yousef, I'm old enough to have recorded specifically for release on LP, back before CDs existed. It's certainly advisable to engage an experienced LP mastering engineer. They understand the limits of vinyl and of the record-playing equipment people use, and they help you to get the best sound you can get within those limits.
The main issue is that too much of either horizontal or vertical modulation causes problems: excessive horizontal modulation forces the groove pitch to be set so wide that the record can't hold very much music. Too much vertical modulation causes the needle to "skip" during playback. Normally the pitch isn't so much of an issue because you don't expect to put an hour at very high volume on each side of a record. But a limit has to be placed on the vertical modulation.
The degree of vertical modulation depends on the instantaneous difference between the left and right channel signals, particularly at low frequencies where RIAA equalization requires a large boost. One way to reduce vertical modulation if there's strong low-frequency content in the music is to record with closely-spaced or even coincident directional microphones (or M/S) rather than using spaced omnis or the like. That keeps the difference between channels small at the lowest frequencies, though at the cost of some spaciousness in the recording.
Otherwise what many mastering engineers do is literally to put a limiter on the signals going to the amplifier that drives the vertical deflection coils of the cutterhead. It can do funny things to the stereo image but it keeps the record from skipping. Back in the day, distributors always hated dealing with returns due to records that skipped.
Phono cartridges are supposed to track the groove at a 45/45 angle but if you look at the lateral and vertical aspects of the groove it's just like an M/S matrixed version of the original L and R channels; the horizontal modulation = L + R (which is why stereo LPs can be played on a mono record player) while the vertical modulation = L - R (which is why mono records have a quieter background if you sum the channels--it cancels out the noise in the otherwise empty L - R channel).
Does that make sense or did I misunderstand your question?
--best regards