Phono stage can minimize tics and pops on vinyl

It seems that there is some agreement here about the importance of a robust, well executed power supply allowing for an overload margin that minimizes the sound of vinyl surface imperfections.

I wonder if any of the "budget" phono stages can accomplish this?

There are so many very inexpensive phono stages on Music Direct.  Can any of them be robust enough to minimize surface noise?

Dunno but don’t fall into the trap of giving up detail ands inner resolution for a filtered sound with a cheaper phono amp. I’ve been so happy with my phono-pre that I’ve never felt the need to experiment with suppressing vinyl noise. However the cartridge/stylus might be a better way of helping with that trade off. My Decca is unforgiving but I don’t care as the music shines through. I also run an older Ortofon when I need quieter vinyl.

A couple of things to add about the E-250 is it also has a vg sut. And a cart demagnetizer. I have a Luxman CL-38U-SE and the tube phono is the best phono I ever owned. Very quiet as it has 4 step up transformers 2 for MC High and 2 for MC Low. The E-250 is $100 less than the Parasound JC3+ and having heard both is far superior.

To maximize its performance, I like to play a pink noise band from the Cardas Series 2 Burn-in LP for about 15 minutes then use the "Articulator" on the E-250 which thoroughly demagnetizes the coils of my MC cartridge.

Here are the things that allow for less ticks and pops. As far as I can tell, price isn't one of them:
1) good overload margin. (our phono sections are making nearly 100V peak to peak at overload...)
2) low RFI susceptibility. This also means that LOMC cartridges will not have to be loaded to sound right
3) good circuit stability. In this regard, stopping resistors employed at the inputs of all active devices at the very least.
It does not matter if the circuit is balanced or single ended- we've built both that are perfectly immune to excess ticks and pops. Also equalization built into the feedback loop is not a factor; we've done that too (although our MP-3 and MP-1 employ passive differential EQ). Its also not a matter of tube or solid state, although it does appear that more solid state phono sections are prone to ticks and pops than tube. Finally, bandwidth is not an issue, although there is a pretty good argument for wider bandwidth (we spec our MP-3 and MP-1 phono sections to 100KHz). IOW its a matter of engineering the circuit right, which does not have to have much bearing on the cost. Absolute premium parts aren't needed- the above parameters are.

If the phono section has its ducks in a row, you might be surprised at how few ticks and pops really exist; how few of them you hear over an entire album side, from album to album! This is way better than trying to treat the signal with stuff to get around the problem.