The sextuplets are now perfect, 5 different examples, all different takes!
It ONLY works with the application of the exact same trick that I discovered for the tremolo!
Begin bringing the a finger's tip segment in towards the a finger's string (not TO the string, but towards it) at the precise moment that P strikes its own note.
One would not think that this would be the solution, since the a finger's note is not played until 3 notes after P, but in fact it IS the solution!
All tenets of my original discovery stand. The tip joint does literally everything and the 2 larger joints must remain static or relaxed at all times, for all right hand fingers in both rest stroke and free stroke. All techniques, all scenarios, no exceptions.
Timing is everything, and in the case of both PAMI tremolo and PIMAMI sextuplets, we must begin bringing the a finger's tip segment in, from fully relaxed out status, toward the a finger's string at the precise moment that P strikes its own string!:
I see now why Jeffrey Van teaches that we must be able to execute perfect sextuplets in order to have tremolo.
Van teaches that we cannot have one without the other, and now I have discovered why that is the case!