Dynavector cartridges, old and new

My statement was hyperbole for sure. But sometimes, some folks sound as though the very rarity of the cartridge, in terms of its structure, is cause for excitement. I agree one has to listen to each cartridge, case by case. It’s almost a separate hobby unto itself. I’m really not that into it, even though I confess to owning more cartridges now, of all types, than I ever thought possible or sensible. But I tend to leave cartridges up and running for months and months, if I like them, while the others rot in a drawer. Having four working turntables does help me to at least audition a variety of the ones I own.
Nandric, How can a cartridge have "no cantilever"?  Can you show a diagram or drawing?  The motion of the stylus has to be transmitted to coils or magnets in order for transduction to occur.  The structural element that connects the two is to my mind a "cantilever".  The closest to no cantilever I know about would be the new Audio Technica ART1000, where the coils are just aft of the stylus tip. Has anyone here heard that one?

@nandric well, the conventional glued stylus looks like your recent re-tip with a drop of glue around the tip, so you can check and compare to Dyna. I'm not trying to say Dynavector is better than others, but Dynavector has its own originality in many aspects of design. To like it or not is a matter of taste, personal preferences and system. That's it. 

The closest to no cantilever I know about would be the new Audio Technica ART1000, where the coils are just aft of the stylus tip. Has anyone here heard that one?

On the contrary - the Art 1000 has quite a long cantilever.
http://www.the-ear.net/review-hardware/audio-technica-art1000-moving-coil-cartridge
What you fail to comprehend is that the coils are mounted at the end of the cantilever where the stylus is located, but there is still a long cantilever slewing around whilst tracking the groove. By locating the coils at the end of the cantilever any flex in the cantilever will be magnified to a greater degree than say the more rigid Decca/Ikeda system.

With the Decca and Ikeda there are cantilevers.
In the case of the Decca it is a vertical cantilever with little compliance in the vertical plane.
In the case of the Ikeda from the 90’s the cantilever is a vertical inverted hoop. Contrary to what some have published in this thread there is some compliance in the vertical plane and much more in the horizontal plane. The hoop flexes side to side.
http://illusionofsound.blogspot.com/2013/10/cartridgetransducer.html

I have owned several of both the Decca and Ikeda cartridges, and still use the Ikeda and Dynavector Karat Nova 13D which I also own. I have used these in a multitude of tonearms over the years.

In my experience tonearms and phono stages play a significant role in how these individual cartridges perform and sound. Shortcomings elsewhere in the system are ruthlessly exposed by any of these cartridges. So whilst we can pontificate on the various merits on each design ultimately they can only be described in the context of the environment in which they are placed. Comparing these cartridges in the same arm is irrelevant, you have to try them in multiple arms to ensure a good assessment of each cartridges merit within each individual system.

Dear chakster, Our MM thread remind me of Wittgensteins 
''phiiosophical   investigation''. He was not able to formulate any
consistent theory but made ''endless many'' philosophical
''remarks''. I was not able to remember more than 10. I have no
idea about the others. According to me you can remember more
contributions in the MM thread than anybody else. Even so you
overlooked J. Carr's contribution about cantilevers ''materials''.
The only advantage of aluminum (alloy) in comparison with
other is that the stylus can be ''pressure fitted'' . All other kinds
are fragile and will shatter by so doing. That is why styli in
such cantilevers must be glued. This however ''imply'' glue
between the stylus and the cantilever preventing this way 
''rigid connection'' between them. 
As he also explained there are many other material properties
involved and in this context he also explained why he uses
boron.

Dear Dover, Wittgenstein deed state that there is no such
thing as ''private language''. As social invention and means
for communication we need to understand ''words in use''.
In this context we say about Decca and Ikeda 9 C series that
they are ''cantileverless''. This imply that for you ''cantilevers''
means something else than , uh, ''cantilevers'' for us.
Anyway thanks for your kindness to answer Lew's difficult
question addresses to me.  I never made any ''schematics''
in my life and he wants me to draw one of Ikeda 9 C? (grin).

I´m glad that also Dover keeps bravely carrying the torch. Actually I was waiting for his entrance. He has that mighty Karat Nova 13D you see.

" ... ultimately each design they can only be described in the context of the environment in which they are placed..."
Exactly. TAs in particular and TTs/decks plays another key role, addition to phono preamps. Decca, Dynavector, Soundsmith, Ikeda , Audio-Technica etc have a different approach to the questing we are asking for. The finest there are but all different.