posts, I actually do like the Alphas, but they just aren't so forgiving and quick or easy as the earlier Junos, nor are they capable of anything really smooth or liquidy. The Alphas are more rubbery or clicky-clanky, at best. It was pointed out earlier about using the chord mode with only octaves and no triads set, and generally this is helpful for the thinner sounds, although if you use Midi, you can just program the octave layers and get 3 notes instead of one.
Very high resonance settings of course sound very unbalanced in the midrange, but you can also get ugly distortion. Turn down envelope L1 or VCA level with high resonance sounds to bypass the distortion, then use some EQ and compression to help reduce the wild midrange.
Using both an Alpha and a MKS-50 in unison
I also mentioned earlier about using an Alpha and an MKS-50 together playing the same patch. There's a lot of setup getting this together, such as copying the Alpha's memory user bank into the module's Tone A bank and setting the keyboard local off, plus it's far more convenient to have a Midi patchbay to quickly switch between the Alpha and a DAW as controller. The MKS-50 takes any changes you make on the Alpha's parameter interface, editing both units simultaneously. The Alpha sends parameter changes to Midi Out, which is why having a Midi patchbay is useful to send this to the Alpha's Midi In.
Then if you only want settings on one of them, the MKS-50 is generally more friendly, like say setting it an octave or a fifth lower or changing waveform. Any of the "Tone Modify" parameters on the Alpha will affect only that one, if you want subtle differences that way instead.
With this setup, start by having one device as stereo(chorused) and the other pan-centered mono at the mixer. Adjustment of panning with chorus off between either two hard-panned mono or two centered mono, you'll find the latter gives some phase cancellation(bad for bass) but more detuning possibilities, while the former offers wider, more dry and basic sounds.
Just don't expect VCO quality phasing character. It makes for greater tonal variety, especially with one device detuned. With the chorus disabled, there is less noise and the signal path isn't as degraded or harsh. Better to then add your own parallel effects.
Using both mono centered on high resonance patches, but setting one device to lower resonance and/or cutoff, then adjusting levels, is sometimes a way to fatten up some of the resonant sounds, although phasing can be an issue.
Sometimes I think a hardware programmer would be nice with those two together, but it seems more logical to save the sysex into a DAW project and just edit there or with the Alpha dial for quick additional fixes.
I am no longer in pursuit of vintage synths. The generally absurd inflation from demand versus practical use and maintenance costs is no longer viable. The internet has suffocated and vanquished yet another wonderful hobby. Too bad.
--Solderman no more.