There's really nothing wrong per se w/add-on fine tuners, you just have to be prepared for the fact that they will affect tone. They've been avoided by classical musicians for that very reason. It's not a purist theory, it's hundreds of years of proven acoustic principles.
But I'll still maintain that the effect is miniscule, especially from a fiddler's point of view. I can understand a classical violinist obsessing over it, but the difference in tone of adding a few grammes of mass to the tailpiece is completely irrelevant (I suggest) to a fiddler. Unless that fiddler is, of course, obsessed with tone!
The amount of energy transferred from the vibrating string (bridge to nut) to the short length from bridge to tailpiece (and indeed from tailpiece to the body of the fiddle via the endbutton - ta for the correct nomenclature!) is likewise miniscule. And the tailpiece is 'floating', so that the strap-doofus attaching the tailpiece to the endbutton acts as a damper as far as energy transfer through that path is concerned. It'll mostly go through the bridge, as high-order harmonics. Very tiny ones at that.
As I said, I understand a classical virtuoso bemoaning the use of four fine tuners, they turn white and poop at the thought of using a shoulder-rest for the same reasons. They use gut strings in the main too, which are more easily and reliably tunable at the pegs than the steel preferred by fiddlers (or so I'm told).
They'd probably also baulk at using anything other than the pegs supplied with the instrument, because clearly if the afterlength and mass at the tail end of the instrument seriously affect tone, so too will the forelength and mass at the top of the instrument, no?
Of course, I'm a beginner with a cheap (relative to something more expensive) instrument, which means I'm fair game for the "Well when you're making a living in a recording studio and have an ear for these things, you'll know" kinds of comments often seen on other, string-related, fora. I doubt I could hear any noticeable difference in tone by removing the fine-tuners on my Gliga. Even less would it be noticeable on a Stentor.
I still reckon that if they'd had fine tuners when the instrument was 'invented', or geared machine-head pegs, or indeed synthetic-cored steel-wound strings, someone somewhere would find something "traditional" to be 'traditionalist' about
Like plastic bags on the UPs, or Delrin for flutes, if they'd had the stuff way back when, then no-one would be 'arrised about it today.