@rsl12 thank you for the additional thoughts and quotes. I read the info and I think I read it in the original abstract. I hope I can get my thoughts out. It may really be worthwhile to look at all sides of this and not just the device itself.
How practising is done is crucial for getting any skill needed for playing a passage, or type of passage. This is not looked at, at all. It suggests there is no awareness of this factor. The quote refers to frequency and length of practice, but not nature of practice.
We can look at the experiment two ways:
a) Those practising in normal ways (with some variants to frequency, etc. versus those doing so but also adding this device. That is the presentation and mindset.
b) Same as above, versus doing a practice that is aimed directly at the skill of speed (using the device). You have two things going on.
You might find, for example, that if you had one group doing an extra type of practice that aimed specifically for speed and not the piece, that they might also increase their speed by 6%. The new factor might be "aiming at speed in various ways", or "aiming at speed via a device", or "the device".
I found this in the article about the person who came up with the idea, and then had engineers develop it within their expertise:
Furuya used to be a professional musician. “I practiced [piano], like 10 hours every day,” he says. He practiced so much that he developed a movement disorder in his hands. It’s why, he says, “I changed my career from pianist to scientist.”
His hands are doing better now. And he still plays and teaches piano. But a few years ago he also started imagining a new way for musicians to practice. “I was thinking maybe we need some kind of a robot that can teach how to move the fingers,” he says.
He practised 10 hours a day and he ruined his hands, but managed to recover. How did he practise? How was he taught to practise? Possibly along the lines of what MG describes as "traditional" or similar. We have But a few years ago he also started imagining a new way for musicians to practice. It is very likely that he only knows the way of practising that he himself was taught and did. "new ways" (various) already exist.
We tend to be too enamoured by things that are scientific, and that went through trials with one group doing this, another group doing that. These trials are artificial and restricted. They do not contain the many things that excellent teachers do in their quiet corners that only their students are aware of, if they even caught on to what is behind the scenes of what they were taught during their years of instructions.
There MAY BE something useful in this device. It may be due to what it intends to do, or what it accidentally ends up doing right. I just want to look at all sides of this issue.