Here's FXDB's interview with Graig Markel of Recovery Effects:
How did Recovery Effects start?
I got into building pedals originally because I wanted to fix effects that were broken, and make effects I couldn't afford.
I learned from forums and books. Craig Anderton, Forrest Mimms, Nicolas Collins,...
It comes from my Studio, the Recovery Room where I would build the effects in the early days.
The logo is similar to the studio logo, I designed myself. Modern Victorian, like the studio and the look of the pedals.
What sets Recovery Effects apart from other builders?
Recovery Effects stand out from most pedals because of their hand-wired, NOS aesthetic, and attention to style and detail.
How do you start on a new pedal?
Lots of trial and error!Can you tell us something about the production process?
Other than manufacturing the parts, I'm the only person that's involved in making a Recovery Effects pedal.
Hand-wired circuits on perf and vero board, enclosures are bought, hand-drilled, and labeled using dog tags, marine engine control labels, etc. The look of the pedals is Industrial Modern Victorian.
How important is the look of your pedals?
It is important that a Recovery Effects pedal looks as good as a beautiful vintage guitar, amp, and as cool as the person playing it.
Is parts selection important?
The Sound Destruction Device. It's a versatile, fun, and original sounding fuzz.
Who uses your pedals and for which genres?
I create pedals for my own taste.
Lee Reynaldo (Sonic Youth), Kristin Hersh (Throwing Muses, solo), Tobacco (Black Moth Super Rainbow and solo), Jim Eno (Spoon), John Vanderslice, and many more use my pedals.
What does the future of Recovery Effects look like?
Recovery Effects will always remain hand-wired. My goal is to make great sounding analog effects with quality parts that are USA made whenever possible and contain new old stock.