Winslow, I assume you mean a detriment to speed with a longer slide throw.
Regarding the CBH 2012/16, innovative design that doesn't affect building techniques, materials or future design is, in essence, a failed attempt despite their popularity among a few players. Slide mechanism, materials (glass-filled Delrin) and individual chambers in the covers never made it into general production. I don't particularly like my 2016, and thought I would be able to handle a 2012 better. Trying one at Garden State cured me of that.
Regarding CX-12 design, I think you're right on the money. Despite claims of same-old same-old slide, comb and reedplate design, and the so-called "plasticky" tone, the cover alone, especially with its airtight design, is worth the price of admission. Even Wuxi Suzuki saw fit to make a knockoff. They've done well enough since their introduction in the early 1990s for Hohner to (finally!) offer an alternative cover in the new Jazz model.
The newly designed CN64, which Franz Chmel helped design, sounds like a major attempt at improving harmonica design. If, like Suzuki's innovations and build technique of the Fabulous, filter down into less expensive models, it could truly change overall design, and the industry itself.
Hohner hasn't stood still; but Age's take needs serious consideration. Changes of basic 260/70 have been minimal; and changes in 280 design, while making for important improvements, have been at best incremental—even with the Super 64X. I would say Meisterklasse and Amadeus represent significant improvements, too, in mouthplate design and build quality.