Perhaps you are just better at condensing your points, Chris.
Rather off-topic, but I wanted to clear this up:
PS - I have been practicing that Chopin etude, the 25/1, with the metronome on 4 16ths per beat.
FOUR 16ths per beat in the 25/1 means that for example at bar 29 LH plays 2.(6) notes per beat, on the first beat. That is for sure a creative way to use a metronome.
Not so creative, really. Chopin wrote four sixteenths per beat in the left hand in some notable passages throughout. Since six-per-beat is intuitive for this etude, four against is slightly counterintuitive. It's simple 2-against-3, but it helps me to even out the polyrhythm, to concentrate (subconsciously) on the submissive division of the beat. I have even more trouble with the f minor t-n etude (3-against-4), so when I was first learning it, I practice the right hand against the metronome on four, and practice the left hand against the metronome on triplets. I don't get dependent on this sort of metronome practice, but it is helpful in establishing the feel
of the polyrhythm. I won't be able to use it much longer, as the highest metronome setting doesn't get anywhere near performance tempo at 4-per-beat, but for now, while I'm still learning the notes of the inner pages, I find it a useful tool. I really only concentrate on every other tick, as those align with the 1 and 4 of the 6, but that subdivision is there, working its way into my brain so that I won't have to think about it any more.
OT, on editions: I have always used Bach-Gesellschaft. I have all the suites, inventions/sinfonias, and the Goldberg in a cheap $10 volume from Dover. I have gotten other scores from IMSLP. I just got some Henle editions of a few things, but I chose them mainly because NBA is harder to come by, and I'm not so sure the improvement on B-G was really
worth the money I paid.