Editing The Velvet Underground & Nico (section)

==Production==
[[File:Andy Warhol by Jack Mitchell.jpg|200x200px|alt=|thumb|Artist [[Andy Warhol]] designed the album's cover.]]

Although [[Andy Warhol]] is the only formally credited [[record producer|producer]], he had little influence beyond paying for the recording sessions.<ref name="Graves">{{cite web |title=The Velvet Underground: How Andy Warhol Was Fired by His Own Art Project |url=https://consequenceofsound.net/2017/03/the-velvet-underground-how-andy-warhol-was-fired-by-his-own-art-project |website=Dusting 'Em Off |publisher=[[Consequence of Sound]] |date=March 10, 2017 |access-date=September 12, 2017 |last=Graves |first=Wren |url-status=live |archive-url=https://web.archive.org/web/20170408044024/https://consequenceofsound.net/2017/03/the-velvet-underground-how-andy-warhol-was-fired-by-his-own-art-project/ |archive-date=April 8, 2017}}</ref> Several others who worked on the album are often mentioned as the technical producer.{{sfn|Harvard|2004}}<ref name="Bockris-Malanga">{{harvnb|Bockris|Malanga|1996}}</ref>

Norman Dolph and John Licata are sometimes attributed to producing the Scepter Studios sessions, as they were responsible for recording and engineering, though neither is credited.{{sfn|Harvard|2004}} Dolph said Cale was the creative producer, as he handled the majority of the [[arrangement]]s.{{sfn|Harvard|2004}} However Cale recalled that Tom Wilson produced nearly all the tracks, and said that Warhol "didn't do anything".<ref name="Bockris-Malanga"/> Reed also said the "real producer" of the album was Wilson.<ref name="Graves"/> Reed claimed it was MGM who decided to bring in Wilson, and credited him for producing songs such as "Sunday Morning": "Andy absorbed all the flak. Then MGM said they wanted to bring in a real producer, Tom Wilson. So that's how you got 'Sunday Morning', with all those overdubs—the viola in the back, Nico chanting. But he couldn't undo what had already been done."<ref>{{cite magazine|url=https://www.rollingstone.com/music/music-news/lou-reed-the-rolling-stone-interview-2-174015/|title=Lou Reed: The Rolling Stone Interview|first=David|last=Fricke|magazine=[[Rolling Stone]]|date=May 4, 1989|access-date=November 20, 2018|archive-date=November 20, 2018|archive-url=https://web.archive.org/web/20181120221330/https://www.rollingstone.com/music/music-news/lou-reed-the-rolling-stone-interview-2-174015/|url-status=live}}</ref>

However [[Sterling Morrison]] and Lou Reed both cited Warhol's lack of manipulation as a legitimate method of production.{{sfn|Harvard|2004}} Morrison described Warhol as the producer "in the sense of producing a film".<ref>"An Interview with Sterling Morrison", ''Fusion'', March 6, 1970. Reproduced in {{harvnb|Heylin|2009}}</ref> Reed said:

{{blockquote|He just made it possible for us to be ourselves and go right ahead with it because he was Andy Warhol. In a sense, he really did produce it, because he was this umbrella that absorbed all the attacks when we weren't large enough to be attacked{{nbsp}}... and as a consequence of him being the producer, we'd just walk in and set up and do what we always did and no one would stop it because Andy was the producer. Of course he didn't know anything about record production—but he didn't have to. He just sat there and said "Oooh, that's fantastic," and the engineer would say, "Oh yeah! Right! It is fantastic, isn't it?"<ref>{{cite journal |last = Flanagan |first = Bill |date=April 1989 |title = White Light White Heat: Lou Reed and John Cale remember Andy Warhol |journal = Musician Magazine}}</ref>}}