I've only had a Shubb in my hand once and for the life of me, I couldn't figure out how it worked.
There's really not much to figure out, mute. Set up is a bit like Vice-Grip pliers. You put it on and screw it down tight. Then take it off and give the screw an extra twist. Then it just snaps on and off.
I'd guess Kysers on CMT is a case of what may be common is not always best. That is, gigging musos often compromise on equipment choices and sacrifice musicality for the sake of practicality.
The popularity of acoustic-electric instruments is a good example. Piezo pickups usually sound like crap unless they're carefully pre-amped, EQ'd and processed. But compared to the hassles of dealing with tricky microphone placement and feedback night after night in unpredictable acoustic environments, the convenience of just being able to plug and play may win out, especially when your audience doesn't really care. The net result is an army of crap-sounding A-E instuments on stages everywhere.
Kysers are easy. They need no adjustment anywhere on the neck; just clamp 'em on. Stick them on the headstock when not in use, no pocket required. Never mind that you can't adust the tension, and the rubber is too hard, so the effect on intonation is often dreadful. Or that the capo is butt-ugly with its completely superfluous baroque curl, and looks like a hideous dragon on your headstock - where it will ruin the finish of your headstock if you keep doing that. Practicality, you know. It's good enough.
The ultra-soft rubber of the Shubb and its adjustable tension mean that you're much less likely to mess up your intonation. And that's a huge deal, especially for more open tunings like DADGAD. It's also very unobtrusive, which may be why you haven't noticed it as much. And with a tiny bit of practice it's just as easy to do one-handed quick changes. And if quick changes are your main concern, the QuickDraw capo is a far more elegant solution than Kyser or Shubb - again, if you're willing to compromise intonation.