Yes.
I am very used to playing entire album sides without ticks and pops.
I don't use record cleaners either.
What most people don't know, including phono preamp designers, is that the phono preamp itself is often responsible for about 90% of the ticks and pops often heard. I know this sound outrageous but I've seen this play out quite often.
How it works is like this: The cartridge and tone arm interconnect cable form a tuned resonant circuit (called a 'tank circuit' on account of the fact that the circuit can store energy at a certain frequency) due to the inductance of the cartridge and the capacitance of the cable. The resonant peak is outside of the audio band- in the case of LOMC cartridges might be over 100KHz up to several MHz. It can be as much as a 30 dB peak!
If your phono section has poor overload margin this can cause ticks and pops. And to illustrate what is meant by '30dB', this is a peak that is 1000 times higher than that of the signal itself. If you have a moving magnet high output cartridge, this peak exists at a lower frequency (in some cases might even be at the extreme upper region of the audio band) and less profound, but it can still be 20dB which is 100 times more powerful than the signal. Either way the cartridge energy sends the tank circuit into 'excitation' (oscillation) and you can get a tick or pop when the phono section briefly overloads.
There is more- some phono sections have stability problems. What many phono preamp designers don't get is that a good phono section is more than just enough gain, proper EQ and low noise. It must also resist RFI (Radio Frequency Interference, which is generated by the the tank circuit) and to do that, devices known as 'stopping resistors' (and sometimes 'RF beads') must be employed in the design. These resistors are placed at the input of a tube or other active device to prevent oscillation. If not there, it is possible for the active device to ring (oscillate) but only slightly- not oscillating all the time (if it did the design would not have gotten past quality control); just on certain input signals.
So if your phono section is stable and has good overload margin you will experience a lot less ticks and pops. I've seen this be pretty dramatic- upon hearing such ticks and pops it might seem as if the vinyl is noisy, but on a good phono preamp the same record is silent. A side benefit is that if this is so, its highly likely that if you are running a LOMC cartridge you won't have to engage in the 'cartridge loading' exercise, since that loading is all about detuning the tank circuit at the input of the preamp and thus preventing it from generating RFI.
Further, when you load a LOMC cartridge (100 ohms is common) you are making it do more work than when it drives the standard 47,000 ohms. The energy to do that work has to come somewhere and the result is that the cantilever of the cartridge and be stiffer and less able to trace higher frequencies.
Unfortunately most of the phono sections in many vintage solid state receivers were unstable and so an entire generation of audiophiles has grown up thinking LPs are loaded with ticks and pops. Usually they aren't- when an LP is mastered, the lathe cut is sent to a pressing plant and a 'test pressing' is made in order to find out if the mastering and subsequent stampers worked out properly. The artist or producer has to sign off on this test pressing and that means the test pressing had no ticks and pops so neither did the stamper. As a result, most LPs are silent when purchased but you will see many audiophiles upset about ticks and pops in vinyl and even going digital to get away from them, when quite commonly its just a poor phono section that's causing it.
