This is a tricky question because when faced with neutrality or in the case of analog, low noise, THAT in itself becomes a characteristic.
I ended up with my analog rig because I consider myself a student of the recording arts. II want to be able to hear into a recording. Be able to somewhat tell that yes Harry was using a ribbon mic in Carnegie Hall just like the album photo shows. Get the nostalgia of Billy Holiday using a carbon. Production values are important to me for the simple reason that content production is our main livelihood. That makes the search for best practices part and parcel of any form of entertainment I engage in. It is just the natural way and isn't intrusive in the sense that I have been able to develop the ability to allow myself to be immersed first and then break the experience down afterwards. In other words the feedback loop is a much longer one LOL So for me, I wanted a platform that was first and foremost quiet. To achieve this the system must itself be quiet, it must be able to deal with environmental noise pollution, and given the way channels are encoded onto the vinyl, the record MUST be flat. in the words of Peter Lieberman, I paraphrase loosely, "it's a miracle analog works at all". Originally the way the forebears decided to do stereo was to have onnee track on the vertical axis and the other on the horizontal. However because they wanted the LPs to be compatible with mono systems in the field the decision was to use an X type pattern. You can imagine how much channel error one gets on a record that isn't running flat. These errors eat up the already miniscule voltage potential within the carts and ultimately rob us of headroom. It's a double whammy. The noise floor is up, the power down. This is exactly what a compressor does except here, the noise is system generated.
Ok this sounds great. In practice however this does not guarantee pleasure at all times. We all have music we love that bluntly, was butchered in the recording process. Many times we need the proverbial rose colored glasses. In my case, I want less variables to deal with so the table stays but I have arms and carts that are still accurate but are more forgiving having their own characters pushed to the fore. Obviously this can only serve to make the bad recordings marginally more listenable but hey, not all is lost. For thee truly terrible there's always thee kitchen radio LOL
Now if the person is like me in that thee desire to hear all that is ingrained then yes go for the ultra quiet chain. Collecting rare first pressings only NM/NM? Go to town bro, you only live once. The bad will be worse but the best will have the potential to be glorious. Ultimately however the decision can't be made in a vacuum. These low noise, wide bandwidth front ends are demanding of electronics and loudspeakers. They can also be dangerous because the teemptation to play louder and louder is ever present. It can be damaging to health and also to theee equipment. I've had a bad pop regiister over 2kW on my amp's display. It is jarring and terrifying and serves as a reminder that if you intend to go nuts, prepare for it properly by cleaning the records thoroughly.