there is ample documentation in test reports which show advantages for ellipticals versus conicals. Especially on test reports around 1963, when the first ellipticals came out in Ortofon SPE, ADC 10/E, Shure V-15. Contemporary test reports showed the improved linearity, wider frequency response, and improved stereo separation of ellipiticals as compared with their conical counterparts. Wish I had not given away my old copies of such reports, and there may be copies in the VE. Just look for 1963 or about.
But my great and reluctant finding is that my DL-103R does not give me signs I would supposedly recognize as caused by conical vs. elliptical! All the records I know "by memory" sound so good to me, that I am not missing the "elliptical effect" from previous cartridges!
And one thing must be cautioned, I may not hear it because of hearing loss at my age. So, I may not be the desirable observer for this criterion.
ON ANOTHER ENTIRELY DIFFERENT ISSUE:
Another theory I have regarding the continued manufacture of the DL-103 line: these units were designed for broadcast use. This imposes a specific demand on treble response and the FM Stereo carrier wave (matrix?).
Broadcasters needed cartridges which would NOT mess up the FM Stereo carrier wave via spurious treble resonances. And DL-103 units have been apparently complying with that expectation since their inception.
The "signature sound" I perceive from my DL-103R is freedom from treble lift and resistance to cantilever breakup (hashy breakup sound). Matter of fact, the other line of Denon cartridges HAVE a (MILD) recognizable treble lift, as I have heard from the DL-110, DL-304, and DL-S1. So, I imagine that Denon designers wish to comply with the broadcast expectations for the DL-103 line. My personal theory, of course.
And, it just so happens that many enthusiasts like this specific signature, seems to me.